Asquith, Anthony

The Importance of Being Earnest - Criterion Collection

If you're looking for the definitive example of dry British wit, look no further than The Importance of Being Earnest. Of course, it helps to have Oscar Wilde's beloved play as source material, but this exquisite adaptation has a charmed life of its own, with a perfectly matched director (Anthony Asquith was raised in the rarified, upper-class atmosphere of Wilde's play) and a once-in-a-lifetime cast. Mix these ingredients with Wilde's inimitable repartee, and you've got a comedic soufflé that's been cooked to perfection. Opening with a proscenium nod to its theatrical origins, the film turns Wilde's comedy of clever deception and mixed identities into a cinematic treat, and while the 10-member cast is uniformly superb, special credit must be given to Dame Edith Evans, reprising her stage role as the imperiously stuffy Lady Bracknell. To hear her Wilde-ly hilarious inflections and elongated syllables is to witness British comedy in its purest form, fully deserving of the royal Criterion treatment. --Jeff Shannon

Oscar Wilde's comic jewel sparkles in Anthony Asquith's film adaptation of The Importance of Being Earnest. Featuring brilliantly polished performances by Michael Redgrave, Joan Greenwood, and Dame Edith Evans, the enduringly hilarious story of two young women who think themselves engaged to the same nonexistent man is given the grand Technicolor treatment. Seldom has a classic stage comedy been so engagingly transferred to the screen. The Criterion Collection is proud to present The Importance of Being Earnest on DVD for the first time.

Pygmalion - Criterion Collection

This bold 1938 production of George Bernard Shaw's famous play about a linguist who turns a Cockney flower peddler into a princess was codirected by Anthony Asquith (The Browning Version) and star Leslie Howard, who brings a calculated coldness to the character of Henry Higgins. There's no My Fair Lady sugarcoating here: Higgins is a brute using language as a weapon of class war and patriarchal subjugation of women. He's a likable brute, mind you, but a bully nonetheless, and his molding of poor Eliza (Wendy Hiller) into a Cinderella story is not a pretty sight. Everyone in the cast is in perfect accord with this production's take on Shaw's tale, and while this Pygmalion is a fairly radical enterprise, it is also very funny and handsomely realized. Hiller and Howard have never been better, and the rest of the cast, including Wilfrid Lawson, Marie Lohr, Scott Sunderland, and Jean Cadell, can't be improved upon. Edited by David Lean, who eventually directed Brief Encounter and Lawrence of Arabia. --Tom Keogh

Cranky Professor Henry Higgins (Leslie Howard) takes a bet that he can turn Cockney guttersnipe Eliza Doolittle (Wendy Hiller) into a "proper lady" in a mere six months in this delightful comedy of bad manners based on the play by George Bernard Shaw. This Academy Award-winning inspiration for Lerner and Loewe's My Fair Lady was directed by Anthony Asquith and star Howard, edited by David Lean, and scripted by Shaw himself. Criterion presents Pygmalion in a beautifully restored digital transfer.

Elizabeth Taylor and Richard Burton Film Collection (Who's Afraid of Virginia Woolf 2-Disc Special Edition / The Comedians / The Sandpiper / The V.I.P.s) 5 Disc Set

