The Shootist
by Don Siegel
from Paramount
The last film of John Wayne could not have been more fitting, full of details that can't help but make one reflect upon his legacy in the movies and his life as a star. Wayne plays a career gunfighter in the autumn of his life, trying to hang up his pistols after he discovers he's dying of cancer. Boarding in the house of an attractive widow (Lauren Bacall) and her son (Ron Howard), Wayne's character opts for peace in his final days but is dogged by his reputation when a handful of killers seeks him out for a final fight. Howard is fine as a fatherless boy who needs the strong mentor the hero represents, and James Stewart--who costarred with Wayne in the great Man Who Shot Liberty Valance--plays the doctor who gives the big man the bad news. Don Siegel (Invasion of the Body Snatchers) thoughtfully directs a very special and sensitive production. --Tom Keogh
A dying gunman returns to his friend for medical care in his last days, but becomes involved with a widow and her son, eventually dying with honor in a final gunfight.
Genre: Westerns
Rating: PG
Release Date: 28-MAR-2006
Media Type: DVD
Dean Martin & Jerry Lewis Collection - Vol. 2 (You're Never Too Young / Artists and Models / Living It up / Pardners / Hollywood or Bust)
by Norman Taurog
from Paramount
Surely even the French, with their legendary love of all things Jerry Lewis, will be sated by the Dean Martin & Jerry Lewis Collection: Vol. 2, a three-disc package containing five comedy-musicals released on DVD for the first time. It would be a supreme stretch to call any of the five films in question (You're Never Too Young, Artists and Models, Living It Up, Pardners, and Hollywood or Bust) a classic, but then, anyone looking for challenging storylines and deep characterizations probably wouldn't be here in the first place. What the films offer instead are various breezy diversions, in the form of Martin, the suave, smooth talking cad and crooner; a parade of lovely young women (Dorothy Malone, Anita Ekberg, Janet Leigh, and Shirley MacLaine among them); some terrific musical numbers that are the highlights of their respective films; and, of course, the antics of Lewis, whose capacity for slapshtick and mugging is apparently inexhaustible. By this time (the mid-1950s), the two had already fit comfortably into their respective personae, with Lewis as the naïve, ingenuous rube and Martin right there to take advantage of him. In Artists and Models, Martin's aspiring painter cops ideas from the frenzied dreams of his comics-obsessed roommate (Lewis, natch) and creates a hit comic of his own, a simple story that's derailed by an absurd and unnecessary subplot involving the U.S. government and some enemy agents. Living It Up, adapted from an earlier musical called Nothing Sacred, finds Lewis cajoled by Martin, his doctor (talk about a stretch!), into pretending that he's suffering from radiation poisoning so they can both enjoy a lavish trip to New York courtesy of a newspaper trying to boost circulation by playing up the "dying" man's plight. Hollywood or Bust, a combination road picture and gentle spoof of the movie biz, casts Martin as a gambler and con man accompanying film fanatic Lewis on a trip to Tinseltown, while Pardners is a Wild West romp ("Jerry Lewis as a gunslinger" about sums it up) and You're Never Too Young puts Lewis totally in his element as he impersonates a 12-year-old boy in order to escape bad guy Raymond Burr. The plots are thin, at best, and the songs are hardly Oscar caliber. Still, the two stars have an undeniable chemistry, and the musical set pieces are highly entertaining, most notably a sort of pas de duh (sic) between Lewis and MacLaine in Artists and Models and an eye-popping, show-stopping dance number in Living It Up. In the end, it all basically comes down to one's capacity to endure Lewis' manic mannerisms (it's worth noting that by Hollywood or Bust, the pair's last collaboration, he's pretty thoroughly upstaged by a Great Dane). If even this cornucopia isn't sufficient, perhaps a move to France is in order. The set contains no bonus material. --Sam Graham
LIVING IT UP: The 1954 Martin-and-Lewis romp Living It Up is an amusing remake of the 1937 comedy classic Nothing Sacred. More specifically, it is the film version of the Broadway musical Hazel Flagg, which was based on Nothing Sacred. The heroine of the original undergoes a sex change to become feckless Homer Flagg (Jerry Lewis), who is led to believe that he's dying of radiation poisoning. Manhattan newspaperwoman Wally Cook (Janet Leigh), hoping to improve circulation of her paper, convinces her boss, Oliver Stone (Fred Clark), to fete Homer as a hero with an all-expenses-paid trip to the Big Apple. Meanwhile, Homer learns from local doctor Steve (Dean Martin) that he isn't dying at all. But Steve talks Homer into taking advantage of the celebrity treatment bestowed on him by Wally, and a good time is had by all — until medical specialist Dr. Egelhofer (Sig Rumann) insists upon examining Homer. Highlights include a hilarious bit at Yankee Stadium, and an energetic jitterbug number featuring Jerry Lewis and Sheree North. The handful of songs retained from Hazel Flagg include "Every Street's a Boulevard in Old New York."
