Classics

Looney Tunes - Golden Collection, Volume One

For years, animation buffs have waited impatiently for the Warner Bros. cartoons to appear on DVD. The Warner shorts never commanded the budgets and prestige of the Disney and MGM films, and won fewer Oscars than they deserved. But decades after the best ones were created, they remain the quintessential Hollywood cartoons: brash, fast-paced, aggressively funny and uniquely American. Virtually everyone in the U.S. under the age of 60 grew up on these films, in theaters and on TV. The 56 cartoons in the set (out of a studio output of over 1,000) were transferred from good prints--which means the viewer can see dust, scratches, and occasional mistakes by the cel painters. The films are all presented uncut, in defiance of the killjoys who have insisted on censoring alleged "violence" in the versions shown on television. Warner Bros. is obviously testing consumer response with this set. Although the erratic selection includes many classics, purists will argue (correctly) that it offers neither a fair representation of the directors' oeuvres, nor anything approaching a coherent history of the characters or studio style. (Nearly half the films were directed by Chuck Jones; only three are by Bob Clampett, and there's nothing by Tex Avery or Frank Tashlin.) But it seems petty to carp about omissions and biases when the discs offer excellent, uncensored prints of some of the funniest films ever made in the U.S.--or anywhere else. (Rated G, suitable for all ages: cartoon violence) --Charles Solomon

They're the crown princes of animation. They're the international ambassadors of cartoon comedy. They're the fabulously funny friends you grew up with! And now 56 of the very best animated shorts starring the very wackiest Warner Bros. cartoon characters have been rounded up on DVD for the first time ever in The Looney Tunes Golden Collection! Just barely contained in four special edition discs each specially selected short has been brilliantly restored and re-mastered to its original uncut anvil-dropping laughter-inducing glory! Featuring some of the very earliest ground-breaking on-screen appearances of many all-time Looney Tunes favorites it's an unprecedented celebration for cartoon-lovers eager to re-live the heady hilarious golden age of Warner Bros. animation! Sparkling with one unforgettable landmark animated marvel after another there's that icon of carrot-crunching aplomb Bugs Bunny in a dazzling assortment of his very best classic shorts. Also highlighted in their own delightfully zany series of cartoon gems: the ever-flustered Daffy Duck and eternal straight-man Porky Pig. Plus all the rest of the beloved Looney Tunes lineup starring in some of the most wildly imaginative cartoon shorts ever created! Including an array of exclusive bonus DVD features from expert commentaries to insights into the evolution of these classic characters this is the ultimate animated experience for anyonewho's ever thrilled to the timeless query: "Ehhh? what's up Doc?"Running Time: 411 min.System Requirements:Running Time 411 MinFormat: DVD MOVIE Genre: CHILDREN/FAMILY Rating: NR UPC: 085392791828

Looney Tunes - Golden Collection, Volume Two

Greetings Looneytics! For all who rightly place Looney Tunes alongside Mom apple pie and web-surfing at work as American institutions this is your time to rise and shine and watch. Yes here on four discs you'll find 60 more of the finest funniest bestest Golden Era cartoons from the feverishly bent artistic minds at Termite Terrace. Disc 1 showcases a certain wascally wabbit. The happiness of pursuit is center stage in Disc 2 and 3's respective batches of Road Runner and Sylvester/Tweety fun. Disc 4 is an all-star cavalcade of Hollywood parodies and more. All 60 toons are restored remastered uncut. And each disc is chock-a-block with bonus goodies. It's a 24-carrot gem of a collection. Anything less would be dethpicable.Running Time: 432 min.Format: DVD MOVIE Genre: CHILDREN/FAMILY UPC: 085393128425

