The Adventures of Robin Hood (Two-Disc Special Edition)
by Curtiz, Michael
from Warner Home Video
Dashing Errol Flynn is the definitive Robin Hood in the most gloriously swashbuckling version of the legendary story. Warner Brothers reunited Michael Curtiz, their top-action director, with the winning team of Flynn and Olivia de Havilland (Maid Marian) and perennial villain Basil Rathbone as the aristocratic Sir Guy of Gisbourne, and pulled out all stops for the production. It became their costliest film to date, a grandly handsome, glowing Technicolor adventure set to a stirring, Oscar-winning score by Erich Wolfgang Korngold. The decadent Prince John (a smoothly conniving Claude Rains) takes advantage of King Richard's absence to tax the country into poverty but meets his match in the medieval guerrilla rebel Robin Hood and his Merry Men of Sherwood Forest, who rise up and, to quote a cliché coined by the film, "steal from the rich and give to the poor." Stocky Alan Hale Sr. plays Robin's loyal friend Little John (a part he played in Douglas Fairbanks's silent version), Eugene Palette the portly Friar Tuck, and Melville Cooper the bumbling Sheriff of Nottingham. Flynn's confidence and cocky charm makes for a perfect Robin Hood, and his easygoing manner is a marvelous counterpoint to Rathbone's regal bearing and courtly diction. The film climaxes in their rousing battle-to-the-finish sword fight, a magnificently choreographed scene highlighted by Curtiz's inventive use of shadows cast upon the castle walls. --Sean Axmaker
Errol Flynn is eternally charming as Robin, defender of the poor, in this rousing family adventure that co-stars Olivia de Havilland and Claude Rains. Year: 1938 Director: Michael Curtiz, William Keighley Starring: Errol Flynn, Olivia de Havilland, Basil Rathbone, Claude Rains, Alan Hale
Mr. Smith Goes to Washington
by Frank Capra
from Sony Pictures
Political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.S. Senate chair. Surely this naive bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable and corrupted career politician. Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur), who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr. Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president. Bright, funny, and beautifully paced, Mr. Smith Goes to Washington is Capra's ode to the power of innocence--an idea so potent that present-day audiences may find themselves wishing for a new Mr. Smith in Congress. The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. --Robert Horton
The Mark of Zorro (Special Edition) (Colorized / Black and White)
by Rouben Mamoulian
from 20th Century Fox
When they say they don't make 'em like they used to, they're talking about 20th Century Fox's exhilarating The Mark of Zorro, starring Tyrone Power as the caped one, Linda Darnell as his love interest, and Basil Rathbone at his scurrilous best as Zorro's nemesis. More textured than the 1920 original with Douglas Fairbanks, this 1940 version has Don Diego/Zorro (Powers) returning from Madrid to defend his father and rally the caballeros (noblemen) against Los Angeles's corrupt new governor (J. Edward Bromberg), intent on taxing the peons to death.
If this all sounds like an Old California redo of the classic Adventures of Robin Hood, that's because it is. Powers has a field day as Don Diego, the "fancy clown" betrothed to the governor's niece, Lolita (Darnell). Don Diego the effete snob performs silly parlor tricks, peers through pince-nez, and yawns disdainfully at one and all. Power's cowardly alter ego is so believable, his transformation to masked superhero becomes all the more thrilling. Imagine Captain Pasquale's (Rathbone) shock when, in the film's brilliantly choreographed showdown, this annoying fop turns out to be a world-class swordsman.
Director Rouben Mamoulian, known for great period melodramas, does a skillful job of alternating garrison intrigue with big action scenes, including a nighttime ride that climaxes with Zorro on horseback leaping off a bridge. In the romantic highlight, Lolita confides her innermost desires to a suspiciously worldly friar. The first-rate supporting cast includes Gale Sondergaard as the governor's treacherous wife and the frog-voiced Eugene Pallette (Friar Tuck in The Adventures of Robin Hood) as a padre in cahoots with the masked one. Technically, this retelling rates an unqualified "Wow!" The cinematography, obviously influenced by Goya, makes full use of chiaroscuro shadows, and Alfred Newman's Latin-flavored score is irresistibly rousing and romantic. --Glenn Lovell
This swashbuckling remake of the silent classic stars Tyrone Power as the dashing masked avenger who single-handedly saves Los Angeles from Spanish despots. Don Diego Vega (Power) is summoned home from his elite training corps in Spain to California, where he finds his father deposed and the people living in tyranny. Disguised as Zorro, a sword-wielding mystery man dressed in black, he works to restore his father to power and return the tax money stolen by the villains (J. Edward Bromberg, Basil Rathbone). He even finds time to romance the ruling tyrant's beautiful niece (Linda Darnell).