YOU'RE NEVER TOO YOUNG: You're Never Too Young is a slapstick-with-songs remake of the 1944 Ray Milland/Ginger Rogers vehicle The Major and the Minor. Dean Martin plays the Milland part, while Ginger's shoes are filled by...Jerry Lewis? Lewis plays an apprentice barber who inadvertently crosses a homicidal jewel thief (Raymond Burr), and equally inadvertently hightails it out of town with the crook's jewels in his possession. Desperate to escape the crook's clutches, and lacking the necessary funds for a train ticket, Lewis disguises himself as a 12-year-old boy so he can travel half fare. He latches onto Dean, a music teacher heading for an all-girls school. After innumerable routines sparked by Lewis's adolescent disguise, the jewel thief catches up with him, leading to a rollicking climactic speedboat chase. Dean Martin has plenty of opportunities to serenade leading lady Diana Lynn (who'd played a supporting role in The Major and the Minor), while Jerry Lewis is in peak form doing his usual "waah-waah-waah" schtick. The original Billy Wilder/Charles Brackett script for The Major and the Minor was reshaped into You're Never Too Young by future bestselling novelist Sidney Sheldon.
ARTISTS AND MODELS: Bearing very little relation to the 1937 Paramount musical of the same name, Artists and Models is a lavish, girl-filled vehicle for the popular team of Dean Martin and Jerry Lewis. Martin plays Rick Todd, a comic-book artist who is under fire from his publisher (Eddie Mayehoff), who complains that Rick's work isn't gory enough. Lewis plays Eugene Fullstack, Rick's roommate, who while asleep dreams up elaborate comic-book plots and garishly costumed superheroes. Eugene's nightmares help Rick become a success; meanwhile, our two heroes romance their luscious neighbors, artist Dorothy Malone and rambunctious model Shirley MacLaine (who during one song wrestles Eugene to the floor and sits on his chest!) Eugene's overworked imagination somehow attracts the attention of a group of Russian spies, who attempt to abduct Eugene during the annual Artists and Models Ball. Director Frank Tashlin uses Artists and Models as an excuse for some of the wildest sight-gags seen in a mid-1950s film. At one point, the director contrives to stuff a gag in Shirley MacLaine's mouth. Tashlin also exhibits his ongoing fascination with female breasts and legs by giving ample screen time to the natural attributes of co-stars Anita Ekberg and Zsa Zsa Gabor. One of the best of the Martin/Lewis efforts, Artists and Models suffers only from being about 20 minutes too long.
PARDNERS: This Dean Martin-Jerry Lewis romp is liberally based on the 1936 Bing Crosby film Rhythm on the Range. Set around 1910, the film stars Lewis as the pampered son of female tycoon Agnes Moorehead. Yearning to return to the Wild West where his father was a famed peacekeeper, Lewis purchases a prize bull, destined for the ranch inherited by rodeo star Dean Martin. It so happens that Martin and Lewis' late fathers were "pardners", so Martin takes it upon himself to protect Lewis from the various and sundry tough hombres in the region. Through a series of bizarre plot convolutions, Lewis gains a reputation as a rootin' tootin' gunslinger, and in his hubris he decides to round up a gang of outlaws headed by Jeff Morrow. As a result, he nearly gets himself blown to smitherines, but Martin shows up in the nick of time to rescue Lewis and help him capture the bad guys. Lori Nelson and Jackie Loughery supply the film's peripheral romantic angle. Pardners ends with Dean Martin and Jerry Lewis turning to the camera and promising that they'll keep on making pictures for their faithful fans; ironically, the team was breaking up even while the cameras were turning.
