Clayton, Jack

The Great Gatsby

This adaptation of the F. Scott Fitzgerald novel, scripted by Francis Ford Coppola, puts costume design and art direction above the intricacies of character. It's certainly a handsome try, and perhaps no movie could capture The Great Gatsby in its entirety. Robert Redford is an interesting casting choice as Gatsby, the millionaire isolated in his mansion, still dreaming of the woman he lost. And Sam Waterston is perfect as the narrator, Nick, who brings the dream girl Daisy Buchanan back to Gatsby. No, the problem seems to be that director Jack Clayton fell in love with the flapper dresses and the party scenes and the Jazz Age tunes, ending up with a Classics Illustrated version of a great book rather than a fresh, organic take on the text. While Redford grows more quietly intriguing in the film, Mia Farrow's pallid performance as Daisy leaves you wondering why Gatsby, or anyone else, should care so much about his grand passion. The effective supporting cast includes Bruce Dern as Daisy's husband, and Scott Wilson and Karen Black as the low-rent couple whose destinies cross the sun-drenched protagonists. (That's future star Patsy Kensit as Daisy's little daughter.) The film won two Oscars--not surprisingly, for costumes and musical score. --Robert Horton

Adaptation of the Fitzgerald novel about a dashing enigmatic millionaire obsessed with an elusive, spoiled young woman.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 8-AUG-2006
Media Type: DVD

Something Wicked This Way Comes

Ray Bradbury adapted his own novel for Something Wicked This Way Comes, Jack Clayton's beautiful rendering of the turn-of-the-century fantasy of a mysterious carnival that literally blows into a small town to taunt and tempt the inhabitants. Jonathan Pryce (Brazil), the handsome but demonic proprietor of Dark's Pandemonium Carnival, preys upon the vanities, the delusions, and the regrets of the townspeople by granting their wishes at the expense of their souls. Jason Robards, as the meek librarian Charles Halloway, becomes his unlikely nemesis when his son Will, with his best friend Jim Nightshade (a deliciously dark name in its own right), discovers the secret of Dark's nightmarish carnival. When they become hunted by Dark's minions (including Pam Grier as the beautiful and mysterious Dust Witch), Halloway must confront his own fears and regrets to save the boys. Clayton captures the idyll of childhood in the fall with rich autumnal colors, his camera gliding along with the energetic boys as they tear through field and forests. The climax, however, gets lost in a cacophony of competing special effects, imaginatively visualized but never very terrifying, as if producer Disney resisted the uneasy undercurrent of the story. It's more dark fantasy than horror, a nightmarish adventure filtered through the memory of a man remembering his childhood in mythic terms. --Sean Axmaker

One of Ray Bradbury's most popular and intriguing novels of good and evil comes to life in this spine-tingling motion picture. On a grim and gusty October day, two young boys encounter a distressed man who foretells of danger blowing their way. Soon after, the town is visited by a seductive stanger named Mr. Dark and his Pandemonium Carnival. Terrifying things begin to happen when the adventurous boys stumble onto the carnival's deadly and destructive secret! Beware: SOMETHING WICKED THIS WAY COMES ... and frightening surprises follow!

The Innocents

The definitive screen adaptation of Henry James's The Turn of the Screw, the 1961 production of The Innocents remains one of the most effective ghost stories ever filmed. Originally promoted as the first truly "adult" chiller of the big screen (a marginally valid claim considering the release of Psycho a year earlier), the film arrived at a time when the thematic depth of James's story could finally be addressed without the compromise of reductive discretion. And while the Freudian anxiety that fuels the story may seem tame by today's standards, the psychological horrors that comprise the story's "dark secret" are given full expression in a film that brilliantly clouds the boundary between tragic reality and frightful imagination.

In one of her finest performances, Deborah Kerr stars as Miss Giddons, a devout and somewhat repressed spinster who happily accepts the position of governess for two orphaned children whose uncle (Michael Redgrave) readily admits to having no interest in being tied down by two "brats." So Miss Giddons is dispatched to Bly House, the lavish, shadowy estate where young Flora (Pamela Franklin) and her brother Miles (Martin Stephens, so memorable in 1960's Village of the Damned) live with a good-natured housekeeper (Megs Jenkins). At first, life at Bly House seems splendidly idyllic, but as Miss Giddons learns the horrible truth about the estate's now-deceased groundskeeper and previous governess, she begins to suspect that her young charges are ensnared in a devious plot from beyond the grave.

