Oliver, Edna May

Pride and Prejudice

Jane Austen's wonderful novel has been adapted to the screen many times, with this 1940 version representing the golden age of the Hollywood studio era. Greer Garson, then just on the cusp of her stardom, plays the headstrong Elizabeth Bennet, smartest of five daughters who must be married off. Laurence Olivier is that difficult fellow Mr. Darcy, whose mulishness about the Bennet girls begins to thaw when he gets a dose of Elizabeth's sense and sensibility. The film is done up in the glamorous MGM house style, which means we're stuck with the less-than-inspired direction of Robert Z. Leonard (The Great Ziegfeld), redeemed somewhat by a collection of handsome sets (Cedric Gibbons and Paul Groesse won the Oscar for Interior Decoration) and the dandy photography by Karl Freund, one of the greats. Anyone accustomed to the 1995 miniseries version of Pride and Prejudice will need to adjust to the swifter demands of a two-hour movie, and to be sure this version, like the 2005 Keira Knightley remake, simplifies some of Austen's scenes. It's one of the few films, by the way, with Aldous Huxley as a credited screenwriter. Edmund Gwenn is lovely as Mr. Bennet, and Mary Boland brash as Mrs. Bennet; Garson, although MGM liked to corset her in fine-lady roles, manages to let Elizabeth's sauciness come through. Actually, the movie's weak spot is Laurence Olivier's elaborate performance as Darcy, which feels too theatrical. Not that it matters; Austen's story is so good, the film sails through to its delicious finish with all flags flying. --Robert Horton

Drums Along the Mohawk

Nineteen thirty-nine is often proposed as the movies' halcyon year, and three reasons why were directed by John Ford: Stagecoach, Young Mr. Lincoln, and Drums Along the Mohawk. In that exalted company Drums... would have to be accounted "merely superb"--even if it's the best film ever made about the American Revolution and, oh, only about eighth-best picture of its year.

Henry Fonda and Claudette Colbert play newlyweds in New York's Mohawk Valley at the time of the Revolutionary War. That war is more a distant rumor than a direct concern of people with cabins to raise, crops to harvest, and firstborn on the way. When it comes to their valley, in the form of hitherto-peaceable Indians whipped up by a gaunt Tory with an eyepatch (John Carradine), life changes as though with the passing of a cloud shadow.

In this, his first color film, Ford created indelible images of the dawning of America: a lone wagon making its way through acres of long grass rippling in the wind; the Indians, at the onset of their first raid, seeming to materialize out of the mist, out of the very trunks of trees; a ragged line of farmers with flintlocks passing along a split-rail fence, then resolving into a column, an army, marching toward a distant horizon. (Utah's Wasatch mountain country stands in persuasively for upstate New York in pioneer days.) Edna May Oliver scored a best-supporting-actress Oscar nomination as a memorably crusty frontier widow, while Ward Bond--oddly omitted from the opening credits--claimed a place of honor in the John Ford Stock Company playing Fonda's best friend. --Richard T. Jameson

Lawless frontier. Indian attacks. Settlers protecting themselves the only way they know how-with guns and courage. In the years before the Revolutionary War, the East was as wild as the West would be one hundred years later. Henry Fonda delivers one of his most memorable performances ever as a young frontier leader protecting his family in the backwoods of New York state. Claudette Colbert so-stars as his spirited wife. With a fine supporting cast that also includes Edna May Oliver and John Carradine, this is one of John Ford's most exciting historical dramas.

A Tale of Two Cities (1935)