HOLLYWOOD OR BUST: Dean Martin and Jerry Lewis made their last joint film appearance in the girl-filled musical Hollywood or Bust. The thinnish plot finds inveterate film fan Jerry making a cross-country journey to Tinseltown for the purpose of meeting his favorite screen star, the buxom Anita Ekberg (the film's title, need it be added, has a double meaning). Dean goes along for the ride, hoping to expand his bankroll during a Las Vegas stopover. The boys are joined by a third traveller, an enormous Great Dane named Mr. Bascomb; along the way, the trio becomes a quartet when pretty Pat Crowley hitches a ride. The finale takes place in Hollywood, naturally, as Jerry wreaks havoc at a film studio which looks suspiciously like Paramount. All reports indicate that Hollywood and Bust was an unhappy shoot, with Jerry Lewis behaving so obstreperously that director Frank Tashlin ordered him off the set and told him to go home until he learned to behave himself; to this day, Lewis cannot bring himself to watch the film. Happily, the animosity between the two stars never comes across on screen, and as a result Hollywood or Bust is a most enjoyable diversion.
Lawman
by Michael Winner
from MGM (Video & DVD)
Burt Lancaster is excellent as the title character, a pitiless, unbending marshal out to arrest seven cowhands who left a dead man in the wake of a drunken tear, in this stoic, modern take on a classic Western theme. He confronts a rancher baron, trigger-happy gunmen, and the cowardly hypocrites of a frontier town: the usual bunch of Old West types sculpted into intriguing character by a crack cast. Robert Ryan brings a sad dignity to his former gunfighter tamed into a meek town marshal, and Lee J. Cobb is introspective and thoughtful as the aging cattleman weary of his life of violence: "It took guns to take this land, guns to keep it, and guns to make it grow.... Each time we bury the cost." Robert Duvall, Albert Salmi, and a young Richard Jordan (as an idealistic cowpoke whose sense of honor gets a workout in the complex conflicts) also star.
The first American feature by British director Michael Winner (who went on to make numerous tough Charles Bronson pictures, including the first three Death Wish movies) is lean and tough, with a streak of "passing of an era" melancholia, but surprisingly old-fashioned. The hard-edged, unsentimental violence, arid, austere look of the picture, and distracting overuse of zoom shots mark it as an unmistakable product of the early 1970s, but it's not so much cynical as sorrowful in its clash of ideals, and never less than clear-eyed in the presentation of harsh frontier realities. --Sean Axmaker
Burt Lancaster is an uncompromising lawman who defies the odds when he single-handedly confronts a gang of killers in this "extraordinarily perceptive" (Films & Filming) and action-packed taleof life and justice on the American frontier. When Sabbath town-boss Vincent Bronson (Cobb) and his drunken ranch hands unwittingly kill an old man in Bannack, everyone knows it was an accident. Everyone, that is, except Bannack's marshal, Jered Maddox (Lancaster). A tough, no-nonsense manof the law, Maddox is determined to bring the killers to justice. Trailing them back to Sabbath, Maddox makes his intentions clear: "I'm gonna take these men back with me," he vows, "or kill them where they stand." So when Bronson sends word that he wants to make a deal, the inflexible Maddox refuses, a decision that forces Bronson's men to let their guns do the talking. But Jered Maddox is not aman to back down...he'll bring these desperate killers back to Bannack, his way. Dead or alive.
Charley Varrick
from Universal Studios
Charley Varrick is a small-time crook who outfoxes the Mob in this fast-paced offbeat thriller directed by Don Siegel. Academy Award winner Walter Matthau stars in a rare dramatic role, along with the powerful Joe Don Baker, as a tough Mafia hitman. Charley robs small banks with small payrolls. That keeps him out of trouble until he stumbles onto the Mob's secret stash. The chase is on as the Big Boys go after the "Last of the Independents." It's a heart-pounding ride that builds to a fiery airborne climax as Charley makes his last desperate run for the Mexican border and safety.