Brash, fast-paced, and hysterically funny, the Warner Brothers cartoons rank among the undisputed treasures of American animation and American comedy. This second collection, a follow-up to Looney Tunes: Golden Collection, includes such gems as "Porky in Wackyland," "A Bear for Punishment," "Gee Whiz-z-z," The Great Piggy Bank Robbery," and "I Love to Singa." A short documentary about director Bob Clampett features several cartoon historians, animator Eric Goldberg, Shawshank Redemption director Frank Darabont, and Ren and Stimpy creator John Kricfalusi (enthusiastic but over the top). But Warners continues its scattergun approach to selecting films. There are only eight cartoons by Clampett in the set, plus three by Tex Avery and one by Frank Tashlin. "Rabbit Fire" and "Rabbit Seasoning" appear on the first set, but the third cartoon in Jones's trilogy, "Duck! Rabbit! Duck!" isn't on either. More than two-thirds of the films are by Friz Freleng and Chuck Jones. That's not necessarily a bad thing. "Show Biz Bugs," "Bugs Bunny Rides Again," and the Oscar-winning "Tweety Pie" showcase Freleng's razor-sharp timing. "What's Opera, Doc," "The Dover Boys," and the justly celebrated "One Froggy Evening" rank among Jones's boldest experiments and most brilliant successes.

Volume Two includes some genuine rarities, among them, "Sinkin' in the Bathtub" (1930), the first Looney Tune, and the Oscar-winning documentary "So Much for So Little." With 60-plus cartoons, transferred from good prints Looney Tunes: Golden Collection, Volume 2 is a collection to treasure. (Rated G, suitable for all ages: cartoon violence) --Charles Solomon

The Complete Thin Man Collection (The Thin Man / After the Thin Man / Another Thin Man / Shadow of the Thin Man / The Thin Man Goes Home / Song of the Thin Man / Alias Nick and Nora)

The sparkling series featured the irresistible William Powell and Myrna Loy chemistry as husband and wife sleuths who solved murders with the aid of their wire-haired terrier Asta. Set in the glamorous world of 1930s upper-class Manhattan The Thin Man and its sequels established the standard for witty comedy clever dialogue and urbane one upmanship. The 7-Disc set includes THE THIN MAN AFTER THE THIN MAN ANOTHER THIN MAN SHADOW OF THE THIN MAN SONG OF THE THIN MAN THE THIN MAN GOES HOME and the ALIAS NICK & NORA bonus documentary disc.Running Time: 592 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569673991 Manufacturer No: 67399

Almost as welcome as a shaker full of martinis, The Complete Thin Man Collection represents an eagerly awaited DVD milestone for fans of the fizzy MGM movie series. The best film in the series came first: The Thin Man (1934), W.S. Van Dyke's marvelous adaptation of a Dashiell Hammet novel. The movie gods were in a generous mood when they paired William Powell and Myrna Loy as Nick and Nora Charles, the upper-class sophisticates whose sleuthing escapades somehow joined the classic form of the whodunit with the giddyup of screwball comedy. Among the series' many attributes, one of its most radical notions was the idea that a married couple might find each other delightful and view life as a goofy adventure together.

It is common wisdom that the Thin Man sequels adhere to the law of diminishing returns, and while none of the follow-ups reach the diamond level of the first film, all afford pleasures. There's the cocktail-swilling chemistry of Powell and Loy, for one thing, as well as the considerable satisfaction of average movies made during the studio system: the craftsmanship of studio hands, and a gallery of terrific character actors filling in supporting roles. First sequel After the Thin Man (1936) is very good, with the couple in San Francisco and a supporting part for rising player James Stewart. The scenery moves again, to Long Island, for the rather impudently-titled Another Thin Man (1939), which adds baby Nick, Jr., to the mix (a "bad idea," thought Pauline Kael, perhaps a sign of the domestication of the series).

