Vosburgh, Tilly

Tipping the Velvet

"It's Pride and Prejudice with dirty bits." That's how screenwriter Andrew Davies (Bridget Jones' Diary), in an interview contained on this disc, describes his adaptation of Sarah Waters's acclaimed novel of lesbian love, betrayal, and redemption in Victorian England. This three-part BBC production chronicles with relish the story of Nan Astley (Rachael Stirling, the ravishing image of her mother, Diana Rigg), barely 18, and certain that life holds more for her than her oyster girl's existence. "You'll meet someone who'll have your head spinning and your legs turning to jelly," her sister promises. That someone surprisingly turns out to be "gay and bold" Kitty Butler (Keeley Hawes), a music-hall entertainer, with whom Nan falls instantly, and swooningly, in love. Nan follows her to London, where, as a double act, they become the toast of London, until Kitty's "marriage of convenience" breaks up the act and Nan's heart. The outcast Nan, decked out in Victor/Victoria duds, becomes a streetwalker, and then "tart" to the aptly named Diana Leatherby (Anna Chancellor). This affair, too, comes to "a bad end" as a destitute Nan is deposited back on the streets, where she insinuates herself into the lives of Florence (Jodhi May), a social worker, and her socialist brother. Is Nan "too spoiled and stained for love?" Will she risk her blossoming relationship with Florence when Kitty inevitably returns to rekindle their affair? There is enough "backbiting and bitching" to fuel several seasons of The O.C. Nan's couplings, while tastefully done, do carry what Waters, in the co-interview with Davies, calls "a queer erotic charge." They are graphic by Cinemax standards, let alone the BBC. But the sterling writing and performances will captivate even the most sensitive viewers, making this groundbreaking miniseries, to quote one character, "a delightful evening... a rare treat." --Donald Liebenson

Smitten by music hall life, and by the beautiful male impersonator Kitty Butler (Keeley Hawes), Nan Astley (Rachael Stirling) leaves her family's Whitstable oyster parlor and follows her heart to London. There she finds unimaginable joy—and misery—as she explores the secret side of fin de siècle life.

Based on the acclaimed novel by Sarah Waters and adapted by Andrew Davies (Bridget Jones's Diary, Doctor Zhivago), this powerful BBC drama is both a frank depiction of lesbianism and a witty and moving account of a young woman who will win your heart while searching for her own. Also starring Anna Chancellor (Pride and Prejudice), Jodhi May (The Last of the Mohicans), Hugh Bonneville (Iris) and John Bowe (Poldark). "Provocative and uplifting" --The Baltimore Sun. "Flat-out sublime" --The Seattle Times.

Infinite Worlds of H.G. Wells

Sally Lockhart Mysteries - Ruby In the Smoke (Masterpiece Theatre)

Fearless young Sally Lockhart (Billie Piper Doctor Who) has a mind for numbers and for sleuthing and in Philip Pullman s trilogy of novels set in Victorian London she is put through the paces of melodrama and mystery. In this vivid adaptation of the first book in the series recently orphaned Sally Lockhart armed with a pearl-handled pistol and her keen mind uncovers the secrets of her father s death aboard the sunken schooner Lavinia discovers hidden cursed jewels and faces England s deadliest villains with bold courage. Sally s friends the street-smart Jim and besotted photographer Frederick (JJ Feild To the Ends of the Earth) help her expose the truth--no matter how dangerous. Sally navigates through the constantly twisting plots with the savvy dexterity of a sharp-eyed detective. System Requirements:Running Time: 90 Mins.Format: DVD MOVIE Genre: MYSTERY/SUSPENSE Age: 7+ UPC: 783421417397 Manufacturer No: WG41739

The Kovak Box

David Norton is used to being in control. As a best-selling author he decides the fate of his characters; his heroes his villains their lives and deaths. But what happens when his fictional world becomes all too real? When David arrives in an idyllic Mediterranean island for a conference his fiancee receives a strange call and jumps to her death from their hotel balcony. As he begins piecing answers together people start inexplicably committing suicide all around him. Now David has become the reluctant hero of his own living story and this time he has no idea how it will end.Run Time: 102 min.Format: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: N/A UPC: 687797118196 Manufacturer No: FLP-11819

Radio On

Ripe for rediscovery, director Chris Petit's post-punk journey has become a cult film since its initial release and is one of the most striking feature debuts in British cinema. Produced by Wim Wenders and featuring one of Sting's earliest acting performances, RADIO ON is austere in narrative and captures the lurking disenchantment of the British youth movements of the time.

