Rydell, Mark

The Long Goodbye

Raymond Chandler's cynically idealistic hero, Philip Marlowe, has been played by everyone from Humphrey Bogart to James Garner--but no one gives him the kind of weirdly affect-less spin that Elliott Gould does in this terrific Robert Altman reimagining of Chandler's penultimate novel. Altman recasts Marlowe as an early '70s L.A. habitué, who gets involved in a couple of cases at once. The most interesting involves a suicidal writer (Sterling Hayden in a larger-than-life performance) whom Marlowe is supposed to keep away from malevolent New-Ageish guru Henry Gibson. A variety of wonderfully odd characters pop up, played by everyone from model Nina Van Pallandt to director Mark Rydell to ex-baseballer Jim Bouton. And yes, that is Arnold Schwarzenegger (in only his second movie) popping up as (what else?) a muscleman. Listen for the title song: It shows up in the strangest places. --Marshall Fine

Elliott Gould gives one of his best performances (Esquire) as a quirky, mischievous PhilipMarlowe in Robert Altman's fascinating and original (Newsweek) send-up of Raymond Chandler's classic detective story. Co-starring Nina Van Pallandt and Sterling Hayden and written by Leigh Brackett (The Big Sleep) The Long Goodbye is a gloriously inspired tribute to Hollywood (The Hollywood Reporter) with an ending that's as controversial as it is provocative (Los Angeles Times)! Los Angeles private eye Philip Marlowe (Gould) faces the most bizarre case of his life, when a friend's apparent suicide turns into a double murder involving a sexy blonde, a disturbed gangster and a suitcase full of drug money. But as Marlowe stumbles toward the truth, hesoon finds himself lost in a maze of sex and deceitonly to discover that in L.A., if love is dangerous friendship is murder.

Havana

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream. It's a compelling political backdrop for the story of a high-stakes gambler (Robert Redford) who comes to Cuba seeking the big score in poker games, following his expectation that high rollers will bet wildly as the Cuban government crashes around their heads. In Havana, Redford meets the wife (Lena Olin) of a Communist revolutionary (Raul Julia) with ties to Fidel Castro, and their attraction becomes powerfully mutual after her husband is presumed killed by Cuban police. What follows, as Cuba falls and Redford's character is forced into a crisis of conscience, is a mini-epic love story with tragic overtones, handled with great skill (albeit lagging pace) by long-time Redford collaborator Sydney Pollack. True, it's not nearly as memorable as Casablanca, but this is a worthwhile film, especially if you're interested in the political upheavals in pre-Castro Cuba. --Jeff Shannon

Punchline

At the height of the standup-comedy boom of the 1980s, this film offered the revelation that many comedians were, in fact, rather psychologically unstable individuals for whom performing was an outlet for hostility and aggression. Wow--who would have guessed? This film focuses on two who meet and forge an unlikely friendship: Tom Hanks plays a caustic, self-destructive comic looking for his big break and Sally Field plays a more Roseannelike comedian who begins neglecting her husband (John Goodman) and children because she gets such a kick out of performing. The offstage stuff is strictly soap opera, but Hanks and Field both develop solid comedic rhythms once they get behind a microphone. --Marshall Fine

Hollywood Ending

With Hollywood Ending, Woody Allen good-naturedly bites the hand that feeds him. The modern studio system is a ripe target for Allen's rapier wit, but the veteran writer-director goes a delicious step further by playing a has-been filmmaker who suffers from psychosomatic blindness--during the production of his big-budget comeback! Rather than sabotage his career, he proceeds to direct the film with guidance from his Chinese cinematographer's translator, telling his agent (played by another veteran director, Mark Rydell) while hiding the truth from his ex-wife and producer (Téa Leoni), her studio honcho husband (Treat Williams), and his ditzy actress girlfriend (Debra Messing), who has a small role in the film. Chaos ensues--and so does Allen's predilection for casting much-younger female costars--but Hollywood Ending favors a more contemplative blend of comedy and drama, peppered with memorable punch lines and blessed with, yes, a Hollywood ending that's as entertaining as the mayhem that precedes it. --Jeff Shannon

James Dean - Sense Memories (American Masters)

