Frankenheimer, John

Ronin

Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War--much like a masterless samurai, a.k.a. "ronin." With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone, and asserts his experience on the planning and execution of the job--going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable--there's an obligatory twist midway through that changes the nature of the team's business--but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centerpiece of the movie is an honest-to-God car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon), but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film. There isn't anything here he hasn't done before, but it's sure great to see it all again. --Tom Keogh

Film about a group of former intelligence agents of various nationalities who are contracted to carry out a dangerous mission.System Requirements:Starring: Jean Reno et al. Director: John Frankenheimer Edition Details: Region 1 encoding (for use in US and Canada only) Color Widescreen Dolby Closed-captioned Commentary by director John Frankenheimer Never-before-seen alternate ending 8 page booklet featuring insights into the making of the film Full-screen and widescreen anamorphic formats Number of discs: 1 Format: DVD MOVIE Genre: ACTION/ADVENTURE Rating: R UPC: 027616743923 Manufacturer No: 907439

The Train

This tense 1964 action drama from John Frankenheimer (The Manchurian Candidate) stars Burt Lancaster as a member of the French Resistance trying to prevent Nazi looters from taking valuable art treasures out of the country. A great ride all the way with Frankenheimer at his inimitable best. This is a true human-scale action movie of the sort we used to think of before "action" meant blowing up asteroids in space. Kinetic but almost rueful in tone the films chases and fights are not just eye candy but rather encourage audience involvement in moral stakes. Crisp and serious performances all around from Lancaster and 1960s icons Paul Scofield and Jeanne Moreau. System Requirements:Starring: Burt Lancaster et al. Director: John Frankenheimer Format: DVD MOVIE Genre: DRAMA Rating:  UPC: 027616753922 Manufacturer No: M110330

This is one of John Frankenheimer's breathless gems--all marvelous action that never lets up. Burt Lancaster plays a French train engineer during the waning days of the German occupation who tries to prevent Nazi colonel Paul Scofield from transporting a precious art collection back to Germany. Utilizing sabotage and cunning deception, Lancaster and his Resistance colleagues stall for time with the Allies on their way. It's a brilliantly made film, showing off Lancaster's acrobatic skills (he performed all of his own stunts) and Frankenheimer's sense of pacing and brilliant use of space. It's choreographed with the utmost precision (those are real explosions during the pivotal strafing sequence) and extremely authentic in its details. Lancaster is in rare minimalist form, and Scofield manages to extract intelligence and sympathy. A firecracker action film shot in crisp black and white, with yet another telling audio commentary by the always instructive director. --Bill Desowitz

The Manchurian Candidate (Special Edition)

You will never find a more chillingly suspenseful, perversely funny, or viciously satirical political thriller than The Manchurian Candidate, based on the novel by Richard Condon (author of Winter Kills). The film, withheld from distribution by star Frank Sinatra for almost a quarter century after President Kennedy's assassination, has lost none of its potency over time. Former infantryman Bennet Marco (Sinatra) is haunted by nightmares about his platoon having been captured and brainwashed in Korea. The indecipherable dreams seem to center on Sergeant Raymond Shaw (Laurence Harvey), a decorated war hero but a cold fish of a man whose own mother (Angela Lansbury, in one of the all-time great dragon-lady roles) describes him as looking like his head is "always about to come to a point." Mrs. Bates has nothing on Lansbury's character, the manipulative queen behind her second husband, Senator John Iselin (James Gregory), a notoriously McCarthyesque demagogue. --Jim Emerson

A Korean war hero is brainwashed and used as a tool in a political assassination plot to be triggered by his domineering mother.
Genre: Feature Film-Drama
Rating: PG13
Release Date: 13-JUL-2004
Media Type: DVD

Seven Days in May

John Frankenheimer's follow-up to The Manchurian Candidate is as intimate and subdued as its predecessor is flamboyant and energetic. Burt Lancaster is calm and calculating as the steely-eyed military hawk General Scott, who opposes the president's (Fredric March) plan to end the cold war with a bold nuclear disarmament plan. Lancaster's longtime friend and frequent costar Kirk Douglas is his smiling, joking right-hand man, Colonel "Jiggs" Casey, whose easygoing manner is jolted by evidence of a possible plot to overthrow the American government. Scripted by Rod Serling from the novel by Fletcher Knebel and Charles W. Bailey, the film plays much like a classic live TV drama (the medium that spawned both Frankenheimer and Serling), with the drama arising from conversations and confrontations and the action largely limited to scenes within the Pentagon and the White House. An ominous undercurrent of danger seeps through the realistic (and often real) settings of the film, conveyed chiefly through the intensity of the excellent ensemble performances. Notable among the supporting cast are Ava Gardner as a lonely Washington socialite who was once the general's mistress, Edmond O'Brien as an amiable alcoholic senator, Martin Balsam as the president's shrewd but skeptical secretary, and underrated character actor George Macready as the wily presidential advisor. --Sean Axmaker