Stunningly photographed in luminous monochrome by Martin Schaefer (Wenders's brilliant cinematographer), and driven by a startling soundtrack (Bowie, Devo, Kraftwerk, Lene Lovich, Ian Dury, Wreckless Eric and more), Petit's anti-road movie "announced a directorial sensibility that was alien to British film." (Chris Darke, FILM COMMENT). Following a young man as he travels to Bristol to investigate the mysterious death of his brother, it offers a unique, compelling and even mythic vision of a late 1970s England, stalled between failed hopes of cultural and social change and the imminent upheavals of Thatcherism

Meantime

This early Mike Leigh film was made for British television in 1983 (released theatrically in 1985), and introduced both Gary Oldman and Tim Roth. Set in the Thatcher era, the story--typically for Leigh--is more a matter of dramatic evolution than a conventionally realized script. The action revolves around a middle-class family whose male members are all on the government dole, and whose matriarch (Marion Bailey) is long-suffering in the sight of her two sons, one a half-wit (Roth) and the other a cynical bum (Phil Daniels). Oldman plays the latter's skinhead pal, mostly a goof with no future, and Alfred Molina portrays a relative of the brothers strongly resistant to nudging their lives in a more constructive direction. The story, such as it is, is actually a series of discrete, deceptively unambitious, and highly entertaining scenes that could just as easily stand on their own as belong to some greater whole. Leigh, not quite fully baked as a filmmaker in the early 1980s, occasionally engages a rather obvious wit, such as shooting a long take in a laundry room from an angle that favors the sight of a washing machine and ignores the characters from the waist up. The remarkable actors, however, are as deeply immersed in their roles as in any of Leigh's work, and the film is ultimately as moving and funny as one expects from this unique director. --Tom Keogh

Paranoid

Tipping the Velvet [Region 2]

"It's Pride and Prejudice with dirty bits." That's how screenwriter Andrew Davies (Bridget Jones' Diary), in an interview contained on this disc, describes his adaptation of Sarah Waters's acclaimed novel of lesbian love, betrayal, and redemption in Victorian England. This three-part BBC production chronicles with relish the story of Nan Astley (Rachael Stirling, the ravishing image of her mother, Diana Rigg), barely 18, and certain that life holds more for her than her oyster girl's existence. "You'll meet someone who'll have your head spinning and your legs turning to jelly," her sister promises. That someone surprisingly turns out to be "gay and bold" Kitty Butler (Keeley Hawes), a music-hall entertainer, with whom Nan falls instantly, and swooningly, in love. Nan follows her to London, where, as a double act, they become the toast of London, until Kitty's "marriage of convenience" breaks up the act and Nan's heart. The outcast Nan, decked out in Victor/Victoria duds, becomes a streetwalker, and then "tart" to the aptly named Diana Leatherby (Anna Chancellor). This affair, too, comes to "a bad end" as a destitute Nan is deposited back on the streets, where she insinuates herself into the lives of Florence (Jodhi May), a social worker, and her socialist brother. Is Nan "too spoiled and stained for love?" Will she risk her blossoming relationship with Florence when Kitty inevitably returns to rekindle their affair? There is enough "backbiting and bitching" to fuel several seasons of The O.C. Nan's couplings, while tastefully done, do carry what Waters, in the co-interview with Davies, calls "a queer erotic charge." They are graphic by Cinemax standards, let alone the BBC. But the sterling writing and performances will captivate even the most sensitive viewers, making this groundbreaking miniseries, to quote one character, "a delightful evening... a rare treat." --Donald Liebenson

Dorothy L. Sayers Mysteries - Strong Poison (The Lord Peter Wimsey-Harriet Vane Collection)

Amateur sleuth extraordinaire Lord Peter Wimsey first meets the lovely Harriet Vane in this clever mystery. At the start of Strong Poison Harriet (Harriet Walter) is on trial for murder. Lord Peter (Edward Petherbridge) becomes enchanted by her and decides she cannot possibly be guilty. What follows are the twin stories of Lord Peter's search to find the real killer and his romantic pursuit of Harriet. Both are charming. As always, Sayers has plotted her story brilliantly, with a satisfying mystery and a sly comic touch (a gentle poke at the spiritualist movement is particularly fun). The period atmosphere is pulled off naturally and with close attention to detail, and the adaptation has a careful reverence for Sayers's novel. The performances are all remarkably strong. Both leads capture the peculiar romance of sharp minds quite well, and Richard Morant is quietly fantastic as the remarkable Bunting. --Ali Davis

In the first of Dorothy L. Sayers's famous Harriet Vane mystery series, amateur sleuth Lord Peter Wimsey falls in love with mystery writer Harriet Vane as she stands in the dock of Old Bailey. Ms. Vane is on trial for the diabolically clever murder of her fiance. Not only does Wimsey believe in her innocence, he falls in love with her at first sight. Can he save her from the gallows and will he win her hand?

Shopping

Pretty boy Billy (Jude Law) is an amoral rebel without a cause. His anarchic response to a bleak London existence is to steal cars and drive them through shop windows: "crash and carry," as one fellow "shopper" terms it. But he and his tough, video-game obsessed gal-pal Jo (Sadie Frost) are no Bonnie and Clyde. Their shopping trips are merely a pretext for the adrenaline rush of destruction and the thrill of playing high-speed tag with the cops, a game that starts to wear thin on Jo. "Why don't you grow up, eh?" she finally asks. "And do what?" he helplessly replies.

The feature debut of Brit stylist Paul Anderson (Event Horizon) is a sleek film of misty alleys, blue-lit underground garages, and slick city streets. It's a dystopian London of the near future through the lens of Blade Runner driven almost single-handedly by Law's reckless charm and wild energy. It's hard to tell if the film is about the nihilism of sensation-hunting lost youth or simply a sensational melodrama of aimless rebellion, but there's nonetheless something irresponsibly appealing in Billy's anti-establishment rampage. --Sean Axmaker