Shadow of the Thin Man (1941) sets the action around a racetrack, and is the last of the series to be directed by the fast-working Van Dyke. The Thin Man Goes Home (1944) finds Nick escorting family to his parents' house for a visit. Song of the Thin Man (1947) engagingly adds a jazz milieu to the Charles's detective work; at this point, Nick, Jr. was played by child star Dean Stockwell. The series stuck with certain staples: the unveiling of the guilty party, a wirehaired terrier named Asta (who became a star in its own right), and booze. When Nick opines, in the first film, that a dry martini should always be shaken to "waltz time," you know why audiences fell in love with these guilt-free comedies. --Robert Horton

The Marx Brothers Collection (A Night at The Opera/A Day at The Races/A Night in Casablanca/Room Service/At the Circus/Go West/The Big Store)

When it comes to long-awaited treats like The Marx Brothers Collection, you can never get too much of a good thing. These seven comedies can't compare to the sheer lunacy of the five classics (The Cocoanuts, Animal Crackers, Monkey Business, Horse Feathers, and Duck Soup) that the Marx Bros. made for Paramount between 1929 and 1933 (available in The Marx Brothers Silver Screen Collection), but when uber-producer Irving Thalberg signed Groucho, Harpo, and Chico to an MGM contract in 1935 (by which time sibling costar Zeppo had become the team's off-screen manager), he knew just how to cure their box-office blues. As a result, A Night at the Opera and A Day at the Races were critical and commercial hits, lavishly produced according to the "Tiffany" studio's golden-age formula of glamorous set pieces and musical numbers combined with sensible plots that smoothly integrated snappy, well-written Marxian antics. Opera is the jewel of this set, with timeless scenes (the Stateroom, the Groucho-Chico contract negotiation, etc.) that rank among the greatest bits of silver-screen comedy... not to mention Groucho's flirtatious insults at Margaret Dumont's upper-crust expense.

A Day at the Races deserves near-equal acclaim ("Get-a your tootsie-fruitsie ice cream!"), but Thalberg's death in 1937 dealt a devastating blow, and the Marxes suffered from studio indifference, resulting in a succession of comedies that are timelessly enjoyable even as they fall prey to diminishing returns. By the time they made Go West and The Big Store, the Marxes were out of their element, and a few of the musical interludes indulge racial stereotypes that were common in the studio era. Despite this, these movies remain fresh and frantic, and Warner Bros. (holder of the RKO and MGM libraries) has done a marvelous job of packaging The Marx Brothers Collection to nostalgically approximate the filmgoing experience of the 1930s and '40s, with vintage shorts (Our Gang, Robert Benchley comedies, MGM cartoons, etc.) from the time of each feature's original release. Archival materials are slim but worthwhile (especially Groucho's 1961 interview with TV talk-show host Hy Gardner), and while Glenn Mitchell's commentary on Races is sparse and superficial, Leonard Maltin brings his usual superfan's enthusiasm and encyclopedic knowledge to bear on a full-length Opera commentary track. The new documentaries are somewhat redundant, but essential viewing for Marx Bros. neophytes. With all seven films presented in pristine condition, this is definitely a Marx Brothers Collection worth having. --Jeff Shannon

This set includes seven of only thirteen Marx Brothers films ever made! Collection includes: "A Night at the Opera" (1935) - The Marx Brothers turn Mrs. Claypool's opera into chaos in their efforts to help two young hopefuls get a break. It contains the famous scene where Groucho, Chico and Harpo cram a ship's stateroom with wall-to-wall people, gags, one-liners, musical riffs and two hard-boiled eggs. "A Day at the Races" (1937) - Groucho stars as Hugo Z. Hackenbush, a horse veterinarian dispensing horse pills and quips with equal glee. Chico selling racing tips, Harpo destroying a piano to turn it into a harp and favorite foil actress Margaret Dumont make this thoroughbred comedy wall-to-wall hilarity. "A Night in Casablanca" (1946) - This parody of the Bogart/Bergman 1943 classic features the Nazis vs. the "nutsies" as the Marx Brothers foil Axis criminals when they find stolen jewels and paintings Nazis have hidden in a hotel. "Room Service"/"At the Circus" - These two films are combined on one disc to provide double doses of laughter. In "Room Service" (1938), Lucille Ball and Ann Miller provide comic co-star support while the Marx Brothers play producers trying to keep their show above water and a hotel room over their head. In "At the Circus" (1939) Groucho stars as professional shyster lawyer J. Cheever Loophole in the middle of big-top bedlam as the boys try to save the circus and look to Margaret Dumont for the money to do so. Groucho sings one of his famous songs, "Lydia the Tattooed Lady." "Go West"/"The Big Store" - Another Marx Brothers twin bill makes this a hilarious comedy "two-fer." In the first, the Marxmen "Go West" (1940) to the land of outlaws and Indians where the fun never stops and where they outwit a land grabber. In "The Big Store" (1941), Groucho plays Attorney Wolf J. Flywheel who with sidekick Wacky (Harpo) and bodyguard Ravelli (Chico) are investigating the shady dealings of a crooked department store owner. Bonus extras include commentary by Leonard Maltin.