The British-born Elizabeth Taylor was the quintessential Hollywood screen goddess. The Welsh-born Richard Burton was one of the most compelling British actors of his generation. Together, they were a perfect storm of talent, glamour, and offscreen scandal, which made even their lesser films essential viewing for those fascinated by cinema's royal couple. This four-film set captures the prolific couple at the height of their 1960s heyday. The essential entry is Who's Afraid of Virginia Woolf (1966), which earned Taylor an Academy Award, and launched the film directing career of Mike Nichols. This adaptation of Edward Albee's searing play was ahead of its time for its use of profanity, as chronicled in bonus featurettes on this two-disc Special Edition. Taylor and Burton star as the braying Martha, a college president's daughter, and her husband George, an associate history professor. An ambitious teacher (George Segal) and his mousy wife (a heartbreaking Sandy Dennis) arrive for an unforgettable night of such emasculating sport as "Humiliate the Host," "Get the Guests," and "Hump the Hostess." The V.I.P.s (1963) is a star-studded soap opera about a group of notables stranded at a fog-shrouded airport, each desperate to get off the ground. In addition to Orson Welles as a film director trying to stay one step ahead of the British tax man and Margaret Rutherford (who earned an Academy Award) as a financially strapped duchess, we have Taylor as the unhappy wife of magnate Burton, set to elope with a reformed (?) gigolo (Louis Jordan). The Sandpiper (1965) is one of those vaunted enjoyable "golden turkeys" that at least has the beautiful Big Sur coast and the Oscar-winning song "The Shadow of Your Smile" as consolation for the silly illicit romance between Taylor, an unconvincing bohemian artist, and Burton, the tortured Episcopalian reverend to whose school Taylor's illegitimate son has been sent. The Comedians (1967) is hardly a laughing matter. Graham Greene adapted his novel of upheaval in Papa Doc-run Haiti. You have to jump 40 years to Brad Pitt and Angelina Jolie to find another couple with Taylor and Burton's wattage. This collection gives a time capsule glimpse at what all the fuss was about. --Donald Liebenson

No Description Available.
Genre: Feature Film-Drama
Rating: UN
Release Date: 5-DEC-2006
Media Type: DVD

An Evening with the Royal Ballet / Nureyev, Fonteyn

In An Evening with the Royal Ballet (1963), Rudolf Nureyev and Margot Fonteyn, the most famous ballet partnership of the 20th century, dance together in the first two numbers, a dreamily romantic treatment of Les Sylphides, with the choreography by Michel Fokine, and a dazzling pas de deux from Le Corsaire. Les Sylphides is treated as an ensemble number, with full involvement by the Covent Garden company as well as graceful solos by the two stars. Le Corsaire, as choreographed by Nureyev, gives him opportunities to display his remarkable technique but also allows Fonteyn to shine.

Neither appears in Frederick Ashton's choreography for La Valse, which gets to the heart of Ravel's music in a visually impressive treatment. In "Aurora's Wedding" from Sleeping Beauty choreographed by Marius Petipa, Fonteyn dances beautifully with David Blair, an excellent Florimund, though not on the Nureyev level. "Aurora's Wedding" has many brilliant solos and, like La Valse, is an impressive showcase for the company. --Joe McLellan

This program immortalizes a gala evening of classical ballet featuring the legendary team of Rudolf Nureyev and Dame Margot Fonteyn. Britain's Royal Ballet is one of the world's most celebrated dance companies, thrilling us for over 30 years with a legacy of stunning performances. This video has been critically acclaimed as "a chance to view the pinnacle of ballet achievement." This program features excerpts from immortal favorites including Le Corsaire, Les Sylphides, Sleeping Beauty and La Valse. Frederick Ashton's choreography is brilliantly executed throughout. This is one evening ballet lovers will enjoy over and over again. 85 minutes, color, 1963.

A Cottage on Dartmoor / Silent Britain

A Tense, Shocking thriller that stylistically evokes the early films of Alfred Hitchcock and the masterworks of German and Russian Silent Cinema. Long treated with indifference by critics and historians though it was popular with audiences British silent cinema has only recently undergone the reevaluation it has long deserved. As this double-feature disc illustrates, the British silent era is proving to be far richer and more rewarding than previously acknowledged, and some of its greatest achievements are again being recognized after decades of neglect. A Cottage on Dartmoor is perhaps the most significant rediscovery. A tense, shocking thriller that stylistically evokes the early films of Alfred Hitchcock and the masterworks of Russian and German silent cinema, it is also an innovative work in its own right. From the dramatic opening night scenes on the English moorlands, director Anthony Asquith (Pygmalion, The Winslow Boy) establishes an eerie, unpredictable atmosphere. Filled with astounding camerawork and lighting, and some of the fastest editing of the late silent period, Dartmoor shows silent-era techniques at their apex just as sound was about to radically change the industry and the movies. A perfect companion to Dartmoor is SILENT BRITAIN, a feature-length documentary produced by the BFI (British Film Institute) that celebrates this newly-rescued golden age of British filmmaking. Hosted by Matthew Sweet, it spans from such early pioneers as George Albert Smith and Cecil Hepworth to such later figures as Asquith, Maurice Elvey and, of course, Hitchcock. Featuring clips from a remarkable range of films, Silent Britain is the perfect means to reacquaint oneself with early British film history or discover it for the first time.