"Keep it up" director Elia Kazan privately told James Dean after co-star Raymond Massey complained about the newcomer's acting style. The kid knew how bring heat to a scene how to get under people's skin. That story and others shape this sharply focused American Masters look at the meteoric star-making last year of Dean's life. One year. Three films (East of Eden Rebel Without a Cause Giant). Unending impact. Via film clips behind-the-scenes footage archival photos and on-camera interviews with colleagues (including Mark Rydell Martin Landau Eartha Kitt Lois Smith Dennis Stock and Corey Allen) who shared that year with him James Dean Sense Memories reveals the man the movies and his timeless mystique. After 50 years the kid who is the archetypal rebel for every generation still brings heat. Watch. And discover why.Running Time: 53 min.System Requirements: Running Time 53 MinFormat: DVD MOVIE Genre: DOCUMENTARIES/MISC. Rating: NR UPC: 012569728141

Punchline [Region 2]

At the height of the standup-comedy boom of the 1980s, this film offered the revelation that many comedians were, in fact, rather psychologically unstable individuals for whom performing was an outlet for hostility and aggression. Wow--who would have guessed? This film focuses on two who meet and forge an unlikely friendship: Tom Hanks plays a caustic, self-destructive comic looking for his big break and Sally Field plays a more Roseannelike comedian who begins neglecting her husband (John Goodman) and children because she gets such a kick out of performing. The offstage stuff is strictly soap opera, but Hanks and Field both develop solid comedic rhythms once they get behind a microphone. --Marshall Fine

Havana [Region 2]

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream. It's a compelling political backdrop for the story of a high-stakes gambler (Robert Redford) who comes to Cuba seeking the big score in poker games, following his expectation that high rollers will bet wildly as the Cuban government crashes around their heads. In Havana, Redford meets the wife (Lena Olin) of a Communist revolutionary (Raul Julia) with ties to Fidel Castro, and their attraction becomes powerfully mutual after her husband is presumed killed by Cuban police. What follows, as Cuba falls and Redford's character is forced into a crisis of conscience, is a mini-epic love story with tragic overtones, handled with great skill (albeit lagging pace) by long-time Redford collaborator Sydney Pollack. True, it's not nearly as memorable as Casablanca, but this is a worthwhile film, especially if you're interested in the political upheavals in pre-Castro Cuba. --Jeff Shannon

Havana [Region 2] PAL

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream. It's a compelling political backdrop for the story of a high-stakes gambler (Robert Redford) who comes to Cuba seeking the big score in poker games, following his expectation that high rollers will bet wildly as the Cuban government crashes around their heads. In Havana, Redford meets the wife (Lena Olin) of a Communist revolutionary (Raul Julia) with ties to Fidel Castro, and their attraction becomes powerfully mutual after her husband is presumed killed by Cuban police. What follows, as Cuba falls and Redford's character is forced into a crisis of conscience, is a mini-epic love story with tragic overtones, handled with great skill (albeit lagging pace) by long-time Redford collaborator Sydney Pollack. True, it's not nearly as memorable as Casablanca, but this is a worthwhile film, especially if you're interested in the political upheavals in pre-Castro Cuba. --Jeff Shannon

The Long Goodbye [Region 2]

Raymond Chandler's cynically idealistic hero, Philip Marlowe, has been played by everyone from Humphrey Bogart to James Garner--but no one gives him the kind of weirdly affect-less spin that Elliott Gould does in this terrific Robert Altman reimagining of Chandler's penultimate novel. Altman recasts Marlowe as an early '70s L.A. habitué, who gets involved in a couple of cases at once. The most interesting involves a suicidal writer (Sterling Hayden in a larger-than-life performance) whom Marlowe is supposed to keep away from malevolent New-Ageish guru Henry Gibson. A variety of wonderfully odd characters pop up, played by everyone from model Nina Van Pallandt to director Mark Rydell to ex-baseballer Jim Bouton. And yes, that is Arnold Schwarzenegger (in only his second movie) popping up as (what else?) a muscleman. Listen for the title song: It shows up in the strangest places. --Marshall Fine

Havana [Region 2]

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream. It's a compelling political backdrop for the story of a high-stakes gambler (Robert Redford) who comes to Cuba seeking the big score in poker games, following his expectation that high rollers will bet wildly as the Cuban government crashes around their heads. In Havana, Redford meets the wife (Lena Olin) of a Communist revolutionary (Raul Julia) with ties to Fidel Castro, and their attraction becomes powerfully mutual after her husband is presumed killed by Cuban police. What follows, as Cuba falls and Redford's character is forced into a crisis of conscience, is a mini-epic love story with tragic overtones, handled with great skill (albeit lagging pace) by long-time Redford collaborator Sydney Pollack. True, it's not nearly as memorable as Casablanca, but this is a worthwhile film, especially if you're interested in the political upheavals in pre-Castro Cuba. --Jeff Shannon