Rutherford, Ann

Gone with the Wind (Two-Disc Edition)

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

Gone with the Wind (Four-Disc Collector's Edition) 1939

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

DVD Features: Disc 1 & 2 (The Film)
* Commentary by film historian Rudy Behlmer
* 5.1 Dolby Digital Soundtrack
* Original Mono Soundtrack

DVD Features: Disc 3
* The Making of a Legend: Gone With The Wind the acclaimed 1989 documentary made by Selznick's sons and narrated by Christopher Plummer (125 Minutes, Never-before-available on DVD)
* Restoring a Legend- An in-depth look at the restoration and Ultra-Resolution process utilized by Warner Bros. For this new DVD presentation
* Footage from 1939 Atlanta and 1961 Civil War Centennial Atlanta premieres
* The Old South - Fred Zinnerman directed this historical 1940 theatrical short, which was shown by MGM in theatres prior to the release of Gone With The Wind

DVD Features: Disc 4
* Melanie Remembers: Olivia de Havilland Recalls Gone With The Wind - All new documentary produced especially for this new DVD set, features Ms. de Havilland's personal recollections of the film
* Clark Gable: A King Remembered - A Portrait of the legendary actor's long and distinguished career as M-G-M's most famous leading man
* Vivien Leigh: Scarlett and Beyond hosted by Jessica Lange, this is an insightful look at Leigh's short and troubled life
* Mini documentaries covering lives and careers of the most prominent cast members

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

Essential Classics - Romances (Gone with the Wind / Casablanca / Doctor Zhivago)

This four-disc set, part of Warner's Essential Classics series, collects three truly classic films--Gone with the Wind, Casablanca, and Doctor Zhivago--in one inexpensive package. The drawback is you don't get the bonus second discs of the movies--or, in the case of the deluxe version of Gone with the Wind, the third and fourth discs (the movie of Zhivago is still on a two-sided "flipper" disc)--so if you're a documentary junky or if you simply have to see the Casablanca TV show, you'll want to stick with the individual releases. But this set does include the commentary tracks and any other material that was on the movie discs of those sets, and best of all, they have the great remastered pictures of the previous releases. So if you just want the movies looking better than ever with some bonus features thrown in for good measure, the price per movie makes this set an attractive bargain. --David Horiuchi

Discs 1 & 2: GONE WITH THE WIND Disc 3: CASABLANCA Disc 4: DOCTOR ZHIVAGOFormat: DVD MOVIE Genre: DRAMA UPC: 012569796300 Manufacturer No: 79630

Gone with the Wind

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

Vivien Leigh is Scarlett to Clark Gable's Rhett in cinema's greatest epic of passion and adventure. With its immortal cast, magnificent cinematography and sweeping score, this cherished classic continues to thrill audiences today. Year: 1939

Orchestra Wives

"It's Hep! It's Hot! It's Hilarious!" reads the tagline for Orchestra Wives, a frothy slice of celluloid made in 1942 and featuring the great Glenn Miller Band. And that tagline is, well, sort of true. As is often the case with films of this genre (musical comedy with the occasional touch of drama), the story is largely superfluous: a naïve, smalltown girl (Ann Rutherford) falls for a fast-talking, smooth-playing trumpeter (George Montgomery); he proposes after spending, oh, about fifteen minutes with her (and before he even knows her name); she joins the band on tour, where the female members of the troupe, wives and singers alike, while away the downtime gossiping and rumor-mongering; trouble ensues, but all ends happily (and predictably). The main attraction here is seeing Miller (going by the nom du cinema Gene Morrison), then at the height of his popularity, and some of his fine musicians in action. Though not an innovator on the level of Benny Goodman and some of his other peers, Miller had a band that could swing like mad, and performances of tunes like "At Last," "Kalamazoo," and the rockin' "Bugle Call Rag" are a definite gas. The musicians are virtually all uncredited, but they include singer Marion Hutton, saxophonist-singer Tex Beneke, singer Ray Eberle, and the great drummer Moe Purtill (also look for Jackie Gleason, the Great One himself, in a substantial role as the band's bass player), as well as the Nicholas Brothers, an amazing dance team. The black & white transfer is nice, the music has been remastered in stereo, and the fact that Miller disappeared during a plane flight over the English Channel in late 1944 makes Orchestra Wives (which includes a commentary track by Rutherford and Fayard Nicholas, along with a photo gallery) something of a collector's item. --Sam Graham