Ronald Colman isn't even on screen for the most famous lines of his career ("It's a far, far better thing I do..."), but such is the power of the moment and the performance that everybody remembers it anyway. A Tale of Two Cities was the follow-up for producer David O. Selznick and high-class studio MGM to their hit adaptation of another Charles Dickens novel, Great Expectations. While not scaling the heights of that impeccable production, Tale gives a tight, straightforward reading of Dickens' story of the French Revolution. Colman plays the drunken romantic Sydney Carton, who pines for the lovely Lucie Manette (Elizabeth Allan) even though she marries former French aristocrat Charles Darnay (Donald Woods). Meanwhile, back in Paris, the Revolution erupts, and Darnay is fated for the guillotine... perhaps. Along with Colman's expert study in melancholy, the film is crammed with fragrant supporting players, such as Edna May Oliver, Reginald Owen, and the uniquely unsettling Blanche Yurka as the endlessly-knitting Madame Defarge. In a handful of scenes, Basil Rathbone makes the Marquis de Evremonde the quintessence of clueless privilege ("With what I get from these peasants, I can hardly afford to pay my perfume bill"). Journeyman director Jack Conway doesn't have the lovely touch that George Cukor brought to Copperfield, but Selznick hired him because "the picture is melodrama, it must have pace and it must 'pack a wallop.'" It still does. Footnote to film history: Selznick's assistant, Val Lewton, supervised the Revolutionary montage, and hired director Jacques Tourneur for the job; later they would team up on Lewton's great run of B-horror pictures, beginning with Cat People. --Robert Horton

"It was the best of times, it was the worst of times...." Charles Dickens' tale of love and tumult during the French Revolution comes to the screen in a sumptuous film version by the producer famed for nurturing sprawling literary works: David O. Selznick (David Copperfield, Anna Karenina, Gone with the Wind). Ronald Colman (The Prisoner of Zenda) stars as Sydney Carton ? sardonic, dissolute, a wastrel...and destined to redeem himself in an act of courageous sacrifice. "It's a far, far better thing I do than I've ever done," Carton muses at that defining moment. This is far, far better filmmaking, too: a Golden Era marvel of uncanny performances top to bottom, eye-filling crowd scenes (the storming of the Bastille, thronged courtrooms, an eerie festival of public execution) and lasting emotional power. Revolution is in the air!

DVD Features:
Other:Oscar?-Nominated Short Audioscopicks 2 Classic Cartoons: Hey, Hey Fever and Honeyland Audio-Only Bonus: Radio Show Adaptation Starring Colman
Theatrical Trailer

Cimarron

This epic Western won the 1931 Academy Award for Best Picture. Heartthrob Richard Dix plays Yancey Cravat (yes, really, that's his name) a frontiersman, newspaper editor, and former gunslinger who's studly enough to fill in as preacher or lawyer should the situation demand. Yancey brings his young bride Sabra to the wild Oklahoma territory to taste the adventure, crusade for social justice, and leave his family for years at a time. Modern viewers will have trouble making it past one or two horrifying racist caricatures at the start, made doubly odd because of the film's intended message of tolerance. Once it gets underway, though, Cimarron can be quite a bit of fun. Most of its pleasures are of the guilty variety--Dix's performance in particular is endearingly huge--but there are a few genuine highlights. The Oklahoma Land Rush sequence is still exciting and wet blanket Sabra turns out to have far more gumption than anyone imagined. --Ali Davis

Spaces were neither wide nor open in most early Sound Westerns. Not so in Cimarron. It starts with one of the most renowned giddy-ups in cinema history: a thundering recreation of the 1889 Oklahoma Land Rush. From there Cimarron based on the bestselling epic by Giant and Show Boat novelist Edna Ferber traces the generations-spanning saga of that land. There rugged Yancey Cravat (Richard Dix) and his resourceful pioneer wife Sabra (Irene Dunne) sink roots persevere give shape to their dreams. It's a saga of change told with an authenticity that moviegoers who had lived through that era recognized - and told with a skill that earned it three Academy Awards * including Best Picture!Running Time: 124 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569528727 Manufacturer No: 65287

Little Women (1933)

Louisa May Alcott's beloved story is one of the most-read novels ever written. It has also proved popular film and telefilm fodder (at least six versions plus a TV series). In addition, Little Women is one of those rare literary projects that can truly be done well on screen. This, the 1933 version, chronicles the lives and loves of sisters Jo, Meg, Amy, and Beth (played, respectively, by Katharine Hepburn, Frances Dee, Joan Bennett, and Jean Parker). It's a superior rendering to the amiable, perky 1949 version with June Allyson, Janet Leigh, Elizabeth Taylor, Margaret O'Brien, and Peter Lawford, and comparable to the beautiful, feminist Gillian Armstrong 1994 take. Douglass Montgomery's Laurie isn't nearly as dreamy as Christian Bale's (1994), but the lack of chemistry between him and Hepburn's Jo is perfect for the story, in which Jo loves him like a brother. Jo's real love she offers up to perhaps the finest Professor Bhaer (Paul Lukas). Character actress Edna May Oliver is at her indignant best as Aunt March. Director George Cukor's vision is elegant, warm, and as true to the original source material as 117 minutes allows. This Little Women was a huge box-office hit, and broke all the records to that time. --N.F. Mendoza

