Negulesco, Jean

The Maltese Falcon Three-Disc Special Edition (1941 & 1931 versions / Satan Met a Lady)

Disc One:Sam Spade is a partner in a private-eye firm who finds himself hounded by police when his partner is killed whilst tailing a man. The girl who asked him to follow the man turns out not to be who she says she is and is really involved in something to do with the Maltese Falcon' a gold-encrusted life-sized statue of a falcon the only one of its kind.Disc Two:Adhering closely to Dashiel Hammett's story sleazy detective Sam Spade seeks the whereabouts of a jewel encrusted statuette and his partner's cold-blooded killer unaware the two quests may be related. Well received in its time today it looks like a dress-rehearsal for John Huston's definitive version made ten years later.Disc Three:Sardonic detective Shane thrown out of one town for bringing trouble heads for home and his ex-partner's detective agency. The business is in a sad way and Shane who has had the forethought to provide himself with a 250-dollar commission from an old lady on the train is welcomed with open arms. When pretty Valerie Purvis walks in the next day willing to pay over the odds to put a tail on the man who did her wrong Shane's way with the ladies looks like paying off yet again. But things start to go wrong when his partner is murdered and Shane himself comes home to find his apartment wrecked by a gentlemanly crook who comes back to apologise -- and to tell him a fascinating fairy-story about the fabled Horn of Roland that looks like not being so mythical after all. Miss Purvis wants protection. The police want answers. And all sorts of people want the 'French horn'... but Shane is one jump ahead of everyone all the way. Well almost.Format: DVD MOVIE Genre: MYSTERY/SUSPENSE UPC: 012569676015 Manufacturer No: 67601

Still the tightest, sharpest, and most cynical of Hollywood's official deathless classics, bracingly tough even by post-Tarantino standards. Humphrey Bogart is Dashiell Hammett's definitive private eye, Sam Spade, struggling to keep his hard-boiled cool as the double-crosses pile up around his ankles. The plot, which dances all around the stolen Middle Eastern statuette of the title, is too baroque to try to follow, and it doesn't make a bit of difference. The dialogue, much of it lifted straight from Hammett, is delivered with whip-crack speed and sneering ferocity, as Bogie faces off against Peter Lorre and Sydney Greenstreet, fends off the duplicitous advances of Mary Astor, and roughs up a cringing "gunsel" played by Elisha Cook Jr. It's an action movie of sorts, at least by implication: the characters always seem keyed up, right on the verge of erupting into violence. This is a turning-point picture in several respects: John Huston (The African Queen) made his directorial debut here in 1941, and Bogart, who had mostly played bad guys, was a last-minute substitution for George Raft, who must have been kicking himself for years afterward. This is the role that made Bogart a star and established his trend-setting (and still influential) antihero persona. --David Chute

How To Marry A Millionaire

Three women rent an expensive New York penthouse apartment in the hope of catching rich husbands.
Genre: Feature Film-Comedy
Rating: NR
Release Date: 20-APR-2004
Media Type: DVD

Nunnally Johnson's Broadway comedy was brought to the big screen by director Jean Negulesco, built around a trio of female stars, Lauren Bacall, Marilyn Monroe, and Betty Grable. They play friends who come up with a plan to find and marry rich men. They rent a lavish penthouse and use it as their launching pad to lure men with money in the bank. But each eventually finds that love is more important that material possessions, though it takes a while. One running joke has Monroe so insecure about her looks that she refuses to wear glasses, though this means she bumps into furniture and walls. The other has Bacall rejecting suitor Cameron Mitchell because he doesn't wear a tie, assuming this means he's low-class when, in fact, he's the Donald Trump of 1954. Pre-feminist comedy captures the mindset of an era in which women's identities were based on the men they married. It has its moments, but much of the humor seems dated, though its take on sexual politics is occasionally acute. --Marshall Fine

Three Coins In the Fountain

Velvety and glazed like a fattening pastry, this 1954 love story concerns three American women who make wishes for love in Rome, and end up having three romances. The cast is fine, but as for the film, what you see is what you get. There's no mystery to any part of this movie--like everything director Jean Negulesco made once CinemaScope entered his life (e.g., How to Marry a Millionaire, A Certain Smile), Three Coins is designed to lull rather than stimulate. (It did, however, win Oscars for cinematography and the Jule Styne-Sammy Cahn title song performed by Frank Sinatra.) --Tom Keogh

A charming romantic comedy about three American roommates working in Italy who wish for the men of their dreams after throwing coins into Rome's magnificent Trevi Fountain.