A new bride faces the strain of life on the road in this musical romance that features the Glenn Miller Orchestra. Miller is featured as band leader Gene Morrison, who embarks on a whirlwind national tour with his orchestra. While on the tour, trumpeter Bill Abbott (George Montgomery) impulsively marries one of his many ardent fans, a naïve young women named Connie (Ann Rutherford). At first Connie is more than willing to put up with such problems as not spending time with her new husband and the malicious gossip of other wives. But when she comes to believe that Bill is still involved with an old flame, the ensuing quarrel threatens to end both the new marriage and the entire band.

A Christmas Carol

This 1938 MGM version of the Dickens classic is not the most rewarding of the various adaptations (that honor goes to Biran Desmond Hurst's 1951 film, starring Alistair Sim), but it has a strong if narrow performance by Reginald Owen as the miser Ebenezer Scrooge. Directed by Edward L. Marin, the movie is stiffer and less imaginative than it ought to be, but there are some compensations in the supporting cast, including Leo G. Carroll, and the film debut of little June Lockhart. --Tom Keogh

A classic that's as integral a part of Christmas as lighted trees and mistletoe. Reginald Owen and Gene Lockhart star in this rewarding holiday treat.Running Time: 69 min.System Requirements:Running Time 69 MinFormat: DVD MOVIE Genre: DRAMA Rating: NR UPC: 012569677159

Love Finds Andy Hardy

It's hard to overstate just how corny and funny the Andy Hardy series of the 1930s and 1940s looks by today's standards--but that doesn't mean these films don't have a certain winning quality. It doesn't matter whether it's Mickey Rooney's winningly goofy blend of lust and innocence as a high school kid dying to make out with his girlfriend or his surprisingly touching man-to-man talks with his father, Judge Hardy (Lewis Stone). Think of this film as the precursor to "Archie" comic books, with its story of young Andy, desperate for the money to buy a car, winding up with three dates to the same formal dance. Rooney is engaging as the motor-mouthed (yet deceptively thoughtful) teen in pre-World War II, tail-end-of-the-Depression, small-town America: often in a coat and tie, always in a dandyish porkpie hat. This was the first film in this series in which Judy Garland appeared as girl-next-door Betsy Booth. --Marshall Fine

Andy frantically tries to juggle two girlfriends at the same time.

Gone with the Wind

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

The Secret Life of Walter Mitty

If there's one movie Danny Kaye fans fondly remember, it's The Secret Life of Walter Mitty. The versatile comedian--also an unsurpassed song-and-dance man--plays a henpecked, thriller-genre book writer suddenly enmeshed in a real adventure involving the (literal) girl of his dreams (Virginia Mayo). Initially criticized for not staying true to the more melancholic sensibility of author James Thurber's original story (Thurber allegedly offered producer Samuel Goldwyn $10,000 to not make the film), it not only works as an independent story, but remains highly entertaining and wears well upon repeated viewing. Kaye's milquetoast Walter fantasizes distractedly about being heroic, whether a gunslinger, an Air Force pilot, or a riverboat gambler. His "Anatole of Paris" number, in which Walter fancies himself a French hat designer who, in the end, declares he hates women, is nothing short of brilliant. That number, like many of Kaye's trademark patter deliveries, was penned by his wife, Sylvia Fine. Kaye benefits from a wonderful supporting cast: Mayo; Boris Karloff as maniacal Dr. Hugo Hollingshead; Faye Bainter as Walter's repressive but lively mother; Ann Rutherford as his suspicious fiancée Gertrude; and Gordon Jones as Tubby, who not only has designs on Gertrude, but provides the villain in Walter's fantasies. --N.F. Mendoza