David Copperfield (1935)

The rich beauties of Dickens come to flavorful life in David Copperfield, a scrupulous example of a sprawling novel distilled into manageable movie form. The saga of young master Copperfield moves quickly through Dickens' marvelous gallery of eccentrics, with David played as a youth by the exceptionally good Freddie Bartholomew (you'll see why he became a star) and as an adult by Frank Lawton. The remainder of the cast is an almost unbelievable feast of acting, most famously with W.C. Fields stepping out of character--but not too far--as the grandiloquent Mr. Micawber ("You perceive before you the shattered fragments of a temple that was once called Man"). Basil Rathbone is David's stepfather, the ice-cold Murdstone; Lionel Barrymore is warm-hearted Dan Peggoty; Maureen O'Sullivan the adorable Dora; and Roland Young a creepy-crawly Uriah Heep. But best of all is Edna May Oliver, whose Betsy Trotwood bustles through the movie like a no-nonsense field general (if Oscars for supporting acting had been invented in 1935 instead of 1936, Oliver surely would have bagged the first award). The film is a shining example of producer David O. Selznick's Tradition of Quality approach, given all the sheen MGM could apply. Director George Cukor brings empathy and an unfailing sense of dramatic craftsmanship to the episodic material, which throbs with genuinely Dickensian wit and heart. --Robert Horton

"We are friends for life." The man speaking: Micawber, played by W.C. Fields with great comedic charm and human warmth. The child addressed: David, played by Freddie Bartholomew in his Hollywood debut. The movie: David Copperfield, still one of the best-ever screen adaptations of a Charles Dickens novel. "To call the casting inspired is to underrate it," historian David Shipman wrote in his The Story of Cinema. Lionel Barrymore, Edna May Oliver, Maureen O'Sullivan, Basil Rathbone and more joined Fields and Bartholomew in portraying the eccentrics, cads and loving family of this film directed by George Cukor. David O. Selznick produced, insisting on an attention to Dickensian detail that included matching the sets to the first edition's illustrations. The result: one of the greatest page-to-screen adaptations ever.

DVD Features:
Other
Theatrical Trailer

Little Miss Broadway

Sheer and irresistible hokum, Little Miss Broadway is classic Shirley Temple entertainment, with the moonfaced, squeaky-voiced starlet playing the singin'-est, dancin'-est orphan in New York City. Adopted by the elderly manager of a show-biz hotel, Shirley gets caught between the lovable show folk and the tyrannical landlady (superlative sourpuss Edna Mae Oliver) who wants to tear the hotel down. Naturally, there's a wealthy but kindhearted nephew on one side of the fight and a poor but lovely niece on the other, along with a cast of colorful characters, including Jimmy Durante and assorted musicians, jugglers, tap-dancing little people, and a trained penguin. It all comes to a crescendo in the most preposterous art-deco courtroom you've ever seen. Temple set the standard for precocious moppets to come; as corny as her antics may be, even contemporary cynics will fall for her radiant charm. This DVD includes both a spruced-up black-and-white version and a colorized version--though the colorization is much improved, skin tones still end up with the unsettling amber of a bad tanning salon job. --Bret Fetzer

Shirley Temple stars in this entertaining musical, co-staring tap dancing George Murphy and the legendary Jimmy Durante. Shirley stars as Betsy, an orphan adopted by a kind hotel manager (Edward Ellis) who rents rooms out to down-on-their-luck entertainers. When the owner of the hotel (Edna Mae Oliver) complains about the noise her show biz tenants make and the back rent they owe her, she threatens to have the hotel closed and Betsy sent back to the orphanage.