Marilyn Monroe Special Anniversary Collection (The Seven Year Itch / Gentlemen Prefer Blondes / Niagara / River of No Return / Let's Make Love / Marilyn - The Final Days)

The Marilyn Monroe Special Anniversary Collection consists of five Marilyn Monroe films plus the documentary The Final Days. Howard Hawks's 1953 musical Gentlemen Prefer Blondes stars Monroe and Jane Russell as friends who go to Paris looking for mates. The film is charged by Hawks's stylish snap, a famous set piece or two (including Monroe descending that staircase while singing "Diamonds Are a Girl's Best Friend"), Russell's wit, and songs by Leo Robin and Jule Styne. The Seven Year Itch (1955) is a memorable laugh machine. As a married man left alone during a hot summer, Tom Ewell shows off crack timing matched by Monroe's zesty comic flair, and the scene in which her white dress is blown skyward by a passing subway train has entered the encyclopedia of great movie images. In Niagara, Monroe is a full-fledged sex goddess, a scheming wife tormenting husband Joseph Cotten in their cabin by the falls. This Technicolor slice of pseudo-Hitchcock is a fun location picture with a genuinely exciting climax. Otto Preminger's River of No Return has Monroe livened up by the presence of costar Robert Mitchum, in a strong outdoorsy Western that catches the two stars in appealing form. By the time of 1960's Let's Make Love, Monroe looks tired. This backstage musical is more interesting as a time capsule than as a romance, although one number shines: "My Heart Belongs to Daddy."

In The Final Days, producer-director Patty Ivins chronicles Monroe's final, aborted feature film, Something's Got to Give, which was ultimately shut down after the star was dismissed from the production. Beyond Monroe's fragile emotional and physical health, this well-crafted profile examines the financial crisis facing her studio as well as the mounting frustration of meticulous director George Cukor and his cast, including costar Dean Martin, as Monroe's absences drove the shoot over budget. The documentary concludes with a 40-minute reconstruction of footage completed for the feature, which would subsequently be reshot as a vehicle for Doris Day and James Garner, Move Over, Darling.

Collection Includes the following Titles:

**SEVEN YEAR ITCH **GENTLEMEN PREFER BLONDES **NIAGARA **RIVER OF NO RETURN **LET'S MAKE LOVE **MARILYN: THE FINAL DAYS

The Sea Hawk

A British sea captain is given permission by Queen Elizabeth I to commit acts of piracy against the Spanish armada and colonies in the New World.Running Time: 127 min.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569522923

Five years after Captain Blood made him a swashbuckling star, Errol Flynn returned to the high seas as privateer Captain Thorpe in The Sea Hawk. Flynn plays the dashing gentleman pirate as dedicated patriot, looting Spanish ships for English coffers with the private blessing of Queen Elizabeth (Flora Robson, reprising the role from Fire over England). The film opens with a rousing sea battle: broadside cannon fire sends masts falling and splinters a-flying before Flynn's men take their Spanish quarry in a furious shipboard cutlass battle. The fearless fighter becomes a stumbling schoolboy when he falls for the Spanish ambassador's niece, but he's back in his element when he sails to the New World for treasure and lands in the middle of a deadly conspiracy. Big-eyed beauty Brenda Marshall stands in for Flynn's usual love interest Olivia de Havilland, and the film misses the latter's sass and spirit, but it's a minor shortcoming. Claude Rains plays his usual smoothly conniving villain, and hearty Alan Hale returns as Flynn's loyal sidekick. Michael Curtiz proves once again why he was Warner Brothers' top director with a handsome, action-packed film that mixes intrigue and suspense with grand set pieces, concluding with a rousing series of escapes, chases, and a runaway sword fight. Classic Hollywood swashbuckling at its best. --Sean Axmaker