The Premiere Frank Capra Collection (Mr. Smith Goes to Washington / It Happened One Night / You Can't Take It with You / Mr. Deeds Goes to Town / American Madness / Frank Capra's American Dream)
by Frank Capra
from Sony Pictures
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Mr. Smith Goes to Washington Political heavyweights decide that Jefferson Smith (James Stewart), an obscure scoutmaster in a small town, would be the perfect dupe to fill a vacant U.S. Senate chair. Surely this naive bumpkin can be easily controlled by the senior senator (Claude Rains) from his state, a respectable and corrupted career politician. Director Frank Capra fills the movie with Smith's wide-eyed wonder at the glories of Washington, all of which ring false for his cynical secretary (Jean Arthur), who doesn't believe for a minute this rube could be for real. But he is. Capra was repeating the formula of a previous film, Mr. Deeds Goes to Town, but this one is even sharper; Stewart and Arthur are brilliant, and the former cowboy star Harry Carey lends a warm presence to the role of the vice president. Bright, funny, and beautifully paced, Mr. Smith Goes to Washington is Capra's ode to the power of innocence--an idea so potent that present-day audiences may find themselves wishing for a new Mr. Smith in Congress. The 1939 Congress was none too thrilled about the film's depiction of their august body, denouncing it as a caricature; but even today, Capra's jibes about vested interests and political machines look as accurate as ever. --Robert Horton
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It Happened One Night Director Frank Capra (Mr. Smith Goes to Washington) took home every Oscar in the book (well, okay, all the major ones) for this seminal 1934 comedy starring Clark Gable as a hard-bitten reporter who stays close to a runaway heiress (Claudette Colbert) rather than lose a good story. Funny and sexy, the film is full of memorable scenes often referred to in other films, such as the "walls of Jericho" (a mere bedcover hung on a line down the middle of a room so opposite-sex roommates can get undressed), and Colbert's famous flash of thigh to stop a speeding car in its tracks. Capra's brisk, urbane brand of wit was a perfect complement to his populist faith in the common man (in this case, Gable's character), and that inspired combination makes this film both a spirited entertainment and an uplifting experience. --Tom Keogh
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You Can't Take It With You
Frank Capra's 1938 populist spin on the George S. Kaufman and Moss Hart play about a family of happy eccentrics is a great deal of fun, though it significantly rewrites the original work and doesn't represent Capra (Mr. Deeds Goes to Town, Mr. Smith Goes to Washington) at his best. Jean Arthur plays a member of the blissful Vanderhof household who falls in love with a rich man's son (James Stewart) and brings him into her nutty home. Lionel Barrymore, who played such a bad guy eight years later in Capra's It's a Wonderful Life, is the wonderful Grandpa Vanderhof, who addresses God during the dinner prayer as "sir" and speaks plainly and beautifully of why it's good to be alive. Capra took this opportunity to rail against big business and champion the common man, but the overall tone of the film--typical for the director's comedies--is buoyant and snappy. --Tom Keogh
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Mr. Deeds Goes to Town
Mr. Deeds Goes to Town is Frank Capra's classic screwball comedy about a village innocent who inherits $20 million, only to discover it's more trouble than it's worth. The screwball in question is Longfellow Deeds (Gary Cooper), a small-town greeting-card poet and tuba player transplanted to the big city to administer his newly inherited wealth, where fast-pattering, wised-up cynics, sneering society denizens, and corrupt lawyers lord it over the ingenuous and straightforward. Deeds's idiosyncrasies are amply magnified in the tabloids by journalist "Babe" Bennett (Jean Arthur), dating Deeds as a cover, only to discover she's the sap when she falls irresistibly for him. But the damage has been done, when Babe's column is used by a pack of corrupt lawyers, Cedar, Cedar, Cedar & Budington, to prove Deeds mentally unfit. The miracle of this unforgettable comedy is how it embraces dark material, calling into question some common assumptions about capitalism while maintaining an approachable atmosphere of light comedy, and deceptively so. You'll be so pixilated by its charm, you won't rest until you've doodled your way to a rhyme for "Budington." --Jim Gay
More Stills from The Premiere Frank Capra Collection (click for larger image)
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Designated the "Number One Director in Hollywood" by Time Magazine in 1938 and voted by Entertainment Weekly (April 19th issue, 1996) as one of the greatest directors of all time, Capra has received numerous industry awards and accolades over the course of his successful career including three Best Director Oscars®.