The film is highlighted by Shirley's delightful "We should Be Together" song and tap dance routine with George Murphy, and the upbeat "Be Optimistic."

Motion Picture Masterpieces Collection (David Copperfield 1935 / Marie Antoinette 1938 / Pride and Prejudice 1940 / A Tale of Two Cities 1935 / Treasure Island 1934)

MARIE ANTOINETTE The woman who was France! Norma Shearer and Tyrone Power headline an opulent saga of royalty and revolution. DAVID COPPERFIELD Based on the best-selling book by Charles Dickens. W.C. Fields is Micawber and Freddie Bartholomew is young David in a splendid version of Dickens' most autobiographical work. A TALE OF TWO CITIES From the famed author Charles Dickens. "It was the best of times it was the worst of times." Ronald Colman stars in the lavish story of the French Revolution...and one man's redemption. PRIDE AND PREJUDICE Based on the best-selling book by Jane Austen. Mr. Darcy (Laurence Olivier) sets maiden hearts aflutter - except for that of unimpressed Elizabeth Bennett (Greer Garson). Austen's masterwork! TREASURE ISLAND Based on the unforgettable book of the same title by Robert Louis Stevenson. Avast me hearties for the swashbuckler about a boy with a treasure map - and a pirate (Long John Silver) with a scheme. The Champ's Wallace Beery and Jackie Cooper reunite!Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 012569793712 Manufacturer No: 79371

For an accurate look at how things were at MGM in the glory days, go directly to Motion Picture Masterpieces, a DVD box with five literary-minded A-list productions. MGM liked to think of itself as the studio of class, and its highbrow aspirations (mixed with plenty of old-fashioned hokum) are on lavish display in this collection.

Louis B. Mayer ran the studio, and boy wonder Irving Thalberg supervised production. However, another strong-willed producer, future Gone with the Wind CEO David O. Selznick, was responsible for guiding a pair of highly enjoyable Dickens adaptations, both released in 1935. David Copperfield is a wonderful condensation of the sprawling novel, crammed with memorable evocations of Dickens' roster of eccentrics. Freddie Bartholomew, who became a star with this role, plays the young David; equally indelible are W.C. Fields as Mr. Micawber, Basil Rathbone as Murdstone, and especially Edna May Oliver as Besty Trotwood. Director George Cukor's empathy and craftsmanship keep the movie humming with Dickensian wit. A Tale of Two Cities followed shortly thereafter, with Ronald Colman in one of his signature roles as the drunken romantic Sydney Carton, whose throttled love for the beautiful Lucie Manette leads to the French Revolution's guillotine. Jack Conway directs in tight, brisk fashion, and once again the supporting cast (Oliver and Rathbone return from Copperfield) is flavorful.

The French Revolution also figures in the rather preposterous Marie Antoinette (1938), an eye-popping production about the bride of Louis XVI. The project was a pet of Thalberg and his wife Norma Shearer, and MGM proceeded with the overstuffed production even after Thalberg's early death. Marie gets an extramarital affair (with the young Tyrone Power) and an incredible parade of gowns and wigs, but not too much blame for the peasants starving. Robert Morley steals the show as Louis XVI, with John Barrymore in rascally form as his grandfather. Shearer's ordinariness somehow fits her out-of-it character.

Treasure Island (1934) casts Jackie Cooper as young Jim Hawkins and Wallace Beery as that one-legged seadog, Long John Silver (the pair had scored a huge hit in The Champ three years earlier). This is a lot of people's favorite adaptation of the marvelous Robert Louis Stevenson novel, and Victor Fleming's manly directing approach manages to take some of the sheen off the MGM house style (by the way, art director Cedric Gibbons, credited on all these films, is one of the stars of the box set).