Alfred Hitchcock - The Masterpiece Collection (Psycho / Vertigo / Rear Window / The Birds / Shadow of a Doubt / Family Plot / Frenzy / The Man Who Knew Too Much / Marnie / Rope / Saboteur / Topaz / Torn Curtain / The Trouble with Harry)

Masterpiece indeed. With 14 films, each supplemented with numerous documentaries, commentaries, and other bonus materials, Alfred Hitchcock - The Masterpiece Collection will be the cornerstone for any serious DVD library. Packaged in a beautiful, conversation-starting velvet box, the individual discs inside come four to a case, decorated with original poster art. No doubt opinionated fans will argue about what should fall under the rubric of "masterpiece" in Hitchcock's body of work, but with the bona fide classics Vertigo, Psycho, and The Man Who Knew Too Much, there's plenty of timeless movie magic here. Eye-popping transfers and gorgeous sound make this set one of the must-have releases of the year.

Should the Hitchcock fan have the energy for more after imbibing on the movies themselves, a bonus disc provides additional documentaries. These include a revealing interview in which the master of suspense discusses, among other things, how much he dislikes working with method actors, going so far as to name names (we're talking about you, Jimmy Stewart and Montgomery Clift). In an American Film Institute lifetime achievement ceremony, the master of suspense is praised by the likes of Stewart and Ingrid Bergman, and seems to be suffering from severe boredom as celebrities pile on the flattery. Then Hitchcock opens his mouth to accept the award, delivering an endlessly witty stream of perfect bon mots that prove once again that he was a master of high comedy as well. Revealing documentaries about the making of Psycho and The Birds round out the feast of extras. The 36-page booklet, filled mostly with stills and poster art, provides little new information about the films.--Ryan Boudinot

Films Included in Alfred Hitchcock - The Masterpiece Collection

Saboteur
Robert Cummings stars as Barry Kane, a patriotic munitions worker who is falsely accused of sabotage, in this wartime thriller from Alfred Hitchcock. Plastered across the front page of every newspaper and hated by the nation, Kane's only hope of clearing his name is to find the real villain. The script as a whole is a clever one--Algonquin wit Dorothy Parker shares a screenwriting credit, and her trademark zingers make for a terrific mix of humor and suspense. Saboteur is a pleasure whether you're a die-hard Hitchcock fan or just someone who likes a good nail-biter. --Ali Davis

Shadow of a Doubt
Alfred Hitchcock considered this 1943 thriller to be his personal favorite among his own films, and although it's not as popular as some of Hitchcock's later work, it's certainly worthy of the master's admiration. Scripted by playwright Thornton Wilder and inspired by the actual case of a 1920's serial killer known as "The Merry Widow Murderer," the movie sets a tone of menace and fear by introducing a psychotic killer into the small-town comforts of Santa Rosa, California. Through narrow escapes and a climactic scene aboard a speeding train, this witty thriller strips away the façade of small-town tranquility to reveal evil where it's least expected. And, of course, it's all done in pure Hitchcockian style. --Jeff Shannon

Rope
An experimental film masquerading as a standard Hollywood thriller, Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone's back or moved behind a lamp. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. --Robert Horton

Rear Window
Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. At deeper levels, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. --Sam Sutherland