The Premiere Frank Capra Collection is a 6-disc collectible box set featuring five of Frank Capra's best films. The digitally re-mastered set includes Mr. Smith Goes to Washington, You Can't Take it With You, Mr. Deeds Goes to Town, It Happened One Night and American Madness. The DVD box set includes a bonus disc packed with all-new interviews, archival footage, plus Frank Capra's American Dream documentary hosted by Ron Howard and produced by Capra's eldest son, Frank Capra, Jr. (An Eye for an Eye, Marooned). This Premiere Collection also features commentaries for each film, along with a 96- page collectible Movie Scrapbook.
Stowaway (1936)
by William Seiter
from 20th Century Fox
When Ching-Ching's (Shirley Temple) missionary guardians are killed by Chines bandits, she must fend for herself on the streets of Shanghai. Taking refuge from the rain in a car's open trunk, Ching-Ching wakes up to find the car on a ship bound for America. The car's owner (Robert Young) is thoroughly charmed by the lost child, and proposes a temporary marriage to another passenger (Alice Faye) in order to give her a proper home. But when the two adults meet in divorce court, it's up to Ching-Ching to make them realize that they are in love.
My Man Godfrey - Criterion Collection
by Gregory La Cava
from Criterion
Director Gregory La Cava deftly balances satire, romance, and social comment in this 1936 classic, which echoes Frank Capra in its Depression-era subtext. The Bullocks are a well-heeled, harebrained Manhattan family genetically engineered for screwball collisions: father Alexander (Eugene Pallette, of the foghorn voice and thick-knit eyebrows) is the breadwinner at wit's end, thanks to his spoiled daughters, the sultry Cornelia (Gail Patrick) and the sweet but scatterbrained Irene (a luminous Carole Lombard), his dizzy and doting wife, Angelica (Alice Brady), and her "protégé," Italian freeloader Carlo (Mischa Auer). When Irene wins a society scavenger hunt (and atypically trumps her scheming sister) by producing a "lost man," a seeming tramp named Godfrey (William Powell), all their lives are transformed. With the always suave, effortlessly funny Powell in the title role, this mystery man provides the film's conscience and its model of decency; the giddy, passionate Lombard holds out its model for triumphant love. In a movie riddled with memorable comic highlights, the real miracle is the unapologetic romanticism that prevails. --Sam Sutherland
The definitive screwball comedy, My Man Godfrey follows the madcap antics of a wealthy and eccentric family when they hire a down-and-out "forgotten man" as their butler. My Man Godfrey features brilliant performances by Carole Lombard and William Powell, and was the first film to receive Academy Award® nominations in all four acting categories.
The Lady Eve - Criterion Collection
by Preston Sturges
from Criterion
In 1941, Barbara Stanwyck was offered two screwball roles equally suited to her tart intelligence, deft comic timing, and undeniable sex appeal, and it's a photo finish as to which was funnier--showgirl-on-the-lam Sugarpuss O'Shea, the title character in Howard Hawks's Ball of Fire, or con artist Jean Harrington a.k.a. Lady Eve Sidwich, the delirious fulcrum for this classic Preston Sturges comedy. Under Sturges's typically antic microscope, the collision between the gold-digging Harrington and the very rich, very hapless brewery-heir-turned-herpetologist Charles Pike (a wonderfully callow, guileless Henry Fonda) yields ample opportunity for the writer-director to skewer issues of class and sex; as always, Sturges is bold in pushing the censors' envelope, capturing a palpable erotic heat between the canny Jean and the literally feverish Charlie, who, after a year up the Amazon, is instantly smitten by the mere sight of her shapely ankles (in hindsight, a precursor to her subsequent effect in Double Indemnity). To give away the plot machinations driving the farce would spoil the fun, beyond confirming impersonations, mixed signals, and misunderstandings as the turns in a consistently rollicking ride that makes good use of Charles Coburn and screwball character veterans Eugene Pallette, William Demarest, and Eric Blore. --Sam Sutherland
A conniving father and daughter meet up with the heir to a brewery fortune-a wealthy but naïve snake enthusiast-and attempt to bamboozle him at a cruise ship card table. Their plan is quickly abandoned when the daughter falls in love with their prey. But when the heir gets wise to her gold-digging ways, she must plot to re-conquer his heart. One of Sturges' most clever and beloved romantic comedies, The Lady Eve balances broad slapstick and sophisticated sexiness with perfect grace.