Grand Prix (Two-Disc Special Edition)

Light on story, this 1966 spectacle directed by John Frankenheimer was shot in 70 millimeter, with a cinematically enthralling emphasis on unique, visceral new ways of capturing the sensations of a car race. James Garner, Eva Marie Saint, Yves Montand, and Toshiro Mifune are part of the stellar, international cast whose characters plod through assorted relationship and business conflicts. But the film's real hook is the thrilling and inventive means by which Frankenheimer (The Manchurian Candidate) brings an urgency to the drama happening on the racetrack. A true master of the plastic techniques of obtaining and cutting kinetic footage, Frankenheimer offers more than a joyride to viewers: he makes action part of the compelling language of stories. Cameras are strapped to vehicles as they round the track, shots are taken from a helicopter, the screen is split between angles for maximum impact--even if Grand Prix doesn't rank among the director's best character-driven stories, it is certainly driven on its own terms. --Tom Keogh

On the DVD
The much-anticipated release on DVD does not disappoint, with a pristine restored print and upgraded 5.1 Dolby sound. Of course, the Cinerama film can only be fully appreciated if you sit very close to your screen. The absence of a commentary track is forgivable, since director John Frankenheimer died in 2002. "Pushing the Limit" is your standard 30-minute retrospective with many new interviews with the stars and drivers. The universal opinion is that the film caught Formula One at the exact right time when the beauty of the sport was about to be changed in favor of safety and commercialism. There are some fascinating stories on how they were able to use real race footage so seamlessly. "Flat Out" continues the vibe of what racing was like in the '60s with more interviews from the real racers. "The Style and Sound of Speed" talks about designer Saul Bass and how he created the film's different approaches to each race and the cutting-edge use of montages and multiple screens. The vintage doc is kitschy but allows us to see the filming in action (the footage is used extensively in the new featurettes). --Doug Thomas

American Grand Prix driver Pete Aron is fired by his Jordan-BRM racing team after a crash at Monaco that injures his British teammate, Scott Stoddard. While Stoddard struggles to recover, Aron begins to drive for the Japanese Yamura team, and becomes romantically involved with Stoddard's estranged wife.

Andersonville

They left the nightmare...and entered Hell. Captured Union soilders cope with life inside the Civil War's most notorious prisoner-of-war camp. A powerful, compeling tale of war and will, with Emmy Award-winning direction by John Frankenheimer and a cast including Frederic Forrest (Apocalypse Now) and William H. Macy (ER, Fargo) Year: 1996 Director: John Frankenheimer Starring: Jarrod Emick, Frederic Forrest, Ted Marcoux

Path to War

The quagmire that was the Vietnam War comes to vivid life in this HBO film--not in the jungles of Southeast Asia, but in the offices of the White House, where a disastrous U.S. policy was forged. From Lyndon Johnson's landslide 1964 victory to his weary withdrawal from the 1968 race, Path to War charts the disappearance of LBJ's "Great Society" domestic dreams into the bramble patch of war. The bungled decisions are forcefully directed by John Frankenheimer, whose expertise at political intrigue shines in his final film. Donald Sutherland and Alec Baldwin do some of their best work in years (as Clark Clifford and Robert McNamara), although the great actor Michael Gambon, while impressive, doesn't quite capture the honey lilt of LBJ's beguiling style. Among the many superb scenes: Johnson intimidating an outmatched George Wallace (an unbilled Gary Sinise, re-creating a role from another Frankenheimer HBO film) on civil rights. --Robert Horton

PATH TO WAR tells the inside story of how "the best and the brightest" advisors in the Johnson administration including Defense Secretary Robert McNamara and special advisor Clark Clifford counsel the President in the decisions that will lead to America's deeper and deeper engagement in Vietnam. Torn between those who recommend increased bombing to win and those who advise a path be found to peace Johnson watches as his presidency and his nation are torn apart by the deaths of young Americans overseas and the protests of those who remain.Running Time: 164 min.Format: DVD MOVIE Genre: DRAMA UPC: 026359191121

The Island of Dr. Moreau (Unrated Director's Cut)