Daddy Long Legs

Fred Astaire becomes both the benefactor and suitor of Leslie Caron in this charming story of a playboy who falls under the spell of a beautiful French orphan. While traveling through France Jervis Pendleton lll (Astaire) anonymously sponsors an 18-year-old girl named Julie (Caron) whom he sends to college in America. Two years later they finally meet face to face and start to fall in love. But complications arise and their happiness is threatened when Jervis embarks on a noble yet misguided attempt to do "the right thing" about their age difference. Featuring imaginative production numbers and a Johnny Mercer score that includes the 1955 Oscar® -nominated hit for Best Song "Something's Gotta Give" Daddy Long Legs is a song-filled blend of dance and fantasy for romantics of all ages.System Requirements:Running Time: 126 min.Format: DVD MOVIE Genre: MUSICALS/MUSICALS UPC: 024543217893 Manufacturer No: 2231789

The Greatest Story Ever Told (Movie Only Edition)

The life of Christ got an excessively long treatment (260 minutes, later trimmed to 195) in this 1965 film directed by George Stevens (The Diary of Anne Frank). Max von Sydow does beautiful work as Jesus--his spontaneous mourning at discovering his friend Lazarus has died is not like anything in other New Testament epics--and Stevens renders the familiar tale with a handsome authenticity. But the project is nearly undone by an unwise gimmick in which seemingly half of Hollywood's living stars at the time make brief (often very brief) cameo appearances, some of which are ridiculous. But there is a lot to like in the film, and Von Sydow's sensitive nobility sticks in the memory. --Tom Keogh

"A magnificent film, handled with reverence, artistic appreciation and admirable restraint" (NewYork Daily News), this glorious epic is an inspiring, grand-scale recreation of the life of Jesus of Nazareth, from His humble birth and teachings to His crucifixion and ultimate Resurrection. Lavishly produced at a cost of $20 millionan enormous amount for the timeand honored with five 1965 Academy AwardÂ(r) nominations*, this exceptional motion picture is exquisitely beautiful. Now fully restored to its original theatrical brilliance with intermission and overture, it is truly The Greatest Story Ever Told. *Cinematography (Color), Original Score, Art Direction (Color), Costume Design (Color), Special Visual Effects

River of No Return

The dew of new stardom was still visible on Marilyn Monroe when she ventured up to Canada to shoot this sturdily entertaining CinemaScope Western. Although director Otto Preminger later claimed little interest in the picture, he couldn't help but bring his even-handed visual style to the widescreen process. The location shooting (in Alberta) is eye filling, and that river really does look alarming. Best of all, Marilyn, fresh and vital, had a costar to match her magnetism but not humor her sometimes-scattered approach to acting: Robert Mitchum, as a homesteader with a dark past. He's weighty enough to stand next to MM's bright flame without giving any ground; they should have worked together again. Since Marilyn plays a saloon singer, she gets to sling some tunes in her inimitable style, with as much glamour as the gold rush-era trappings will allow, giving "I'm Going to File My Claim" various meanings. --Robert Horton

The Errol Flynn Signature Collection, Vol. 1 (Captain Blood / The Private Lives of Elizabeth and Essex / The Sea Hawk / They Died with Their Boots On / Dodge City / The Adventures of Errol Flynn)

Captain BloodGallantry in love and war! This swashbuckler made stars of FLYNN and OLIVIA DE HAVILLAND.Dodge CityFLYNN earns his spurs in this cowboy debut. The saloon brawl remains an all-time classic!The Private Lives of Elizabeth and EssexFLYNN BETTE DAVIS and DE HAVILLAND in a royal showdown of passion and power.The Sea HawkEn garde! Full-mastered adventure with FLYNN and his renegade sailors-of-fortune.They Died with Their Boots OnGen. Custer (FLYNN) and the famed 7th Cavalry ride "to hell or to glory."The Adventures of Errol FlynnDEFINITIVE NEW DOCUMENTARY!The man the movies the mayhem! Including new interviews with frequent co-star De HAVILLAND.System Requirements:Length: 649 mins Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 012569704022

