Rains, Claude

Casablanca

A truly perfect movie, the 1942 Casablanca still wows viewers today, and for good reason. Its unique story of a love triangle set against terribly high stakes in the war against a monster is sophisticated instead of outlandish, intriguing instead of garish. Humphrey Bogart plays the allegedly apolitical club owner in unoccupied French territory that is nevertheless crawling with Nazis; Ingrid Bergman is the lover who mysteriously deserted him in Paris; and Paul Heinreid is her heroic, slightly bewildered husband. Claude Rains, Sydney Greenstreet, Peter Lorre, and Conrad Veidt are among what may be the best supporting cast in the history of Hollywood films. This is certainly among the most spirited and ennobling movies ever made. --Tom Keogh

Lawrence of Arabia (Single Disc Edition)

There's no getting around a simple, basic truth: watching Lawrence of Arabia in any home-video format represents a compromise. There's no better way to appreciate this epic biographical adventure than to see it projected in 70 millimeter onto a huge theater screen. That caveat aside, David Lean's masterful "desert classic" is still enjoyable on the small screen, especially if viewed in widescreen format. (If your only option is to view a "pan & scan" version, it's best not to bother; this is a film for which the widescreen format is utterly mandatory.) Peter O'Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It's a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. --Jeff Shannon

Lawrence of Arabia (Collector's Edition, 2 discs) - DVD

There's no getting around a simple, basic truth: watching Lawrence of Arabia in any home-video format represents a compromise. There's no better way to appreciate this epic biographical adventure than to see it projected in 70 millimeter onto a huge theater screen. That caveat aside, David Lean's masterful "desert classic" is still enjoyable on the small screen, especially if viewed in widescreen format. (If your only option is to view a "pan & scan" version, it's best not to bother; this is a film for which the widescreen format is utterly mandatory.) Peter O'Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It's a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. --Jeff Shannon

Stills from Lawrence of Arabia (click for larger image)

Beyond Lawrence of Arabia

David Lean Collection

Audio CD Soundtrack

Gandhi

Newly restored - pristine audio & picture quality! Exclusive making of documentary, a conversation with Steven Spielberg, four original featurettes, New York Premiere, advertising campaigns.

The Bette Davis Collection, Vol. 3 (The Old Maid / All This, And Heaven Too / The Great Lie / In This Our Life / Watch on the Rhine / Deception)

IN THIS OUR LIFE Homewrecker Davis runs off with sister Olivia de Havilland?s hubby and that?s just for starters! THE OLD MAID Let the fireworks begin. Miriam Hopkins poses as the mother of the child Davis bore out of wedlock?the arrangement is beginning to fray. ALL THIS AND HEAVEN TOO Enchanted by governess Davis nobleman Charles Boyer murders his wife. But is la Bette as innocent as she appears? THE GREAT LIE Friends make the best enemies. Scheming concert pianist Mary Astor and selfless Davis are entangled in secrets and lies. DECEPTION Now Voyagers' Davis Claude Rains and Paul Henried reunite in a gloriously flamboyant tale of musicians indiscretion and murder. WATCH ON THE RHINE A leader of Germany?s anti-Hitler underground is hunted by Nazi agents in Washington DC. Dashiell Hammett adapts Lillian Hellman?s play.Running Time: 668 min.Format: DVD MOVIE Genre: DRAMA/CLASSICS UPC: 085391187578 Manufacturer No: 118757

To quote Claude Reins in "Deception," Bette Davis is "all eyes and talent," and both burn bright in six vintage films she made for Warner Bros. between 1939-46. Lesser known than her certified classics, these are not exactly best Bettes, but they are marvelously entertaining and a representative showcase for one of Hollywood's most enduring leading ladies. These eminently repeatable films put Davis (and viewers) through the ringer. Few actresses portrayed characters who suffered the slings and arrows of outrageous misfortune so grandly, so regally, so tragically, or so deservedly. As an ad for one of Davis' movies once famously proclaimed, when she was good, she was very good. When she was bad, she was terrific. Just check out John Huston's In This Our Life (1942), this set's unearthed treasure. Bette, flouncing like mad, jilts her fiancée, steals good sister Olivia de Havilland's husband, and promptly drives him to drink and suicide. And she's just getting warmed up! (You don't need Jeannine Basinger's informed commentary to debunk the tantalizing movie legend about a supposed cameo by members of the Matlese Falcon cast. Those gents at the bar look nothing like Bogie and company. But that is Walter, John's father, tending bar). Davis was also very good at being noble. In the prestige project, Watch on the Rhine (1943), based on Lillian Hellman's play and adapted for the screen by Dashiell Hammett, she is the steadfast wife to Paul Lukas, in his Oscar-winning role, as a "legendary figure of the underground movement," who carries on his fight against fascism in Washington, D.C. In The Old Maid (1939), based on the novel by Edith Wharton, Bette allows her cousin (Miriam Hopkins) to give her illegitimate child a respectable name, and, posing as the girl's unsuspecting aunt, must stand by while she grows up spoiled and "horrid." And in All This and Heaven Too (1940), she is a transplanted French schoolteacher who regales her initially scornful students with the true story behind her scandalous past. Deception is another ripping melodrama in which she stars as a pianist whose reunion with her lost love (Paul Henreid), a cellist is threatened by Rains as her arrogant and sadistic Svengali (who's responsible for those minks in her closet). Last but not least is The Great Lie (1941), pitting Bette against Mary Astor, who won an Academy Award as the bitchy concert pianist whose son Bette is raising (long story, but it involves missing aviator George Brent, whom they both love). These films offer such they-don't-make-'em-like-this-anymore pleasures as lush, melodramatic scores by such masters as Max Steiner, hothouse emotions, quotable dialogue, and, of course, indelible character actors at their peaks. These films are seen to their best advantage when viewed as part of each disc's bonus features that recreate an old fashioned "Night at the Movies," complete with theatrical previews, newsreels, short subjects, and Warner Bros. cartoons featuring Porky Pig or Daffy Duck. --Donald Liebenson