Pride and Prejudice (1940) is a respectable take on Jane Austen's oft-filmed novel, with Greer Garson as the headstrong Elizabeth Bennet and Laurence Olivier as the difficult Mr. Darcy. MGM liked to corset Garson in fine-lady roles, but here she lets some of Elizabeth's sauciness come through; actually, Olivier's elaborate performance is the movie's too-theatrical weak spot. But boy, does this movie tell a good story--and that's rather the point of these (Marie excepted) solid literary adaptations. --Robert Horton

Romeo and Juliet

The lovers of Shakespeare's tragi-romance are brought to suitably quivering life by Norma Shearer and Leslie Howard in this glossy 1936 MGM take on the play. And yes, they're a tad older than the headstrong youths of Shakespeare's story (Howard was 43!), but they make up for that with sheer fervor. Shearer's performance looks like Great Lady acting at times, but she commits completely to Juliet's passion, and Howard is a delight. Basil Rathbone and Edna May Oliver are slam-dunk casting as Tybalt and the Nurse, respectively, and if John Barrymore is too weathered for Mercutio, he nevertheless works up an antic, sarcastic energy in the role. The production was supervised by MGM boy wonder Irving Thalberg (Shearer's husband), and it's an utterly lavish affair; the courtyard for the balcony scene looks exactly as expansive and studio-moon-drenched as your romantic imagination tells you it should. The film went the way of many such prestige productions: director George Cukor later said it lost a million dollars. (This was the same year he made Sylvia Scarlett, another box-office flop that has aged well.) It may be Shakespeare Lite, but the film zips along on the back of a love story that has been, to say the least, quite durable over the years. --Robert Horton

Shakespeare's classic tale of love and youth ruined by a family feud. The Montagues and the Capulets two powerful families of Verona hate each other. Romeo a Montague crashes a Capulet party and there meets Juliet. They fall in love and secretly marry. After killing a nephew of Lady Capulet in a fight Romeo is banished from Verona. Capulet tries to marry Juliet to Paris a prince. Juliet seeks the counsel of Friar Laurence who married her and Romeo. He suggests a daring plan that ends tragically.Running Time: 119 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569795273 Manufacturer No: 79527

The Story of Vernon and Irene Castle

The Story of Vernon and Irene Castle was the last of nine films Fred Astaire and Ginger Rogers made together for RKO Pictures, and it is unlike any other. For the only time, Fred and Ginger play historical characters--the legendary dancing duo that was all the rage between 1912 and 1916--and a married couple, no less. Instead of their usual innovative, plot-driving dances, Fred and Ginger perform pastiches of what the Castles made famous--the fox trot, polka, and tango. And rather than an original score of great American standards by Berlin, Kern, or the Gershwins, the film uses a collection of period tunes, including "By the Light of the Silvery Moon" and "Waiting for the Robert E. Lee." No, this is not Top Hat, but fans will enjoy the film anyway. Vernon and Irene Castle is an affectionate tribute to a bygone era and to a team that Fred said was "a tremendous influence" on his career. As portrayed in the film (which was based on Irene Castle's memoirs and input), Vernon Castle is a small-time vaudeville comedian when he meets and marries Irene. The two not only manage to forge a career as proper, respectable dancers, they become the essence of style, setting national trends for dance, fashion, and even women's hairstyles. The film briefly touches on Fred and Ginger's usual themes of pursuit and union, but mostly they are warm and tender together as they deal with real-life problems, perhaps portraying the earlier films' characters after those "happily ever after" fantasy endings. And as we watch the Castles' performing career rise and decline, straight through to the film's touching last shot, we realize that Fred and Ginger are saying farewell, which makes The Story of Vernon and Irene Castle an appropriate finale to the most glorious partnership in Hollywood history. --David Horiuchi

Who else but the fabulous Fred Astaire and Ginger Rogers, the greatest dancing team of all time, could portray Vernon & Irene Castle, the renowned ballroom dancers of the years preceding World War I? Fred and Ginger dance up a storm as they dramatize the careers of the Castles. The pair first unite when Irene persuades Vernon to give up his corny vaudeville clowning to cultivate his obvious dancing abilities. After some lean years, a sharp agent sponsors the team and their rise to fame is phenomenal. Soon they are setting Paris aglow with their stunning routines. Then the first World War intervenes and brings a shocking tragedy. Vernon is killed in a crash on a training field in Texas abruptly ending the Castles' reign on the dance floor. Astaire and Rogers are at their most appealing.