The Browning Version (Criterion Collection)

Michael Redgrave etched his subtlest and, in its peculiar way, most beloved screen performance in this classic film version of Terence Rattigan's play. Play and film chronicle the final day of teaching for Andrew Crocker-Harris, a cold-fish public school instructor who has long since outlived his early promise. That his classics students, his colleagues, and even his somewhat younger wife refer to him as "the Crock" is not a mark of affection. Wheezing pedantically, making arcane classical puns without hope of raising a laugh, he's an anti-Mr. Chips to whom nearly everyone will be happy to say goodbye. Except that on this last day, with his health failing, his wife (Jean Kent) openly carrying on an affair, and his headmaster (the redoubtably smarmy Wilfrid Hyde-White) eager to whisk him off to retirement, Crocker-Harris achieves an order of triumph that the film marks without a whiff of sentimentality.

Rattigan was a meticulous composer of the "well-made play," and Anthony Asquith, who directed 10 films from Rattigan scripts over a quarter-century, was a reliable craftsman who never tried to upstage his material. (Asquith's best film apart from Rattigan was the delicious rendition of Oscar Wilde's The Importance of Being Earnest he and Redgrave did the following year.) It's easy to protest that this is not a formula for exciting "cinema": every scene of The Browning Version could be (and had been) performed on stage. Yet this subtly shaded and finally very moving immersion in "human nature"--to use a phrase "the Crock" scorns at one point--makes a virtue of reticence. By the time it's over, you know it has all the cinema it needs. --Richard T. Jameson

Michael Redgrave gives the performance of his career in Anthony Asquith's adaptation of Terence Rattigan's unforgettable play. Redgrave portrays Andrew Crocker-Harris, an embittered, middle-aged school master who begins to feel his life has been a failure. Diminished by poor health, a crumbling marriage, and the derision of his pupils, the once brilliant scholar is compelled to reexamine his life when a young student offers an unexpected gesture of kindness. A heartbreaking story of remorse and atonement, The Browning Version is a classic of British realism and the winner of Best Actor and Best screenplay honors at the 1951 Cannes Film Festival.

The Millionairess

A beautiful, spoiled heiress has everything money can buy - except a husband. After a disastrous first marriage, she sets her sights on a dedicated, but poor Indian doctor who saves her from suicide. Interactive Menus, Filmographies, Scene Access

The Importance of Being Earnest [Region 2]

If you're looking for the definitive example of dry British wit, look no further than The Importance of Being Earnest. Of course, it helps to have Oscar Wilde's beloved play as source material, but this exquisite adaptation has a charmed life of its own, with a perfectly matched director (Anthony Asquith was raised in the rarified, upper-class atmosphere of Wilde's play) and a once-in-a-lifetime cast. Mix these ingredients with Wilde's inimitable repartee, and you've got a comedic soufflé that's been cooked to perfection. Opening with a proscenium nod to its theatrical origins, the film turns Wilde's comedy of clever deception and mixed identities into a cinematic treat, and while the 10-member cast is uniformly superb, special credit must be given to Dame Edith Evans, reprising her stage role as the imperiously stuffy Lady Bracknell. To hear her Wilde-ly hilarious inflections and elongated syllables is to witness British comedy in its purest form, fully deserving of the royal Criterion treatment. --Jeff Shannon

We Dive at Dawn [Region 2]

The British Second World War film We Dive at Dawn tells of the encounter between a British submarine and a German warship in the Baltic Sea. John Mills gives a dependable performance as the submarine commander, with Eric Portman the pick of a strong supporting cast. Director Anthony Asquith finds the balance between action sequences and "in situ" dialogue, and there's an evocative score from Louis Levy. An underrated film that deserves reappraisal. --Richard Whitehouse

Johnny in the Clouds [Region 2]