The Adventures of Robin Hood (Two-Disc Special Edition)

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

The Lost World (Special Edition) - 1960 & 1925 versions

The Lost World (Special Edition) is a terrific two-fer that includes Irwin Allen's glossy, 1960 adaptation of Arthur Conan Doyle's novel as well as the fantastic, 1925 silent version of the same story. In essence, The Lost World is Doyle's tale of an expedition to a mysterious plateau deep in the Amazon rainforest, where cantankerous adventurer Professor Challenger leads an expedition to prove the existence of prehistoric creatures living far from the civilized world. Allen's film, as with his many movie and television productions focusing on disasters (The Poseidon Adventure) and science fiction (Land of the Giants), is full of relationship complications within a large ensemble of characters, creating drama and tension even before terror strikes. An attractive cast including Claude Rains as Challenger, Michael Rennie, David Hedison, Jill St. John, and Fernando Lamas makes Allen's The Lost World fun to watch, especially if one self-consciously overlooks the cast's persistently clean and pressed wardrobe (and perfect hair) despite the jungle heat and assaults by cannibals.

Part of the film's charm is also its most ludicrous element: "dinosaurs" played by various, wriggling tropical lizards, a far cry from the stop-motion animation creatures--that actually look like dinosaurs--in Harry O. Hoyt's amazing take on The Lost World 35 years before Allen's. An impressive spectacle that conveys a certain beautiful wildness, the film stars Wallace Beery as an imposing Challenger, trapped with his team on the aforementioned plateau. In constant danger from carnivorous monsters (as well as flesh-eating monkey-men), the group's relationship strains have greater poignancy and the stakes seem higher all around. Where Allen's film is lulling, Hoyt's is galvanizing, but each is unique and well worth a visit. --Tom Keogh

An eccentric scientist (Claude Rains) returns from the Amazon with news of a distant plateau where creatures from the dawn of time still prowl the jungle. To prove his story, he gathers a team of explorers, including a journalist (David Hedison), a playboy-adventurer )Michael Rennie), a beautiful socialite (Jill St. John), and a pilot (Fernando Lamas) with a secret plan of revenge. But an unexpected attack on their camp leaves the group stranded in a world of dinosaurs and other exotic creatures, where humans are no longer the lords of the earth¿they are helpless prey.

Now, Voyager (Keepcase)

A tender love story a taut psychological drama an inspiring tale of physical and spiritual transformation. Now Voyager is all three as well as a Bette Davis career milestone resulting in her sixth Best Actress Oscar nomination. She magically plays Charlotte Vale a spinster who defies her domineering mother (fellow Oscar nominee Gladys Cooper) to discover love heartbreak and eventual contentment. More magic is generated by a top-notch ensemble Max Steiner?s Academy Award-winning score and an improvised moment by Paul Henreid that became an instant classic: he lights two cigarettes at once and hands one to Davis. For the ultimate in romantic melodrama it's Now Voyager now then and forever.Running Time: 117 min.Format: DVD MOVIE Genre: DRAMA UPC: 012569675391

In this 1942 melodrama, founded on the novel by Olivia Higgins Prouty (who also wrote the novel on which Stella Dallas was based), Bette Davis stars as Charlotte Vale, a dowdy, repressed woman who, overwhelmed by her domineering mother, is on the verge of a nervous breakdown. She finds help at a sanitarium from a kind psychiatrist (Claude Rains), who turns her into a beautiful, confident woman. As a new person, she takes a pleasure cruise, where she meets Jerry (Paul Henreid), an architect trapped in an unhappy marriage, saddled with a troubled daughter. The two fall in love, but, of course, the romance is doomed. Yet their paths cross on occasion, and, despite their feelings, Charlotte finds satisfaction in helping Jerry's depressed child. The film will seem familiar to new viewers--the campy style was the pattern for many tearjerkers to come, and its most famous line has been oft repeated ("Don't ask for the moon--we have the stars"). But the heartstrings are tugged, and as Paul Henreid chivalrously lights two cigarettes and hands one over to the doleful-eyed Davis, pull out the box of tissues--you're gonna need 'em. --Jenny Brown

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

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)

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

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

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

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)