Varconi, Victor

For Whom the Bell Tolls

The Plainsman

Just maybe the most shamelessly enjoyable of Cecil B. DeMille's pseudo-historical epics, this rumbustious frontier saga offers a three-for-one Western legends combo--Wild Bill Hickok, Buffalo Bill Cody, and Calamity Jane, all cutting up in the 1870s, with George Armstrong Custer and Abraham Lincoln thrown in for good measure. (Wait a minute, Lincoln was assassinated in 1865--oh, never mind.) Truth to tell, Buffalo Bill doesn't really pull his weight, since (1) he is hopelessly distracted by virtue of having recently married and (2) he's played by James Ellison, an eternal juvenile normally relegated to second-banana duty in Paramount's Hopalong Cassidy series. However, Gary Cooper's Wild Bill and Jean Arthur's Calamity supply enough star power to light up the Dakotas and parts of Missouri.

Every once in a while, DeMille and his small army of writers stumble upon an actual historical fact. Bill Cody did fight to the death with an Indian chief named Yellow Hand. George Custer and James Butler Hickok did both buy the farm in the summer of 1876. (Custer's Last Stand is handled imaginatively, if cheaply, as a vision narrated by a wandering Cheyenne warrior--none other than C.B.'s son-in-law Anthony Quinn in one of his earliest screen appearances.) Jack McCall (veteran weasel Porter Hall) did find himself in Deadwood, South Dakota, at the same time Wild Bill was drawing aces and eights in a poker game ... though McCall was not necessarily affiliated with DeMille's favorite villain, Charles Bickford, in the business of running guns to the Indians. --Richard T. Jameson

My Favorite Blonde / Star Spangled Rhythm Double Feature

Bob Hope Tribute Collection - Monsieur Beaucaire / Where There's Life Double Feature

The King of Kings - Criterion Collection

With this silent-era spectacle, Cecil B. DeMille cemented his reputation as the master of the biblical epic. DeMille tells the story of Christ's life and Passion with great attention to historical accuracy, along the way paying homage to the religious illustrations of Da Vinci and Doré, and, in a modern flourish, restaging Christ's resurrection in luminous Technicolor. In time for Christmas, Criterion will present fully restored editions of both versions of this glorious spectacle in a heavenly two-disc set: the original 155-minute silent version from 1927 - never before available on home video - and the 1931 release, re-cut by DeMille to 112 minutes. The DVD edition will also include new Dolby Digital 5.1 scores by composers Donald Sosin (1927 version) and Timothy J. Tikker (1931 version); the original score for the 1931 release by Hugo Riesenfeld; behind-the-scenes footage from the making of the film; cast portraits, production and costume sketches, a stills gallery of production photos and promotional material; the original illustrated program and press book featuring photographs from the film's gala premiere; and more.

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.

Roberta

Fun's in fashion when Fred Ginger Irene Dunn and Randolph Scott enter the world of Paris fashions. Marvelous Jerome Kern music graces standards like Smoke Gets in Your Eyes and I Won't Dance.Running Time: 106 min.Format: DVD MOVIE Genre: MUSICALS/MUSICALS UPC: 012569679917 Manufacturer No: 67991

When Huck Haines (Fred Astaire) and his jazz band of Wabash Indianians find themselves stuck in Paris without a paying gig, it's up to his buddy John (Randolph Scott) to appeal to his aunt, the legendary dressmaker Roberta (Helen Westley), for help. He also finds a Russian princess (Irene Dunne) working in the shop and a down-home American girl (Ginger Rogers) masquerading as a Polish countess because it's the best way to get a singing job. Roberta was the third RKO collaboration between Astaire and Rogers, and it's one of the more tepid, with too much time spent on 1930s Parisian fashion and the romance between Dunne and Scott. Dunne gets top billing and the best Jerome Kern ballads ("Yesterdays," "Smoke Gets in Your Eyes"), but as the second-banana couple Astaire and Rogers still get a tap battle, a romantic duet, and plenty of comic banter. In short, the Fred and Ginger magic is there, but not nearly enough of it. For more, watch the films immediately preceding and succeeding, The Gay Divorcee and Top Hat. --David Horiuchi

They Raid by Night

British special agent Capt. Owen leads a squad of commandos into Nazi-occupied Norway to rescue a top general imprisoned in a death camp. Communications expert Sgt. Harry and Norwegian resistance fighter Lt. Falken parachute with Owen behind enemy lines t

Ernst Lubitsch's Eternal Love

Lost for decades, cinema genius Ernst Lubitsch's historical drama "Eternal Love" is a wonderful rediscovery. Starring the great John Barrymore and the gorgeous Camilla Horn, the film features the legendary actor in a sexual tour-de-force. Barrymore's powerful love scenes with Horn are among both actors' best performances on film. UCLA Film and Television Archives have combined the original sound and picture quality for this film restoration.

Federal Fugitives

A secret service detective investigates the deaths of government men and a series of suspicious plane crashes.