Ghostly images are revealed in only the most fleeting glimpses, and the outstanding Cinemascope photography by Freddie Francis (who used special filters to subtly darken the edges of the screen) turns Bly House into a welcoming mansion by day, a maze of mystery and terror by night. Sound effects and music are used to bone-chilling effect, and director Jack Clayton, blessed with a script by William Archibald and Truman Capote, maintains a deliberate pace to emphasize the ambiguity of James's timeless novella. The result is a masterful film--comparable to the 1963 classic The Haunting--that uses subtlety and suggestion to reach the pinnacle of fear. --Jeff Shannon

Deborah Kerr stars in this "horrifying Gothic ghost tale" (Newsweek) based on Henry James' "The Turn Of The Screw,' a powerful psychological drama about innocence possessed by evil. Shortly after coming to live with orphans Flora and Miles in their dark, eerie mansion, the new governess (Kerr) mistakes their strange behavior for preciousness. But she soon comes to believe that the charming, beautiful children are possessed by evil, malicious spirits - the souls of their previous governess and estate manager who are now dead. With its shocking conclusion and sinister cinematic effects. The Innocents "catches an eerie, spine-chilling mood right from the start" (Variety) that never lets up.

Room at the Top

Something Wicked This Way Comes

Ray Bradbury adapted his own novel for Something Wicked This Way Comes, Jack Clayton's beautiful rendering of the turn-of-the-century fantasy of a mysterious carnival that literally blows into a small town to taunt and tempt the inhabitants. Jonathan Pryce (Brazil), the handsome but demonic proprietor of Dark's Pandemonium Carnival, preys upon the vanities, the delusions, and the regrets of the townspeople by granting their wishes at the expense of their souls. Jason Robards, as the meek librarian Charles Halloway, becomes his unlikely nemesis when his son Will, with his best friend Jim Nightshade (a deliciously dark name in its own right), discovers the secret of Dark's nightmarish carnival. When they become hunted by Dark's minions (including Pam Grier as the beautiful and mysterious Dust Witch), Halloway must confront his own fears and regrets to save the boys. Clayton captures the idyll of childhood in the fall with rich autumnal colors, his camera gliding along with the energetic boys as they tear through field and forests. The climax, however, gets lost in a cacophony of competing special effects, imaginatively visualized but never very terrifying, as if producer Disney resisted the uneasy undercurrent of the story. It's more dark fantasy than horror, a nightmarish adventure filtered through the memory of a man remembering his childhood in mythic terms. --Sean Axmaker

The Pumpkin Eater

The Great Gatsby [Region 2]

This adaptation of the F. Scott Fitzgerald novel, scripted by Francis Ford Coppola, puts costume design and art direction above the intricacies of character. It's certainly a handsome try, and perhaps no movie could capture The Great Gatsby in its entirety. Robert Redford is an interesting casting choice as Gatsby, the millionaire isolated in his mansion, still dreaming of the woman he lost. And Sam Waterston is perfect as the narrator, Nick, who brings the dream girl Daisy Buchanan back to Gatsby. No, the problem seems to be that director Jack Clayton fell in love with the flapper dresses and the party scenes and the Jazz Age tunes, ending up with a Classics Illustrated version of a great book rather than a fresh, organic take on the text. While Redford grows more quietly intriguing in the film, Mia Farrow's pallid performance as Daisy leaves you wondering why Gatsby, or anyone else, should care so much about his grand passion. The effective supporting cast includes Bruce Dern as Daisy's husband, and Scott Wilson and Karen Black as the low-rent couple whose destinies cross the sun-drenched protagonists. (That's future star Patsy Kensit as Daisy's little daughter.) The film won two Oscars--not surprisingly, for costumes and musical score. --Robert Horton

Room at the Top [Region 2]