The Trouble with Harry
A busman's holiday for Alfred Hitchcock, this 1955 black comedy concerns a pesky corpse that becomes a problem for a quiet, Vermont neighborhood. Shirley MacLaine makes her film debut as one of several characters who keep burying the body and finding it unburied again. Hitchcock clearly enjoys conjuring the autumnal look and feel of the story, and he establishes an important, first-time alliance with composer Bernard Herrmann, whose music proved vital to the director's next half-dozen or so films. But for now, The Trouble with Harry is a lark, the mischievous side of Hitchcock given free reign. --Tom Keogh

The Man Who Knew Too Much
Alfred Hitchcock's 1956 remake of his own 1934 spy thriller is an exciting event in its own right, with several justifiably famous sequences. James Stewart and Doris Day play American tourists who discover more than they wanted to know about an assassination plot. When their son is kidnapped to keep them quiet, they are caught between concern for him and the terrible secret they hold. When asked about the difference between this version of the story and the one he made 22 years earlier, Hitchcock always said the first was the work of a talented amateur while the second was the act of a seasoned professional. Indeed, several extraordinary moments in this update represent consummate filmmaking, particularly a relentlessly exciting Albert Hall scene, with a blaring symphony, an assassin's gun, and Doris Day's scream. The Man Who Knew Too Muchis the work of a master in his prime. --Tom Keogh

Vertigo
Although it wasn't a box-office success when originally released in 1958, Vertigo has since taken its deserved place as Alfred Hitchcock's greatest, most spellbinding, most deeply personal achievement. James Stewart plays a retired police detective who is hired by an old friend to follow his wife (a superb Kim Novak, in what becomes a double role), whom he suspects of being possessed by the spirit of a dead madwoman. Shot around San Francisco (the Golden Gate Bridge and the Palace of the Legion of Honor are significant locations) and elsewhere in Northern California (the redwoods, Mission San Juan Batista) in rapturous Technicolor, Vertigo is as lovely as it is haunting. --Jim Emerson

Psycho
For all the slasher pictures that have ripped off Psycho (and particularly its classic set piece, the "shower scene"), nothing has ever matched the impact of the real thing. More than just a first-rate shocker full of thrills and suspense, Psycho is also an engrossing character study in which director Alfred Hitchcock skillfully seduces you into identifying with the main characters--then pulls the rug (or the bathmat) out from under you. Anthony Perkins is unforgettable as Norman Bates, the mama's boy proprietor of the Bates Motel; and so is Janet Leigh as Marion Crane, who makes an impulsive decision and becomes a fugitive from the law, hiding out at Norman's roadside inn for one fateful night. --Jim Emerson

The Birds
Vacationing in northern California, Alfred Hitchcock was struck by a story in a Santa Cruz newspaper: "Seabird Invasion Hits Coastal Homes." From this peculiar incident, and his memory of a short story by Daphne du Maurier, the master of suspense created one of his strangest and most terrifying films. The Birds follows a chic blonde, Melanie Daniels (Tippi Hedren), as she travels to the coastal town of Bodega Bay to hook up with a rugged fellow (Rod Taylor) she's only just met. Before long the town is attacked by marauding birds, and Hitchcock's skill at staging action is brought to the fore. Beyond the superb effects, however, The Birds is also one of Hitchcock's most psychologically complicated scenarios, a tense study of violence, loneliness, and complacency. What really gets under your skin are not the bird skirmishes but the anxiety and the eerie quiet between attacks. Treated with scant attention by serious critics in 1963, The Birds has grown into a classic and--despite the sci-fi trappings--one of Hitchcock's most serious films. --Robert Horton

Marnie
Sean Connery, fresh from the second Bond picture, From Russia with Love, is a Philadelphia playboy who begins to fall for Tippi Hedren's blonde ice goddess only when he realizes that she's a professional thief; she's come to work in his upper-crust insurance office in order to embezzle mass quantities. His patient program of investigation and surveillance has a creepy, voyeuristic quality that's pure Hitchcock, but all's lost when it emerges that the root of Marnie's problem is phobic sexual frigidity, induced by a childhood trauma. Luckily, Sean is up to the challenge. As it were. Not even D.H. Lawrence believed as fervently as Hitchcock in the curative properties of sexual release. --David Chute