Previously filmed in 1933 (as Island of Lost Souls) and 1977, the classic H.G. Wells story was filmed again for this graphic 1996 version. The film was roasted by critics, but it's an utterly fascinating failure, largely due to the performances of David Thewlis, Val Kilmer, and especially Marlon Brando in the title role as a mad (and in this case outrageously bizarre) scientist whose experiments in crossbreeding humans with animals have gone terribly awry. Thewlis plays the wayward scholar who is rescued at sea by Kilmer and brought to Moreau's island to discover the doctor's unnatural "children." Fairuza Balk plays Moreau's half-cat daughter, but it's Brando and Kilmer (in one scene doing a killer Brando impersonation) who steal the show, along with the astounding makeup effects created by Stan Winston. A guilty pleasure by any measure, this movie has definite cult-favorite potential, and in addition to offering a "director's cut" with previously unseen footage, the DVD includes audio commentary by director John Frankenheimer, who replaced the original director on short notice and completed this film under highly stressful conditions. --Jeff Shannon

Birdman of Alcatraz

John Frankenheimer scored his first success with this, his third theatrical feature and his second collaboration with producer-star Burt Lancaster (they would make five films together all told). Lancaster delivers an angry, brooding performance as real-life criminal Robert Stroud, a violent killer who, while in solitary confinement, became an internationally recognized authority on birds and their diseases. Based on the book by Thomas E. Gaddis, Frankenheimer creates a portrait of a withdrawn, antisocial prisoner who discovers his own potential after reluctantly rescuing a wounded sparrow from a storm and nursing it back to health. Lancaster's quiet portrayal comes from his eyes and restrained body language, earning him his second Oscar nomination. Costars Telly Savalas (as the talkative "neighbor" from the cell next door) and Thelma Ritter (as his controlling mother) were also nominated, but Frankenheimer's sensitive direction draws equally fine performances from Neville Brand, playing against type as the prison guard who slowly befriends Stroud, and Karl Malden as the tough warden whose ideas of confinement and punishment prompted Stroud to follow-up his studies of birds with a treatise on prison reform. This somber, subdued tale offers no truly happy ending, but it does present a powerful portrait of one man's efforts to earn back his dignity and respect in the worst of conditions. --Sean Axmaker

How does bitter convict Robert Stroud cope with a lifetime of solitary confinement? The answer, in a sense, comes from abovein the form of a feeble sparrow he finds in the isolation yard. Stroud brings this newfound companion to his cell, nurses it to health and, from that point on, there's no turning back. Despite having only a third-grade education, and no hope of parole, Stroud becomes a renowned ornithologistand achieves a greater sense of freedom and purpose behind prison walls than many in the outside world will ever know. The "finest prison picture ever made" (Variety), this inspirational and compelling classic stars Burt Lancaster in an OscarÂ(r)-nominated* performance as Stroudthe convict who, in his power to heal birds, finds the power to heal himself. *1962: Actor

I Walk the Line

A married backwoods Tennessee sheriff falls in love with a teenager whose father is a moonshiner. The sheriff becomes involved in the illicit operations making sure his men and federal agents stay clear of the stills. When a deputy stumbles upon the still and is killed this makes the sheriff an accomplice to the crime.System Requirements:Run Time: 97 minutesFormat: DVD MOVIE Genre: DRAMA Rating: PG UPC: 043396144859 Manufacturer No: 14485

Definitely not to be confused with 2005's much-honored Walk the Line, director John Frankenheimer's 1970 film I Walk the Line uses the music of Johnny Cash to tell a very different story. Gregory Peck is Henry Tawes, the sheriff of a depressed and depressing rural backwater whose life goes pretty much straight into the outhouse once he lays eyes on Alma McCain (Tuesday Weld), daughter of a local moonshiner. Bored with his job and his home life alike, Tawes may not suffer fools, but he's only too willing to become one once Alma, an irresistible and much younger Tennessee tart (Peck was in his mid-fifties at the time; Weld was nearly three decades behind him), starts pulling his strings at the behest of her pa (Ralph Meeker), who's using his daughter to help, uh, persuade the sheriff to overlook his criminal activities. It's obvious from the git-go that none of this will turn out well for our hero, and while Frankenheimer (who directed the original Manchurian Candidate) and screenwriter Alvin Sargent (a future Oscar winner for Ordinary People and Julia) do a decent job of keeping the tension mounting, the film never quite catches fire. Part of that is due to the measured, laconic performance delivered by Peck, who has a certain dignity that keeps him from really inhabiting his role; much more convincing is Charles Durning as his deputy, a donut-eating, law-bending Southern slug. On the other hand, it's always nice to hear Cash delivering the classic title song, even if his several other tunes featured in I Walk the Line fall somewhat short of that standard. --Sam Graham