Heaven Can Wait (Criterion Collection)
by Ernst Lubitsch
from Criterion
The last masterwork by Ernst Lubitsch--whose other gems include Trouble in Paradise, Lady Windermere's Fan, Ninotchka, and The Shop Around the Corner--Heaven Can Wait was nominated for best picture and director Oscars in its day but largely neglected thereafter. Partly it's a matter of no one expecting a 1943 Fox movie featuring Don Ameche, the star of so many bland Technicolor musicals at that studio, to be a comedy of rare loveliness. Also, there's the confusion engendered by the existence of another film with the same title: the 1978 Warren Beatty movie that was the remake of a classic '40s comedy-fantasy--but Here Comes Mr. Jordan, not Heaven Can Wait. It's high time to get our priorities straight.
Following his demise, the aristocratic Henry Van Cleve (Ameche), having no hope of Paradise, betakes himself "where all his life so many people had told him to go." Hell, or at least its antechamber, would appear to be a luxury hotel in neoclassical mode, and--this is a Lubitsch movie, after all--His Satanic Excellency (Laird Cregar) is a perfect gentleman and the most gracious of hosts. To establish his credentials for spending eternity there, Henry begins to narrate a life which, though lacking any notable crimes, "has been one continuous misdemeanor."
Centered in a Fifth Avenue mansion left over from 19th-century New York, the film is Lubitsch and writing partner Samson Raphaelson's valentine to "an age that has vanished, when it was possible to live for the charm of living." Spanning more than half a century, it chronicles the high points of Henry's life so delicately that--in a variation on the strategies of Lubitsch-Raphaelson's risque '30s classics--it leaves some of them entirely offscreen, their emotional impact measured by what the characters feel and say about them afterward. We'll leave it to you to find out what they are. Suffice it to say that Ameche and Gene Tierney--as Martha, the love of Henry's life--give performances far subtler than anything else in their Fox contract-player careers, and there are sublime opportunities for those peerless character actors Charles Coburn, Eugene Pallette, and Marjorie Main. --Richard T. Jameson
Newly deceased playboy Henry Van Cleve (Don Ameche) presents himself to the outer offices of Hades where he asks a bemused Satan for permission to enter the gates of Hell. Though the Devil doubts Henry's sins will qualify him for eternal damnation, Henry proceeds to recount a lifetime spent wooing and pursuing women. Nominated for Academy Awards for Best Picture and Director, Heaven Can Wait is an enduring classic that showcases director Ernst Lubitsch's trademark blend of wit, urbanity, and grace.
The Kennel Murder Case
by Michael Curtiz
from Alpha Video
My Man Godfrey (Colorized / Black and White)
by Gregory La Cava
from 20th Century Fox
Director Gregory La Cava deftly balances satire, romance, and social comment in this 1936 classic, which echoes Frank Capra in its Depression-era subtext. The Bullocks are a well-heeled, harebrained Manhattan family genetically engineered for screwball collisions: father Alexander (Eugene Pallette, of the foghorn voice and thick-knit eyebrows) is the breadwinner at wit's end, thanks to his spoiled daughters, the sultry Cornelia (Gail Patrick) and the sweet but scatterbrained Irene (a luminous Carole Lombard), his dizzy and doting wife, Angelica (Alice Brady), and her "protégé," Italian freeloader Carlo (Mischa Auer). When Irene wins a society scavenger hunt (and atypically trumps her scheming sister) by producing a "lost man," a seeming tramp named Godfrey (William Powell), all their lives are transformed. With the always suave, effortlessly funny Powell in the title role, this mystery man provides the film's conscience and its model of decency; the giddy, passionate Lombard holds out its model for triumphant love. In a movie riddled with memorable comic highlights, the real miracle is the unapologetic romanticism that prevails. --Sam Sutherland
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