Torn Curtain
Paul Newman and Julie Andrews star in what must unfortunately be called one of Alfred Hitchcock's lesser efforts. Still, sub-par Hitchcock is better than a lot of what's out there, and this one is well worth a look. Newman plays cold war physicist Michael Armstrong, while Andrews plays his lovely assistant-and-fiancée, Sarah Sherman. Armstrong has been working on a missile defense system that will "make nuclear defense obsolete," and naturally both sides are very interested. All Sarah cares about is the fact that Michael has been acting awfully fishy lately. The suspense of Torn Curtain is by nature not as thrilling as that in the average Hitchcock film--much of it involves sitting still and wondering if the bad guys are getting closer. Still, Hitchcock manages to amuse himself: there is some beautifully clever camera work and an excruciating sequence that illustrates the frequent Hitchcock point that death is not a tidy business. --Ali Davis

Topaz
Alfred Hitchcock hadn't made a spy thriller since the 1930s, so his 1969 adaptation of Leon Uris's bestseller seemed like a curious choice for the director. But Hitchcock makes Uris's story of the West's investigation into the Soviet Union's dealings with Cuba his own. Frederick Stafford plays a French intelligence agent who works with his American counterpart (John Forsythe) to break up a Soviet spy ring. The film is a bit flat dramatically and visually, and there are sequences that seem to occupy Hitchcock's attention more than others. A minor work all around, with at least two alternative endings shot by Hitchcock. --Tom Keogh

Frenzy
Alfred Hitchcock's penultimate film, written by Anthony Shaffer (who also wrote Sleuth), this delightfully grisly little tale features an all-British cast minus star wattage, which may have accounted for its relatively slim showing in the States. Jon Finch plays a down-on-his-luck Londoner who is offered some help by an old pal (Barry Foster). In fact, Foster is a serial killer the police have been chasing--and he's framing Finch. Which leads to a classic Hitchcock situation: a guiltless man is forced to prove his innocence while eluding Scotland Yard at the same time. Spiked with Hitchcock's trademark dark humor, Frenzy also features a very funny subplot about the Scotland Yard investigator (Alec McCowen) in charge of the case, who must endure meals by a wife (Vivien Merchant) who is taking a gourmet-cooking class. --Marshall Fine

Family Plot
Alfred Hitchcock's final film is understated comic fun that mixes suspense with deft humor, thanks to a solid cast. The plot centers on the kidnapping of an heir and a diamond theft by a pair of bad guys led by Karen Black and William Devane. The cops seem befuddled, but that doesn't stop a questionable psychic (Barbara Harris) and her not overly bright boyfriend (Bruce Dern, in a rare good-guy role) from picking up the trail and actually solving the crime. Did she do it with actual psychic powers? That's part of the fun of Harris's enjoyably ditsy performance. --Marshall Fine

14 of the finest works from the universally acclaimed Master of Suspense come together for the first time in one collection. These captivating landmark films boast three decades of Hollywood legends, including James Stewart, Grace Kelly, Anthony Perkins, Sean Connery and Doris Day. The premium packaging and collectible book make Alfred Hitchcock: The Masterpiece Collection the must-own, definitive anthology of gripping works by a true genius.

Gene Kelly Collection (Singin' in the Rain / An American in Paris / On the Town / Anatomy of a Dancer)

Hollywood's greatest dancer in four stand-out features. An American in Paris; Gene Kelly: Anatomy of a Dancer; On the Town; Singin' in the RainFormat: DVD MOVIE Genre: MUSICALS/MUSICALS UPC: 085392666027

The Gene Kelly Collection is an unbeatable selection of DVDs showcasing the marvelous Gene Kelly, the Pittsburgh kid whose ballet shoes burst with muscle and ambition. Singin' in the Rain (1952) is everybody's favorite musical, a sarcastic spoof of the early days of talking pictures directed by Kelly and longtime collaborator Stanley Donen. (Ah, the joys of DVD: to be able to zap into the blissful title number or Donald O'Connor's "Make 'Em Laugh" at the touch of a button. Plus, the 2002 special edition is exceptional.) An American in Paris (1951), a dream project for Kelly and director Vincente Minnelli, is at its best in its glorious Gershwin numbers. Kelly's lengthy fantasy ballet, drenched in all the Technicolor MGM could muster, may have you thinking that this, after all, is why movies were invented.