Madigan
by Don Siegel
from Universal Studios
A New York detective is given only a few hours to track down a vicious killer.
No Track Information Available
Media Type: DVD
Artist: WIDMARK/FONDA
Title: MADIGAN
Street Release Date: 03/16/1999
Genre: ACTION / ADVENTURE
They don't make detective thrillers like this anymore. Madigan is a gem from the '60s, anticipating the more popular French Connection and Dirty Harry with its gritty urban realism. However, this film has a wonderful poetry and sense of camaraderie, thanks to Abraham Polonsky's writing and Don Siegel's inspired direction. Richard Widmark plays a hardbitten New York cop who must redeem himself after losing his gun to a psychotic thug (a plot somewhat reminiscent of Kurosawa's Stray Dog). Henry Fonda costars as a stern police commissioner overwhelmed by his day-to-day decisions. He can't stand Widmark's freewheeling attitude, but he's a hypocrite when it comes to his own private life. Moral decisions don't come easy in this contemplative film. Fine support is provided by Harry Guardino as Widmark's partner, Inger Stevens as Widmark's wife, James Whitmore as Fonda's slightly corrupt pal, and Steve Ihnat as Widmark's charismatic nemesis. --Bill Desowitz
The Gypsy Moths
by John Frankenheimer
from Turner Home Ent
Burt Lancaster Gene Hackman and Scott Wilson play a threesome of stunt skydivers who are like moths drawn to the flame of risk... although their passion for it is beginning to fade.Running Time: 110 min.System Requirements: Running Time 110 MinFormat: DVD MOVIE Genre: DRAMA Rating: R UPC: 053939664621
The Trouble with Girls
by Peter Tewksbury
from Warner Home Video
The manager of a traveling tent show in the 1920s gets into difficulties with girls unions ambitious local talent and a murder during a one-week stand in a modest sized midwestern town.Format: DVD MOVIE Genre: COMEDY UPC: 012569798854 Manufacturer No: 79885
The Organization
by Don Medford
from MGM (Video & DVD)
The Organization was the second and final sequel to 1967's In the Heat of the Night and sees Sidney Poitier's homicide detective Virgil Tibbs called in to investigate the murder of a factory manager. In a lengthy, dialogue-free opening (the film's best sequence), it appears that we are witnessing the culprits in action. However, this group turns out to be a gang of idealistic young vigilantes who knew that the factory was a front for an international drugs cartel--the Organization of the title--and have made off with a haul of $5 million worth of heroin secreted there. Suspected of the manager's murder, they meet Tibbs and seek his cooperation. He agrees to help them, pitting himself not only against the Organization but his own police department.
Set in San Francisco, The Organization invites invidious comparisons with Bullitt: its somewhat cheesy contemporary soundtrack, derived from Miles Davis' Bitches Brew, certainly marks it as a piece of its period, as do the occasionally less-than-convincing action sequences, risible acting, and far-fetched plot. Poitier, as ever, lends the film a certain dignity and poise, worthy of better material to work with than this. The film is also notable for providing early showcases for two of Cop TV's most famous captains: Daniel J. Travanti (Hill Street Blues) and Bernie Hamilton (later Captain Dobey in Starsky & Hutch) are both assigned minor roles here. --David Stubbs
Academy AwardÂ(r) winner* Sidney Poitier (In the Heat of the Night) reprises his role as Lt. Virgil Tibbs in this taut drama that exposes the ruthless, high-stakes world of international drug trafficking. Co-starring Raul Julia (Presumed Innocent), this action-packed (Variety) crime thriller is edge-of-the-seat entertainment (Los Angeles Times). Under the cover of darkness, six masked figures raid a seemingly respectable furniture factoryand steal a multimillion-dollar cache of heroin! But these are no ordinary crooks. They're a passionate band of former users-turned-vigilantes whose frustration with the law's inability to combat the city's drug problem spurs them to take on a powerful narcotics ring. After contacting Tibbs, they confess to the break-in, beg him to keep silent and ask for his help. But once he reluctantly agrees to operate outside the law, Tibbs soon finds himself at odds with the police and a ruthless drug syndicate that will stop at nothing to silence him! *1963: Actor, Lilies of the Field; 2001: Honorary Award
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