Kelly and Donen forced MGM to let them shoot on location in New York for the exteriors of On the Town (1949), the movie that took musicals into the open air (and remained Kelly's favorite of his films). The spirited dancing and the wisecracking Comden-Green script make this an ebullient tale of three sailors on a 24-hour leave. The choreography plays multiple variations on the triangular team of Kelly, Jules Munshin, and a still-gawky Frank Sinatra. Finally, Gene Kelly: Anatomy of a Dancer (2002) is a terrific American Masters documentary, with oodles of superbly chosen (mint condition) film clips and interviews with many of Kelly's friends and colleagues. The emphasis is on how Kelly changed the image of the male dancer, complementing the aristocratic Fred Astaire with a more blue-collar, regular-Joe approach. It's an unblinking portrait, acknowledging the taskmaster behind the pearly grin. Those revelations make perfect sense when you see the astonishing dances: how could anyone this great not be a perfectionist? --Robert Horton

The Man with No Name Trilogy (A Fistful of Dollars, For A Few Dollars More, The Good, the Bad, and the Ugly)

No Description Available

The Tarzan Collection Starring Johnny Weissmuller (Tarzan the Ape Man / Escapes / and His Mate / Finds a Son / Secret Treasure / New York Adventure)

All six of Johnny Weissmuller and Maureen O'Sullivan's movies as Tarzan and Jane.

The Alfred Hitchcock Signature Collection (Strangers on a Train Two-Disc Edition / North by Northwest / Dial M for Murder / Foreign Correspondent / Suspicion / The Wrong Man / Stage Fright / I Confess / Mr. and Mrs. Smith)

The Alfred Hitchcock Signature Collection contains the DVD debut of 8 Hitchcock classics including "Strangers on a Train Two-Disc Special Edition," and the following 7 new single-disc DVDs: "Dial M For Murder," "Foreign Correspondent" "Suspicion," "The Wrong Man," "Stage Fright," "I Confess" and "Mr. and Mrs. Smith." The previously released "North by Northwest" is also included in the 10-disc Signature Collection. Each of the 9 films in the collection shows why Hitchcock is regarded as one of Hollywood's most esteemed and important directors, and also brings legendary stars to the digital front including Cary Grant, Henry Fonda, Marlene Dietrich, Grace Kelly, Montgomery Clift and many others.

Strangers on a Train - En route from Washington, D.C., champion tennis player Guy Haines (Farley Granger) meets pushy playboy Bruno Anthony (Robert Walker). What begins as a chance encounter turns into a series of morbid confrontations, as Bruno manipulates his way into Guy's life. Bruno is eager to kill his father and knows Guy wants to marry a senator's daughter (Ruth Roman) but can't get a divorce from his wife. So Bruno suggests the men swap murders, which would leave no traceable clues or possible motives. Though Guy refuses, it won't be easy to rid himself of the psychopathic Bruno. Hitchcock's daughter Patricia appears in this film. The extra features included on the DVD are: Alternate 'preview' version of the film; Commentary by director Peter Bogdanovich, Psycho screenwriter Joseph Stephano, Strangers on a Train author Patricia Highsmith and biographer Andrew Wilson; New making-of documentary Strangers on a Train: A Hitchcock Classic, with Farley Granger, film historian Richard Schickel, Patricia Hitchcock O'Connell and other Hitchcock family members and colleagues recalling the making of this suspense landmark; Three intriguing featurettes: The Hitchcocks on Hitch, Strangers on a Train: The Victim's P.O.V., Strangers on a Train by M. Night Shyamalan; Alfred Hitchcock's Historical Meeting, a vintage newsreel.

Each DVD will be presented in a format preserving the aspect ratio of its original theatrical exhibition and will include the original theatrical trailer, and subtitles in English, French and Spanish.

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