Errol Flynn is one of those names that define movie stardom. Chiseled good looks that stopped just short of being preposterous. A brash and jaunty manner that charmed men and women alike. Whiffs of bad-boy scandal offscreen that only enhanced his legend (not for nothing did "In like Flynn" become a national catchphrase!). And enough marquee-worthy titles that in memory's ear ring like classics.

Flynn's stardom wasn't on a par with the richly ambiguous artistry of Cary Grant, or the deep, enduring heroic legacy of John Wayne, or the indelible character work amassed by Flynn's Warner Bros. contemporaries Humphrey Bogart, James Cagney, and Edward G. Robinson. Still, this most celebrated of Tasmanian devils was a one-of-a-kind, often raffishly entertaining icon of Hollywood in the '30s and '40s who played a big part in making the golden age glow. And for most of us, to say "swashbuckler" is to conjure up Flynn's wolfish grin above a rapier, director Mike Curtiz's wall-filling shadows of dueling men, and the symphonic, trumpet-filled music scores of Erich Wolfgang Korngold.

Stardom came swiftly. After two small-part assignments at Warners, the studio awarded Flynn the title role in Captain Blood (1935)--in retrospect, a sort of rough draft for his most beloved movie, The Adventures of Robin Hood (1938; not in this collection). The hero, an Irish-born physician wrongly convicted of treason during the reign of King James, is sentenced to a life of slavery in Jamaica. In short order he's charmed his new master's niece (the bright-eyed Olivia De Havilland, Maid Marian-to-be) and contrived an escape with his rebel comrades to become lusty, albeit passionately populist, buccaneers. The film's budget was clearly limited (there's a stark absence of horizons in the tropic and seagoing scenes), but director Curtiz's camerawork cunningly evokes the ever-present tilting and rolling of life aboard ship. Much-Oscar-nominated, the movie certified Flynn as the Douglas Fairbanks of the sound era--even in blond tresses and without what would become his signatory mustache.

If Captain Blood became the Flynn-Curtiz prototype for swashbucklers, The Sea Hawk was the last, luxury model off the line. Warners was always wired in to the zeitgeist, and this 1940 movie about English privateers saving Queen Elizabeth's island nation from the Spanish Armada does double duty as an in-Der-Fuehrer's-face allegory of the looming world war. No blank horizons here, and every wall sports a towering map of a world ripe for conquest. Slickness is all: Claude Rains and Henry Daniell are impeccably devious diplomats, and Sol Polito's black-and-white cinematography shifts into sultry sepiatone when the Sea Hawks sneak off to the tropics on a transatlantic espionage mission. (As for Flynn's mission, his swashbuckling would hereafter be confined to contemporary war pictures for the duration.)

He also saddled up for some lively Westerns. Dodge City (1939) is a knock-down, drag-out barn-burner in brassy Technicolor, with Flynn as a trail boss reluctantly turned town marshal. Curtiz directs yet again, with flair if not necessarily historical conviction, and the presence of Robin Hood costars Olivia De Havilland and Alan Hale (Little John) is virtually mandatory by this point. Ripe villainy is supplied by Bruce Cabot and--substituting, perhaps, for the un-frontier-worthy Basil Rathbone--the fox-faced Victor Jory.

They Died with Their Boots On (1942) is filled with spectacular Civil War and cavalry action, though its hagiographic treatment of George Armstrong Custer should set historically enlightened viewers on the warpath. Nonetheless, it features Flynn's most interesting performance in the collection. Whereas Curtiz was the ideal director for the star in boy's-own-adventure mode, Raoul Walsh elicited more nuanced work from him (see especially their wonderful Gentleman Jim, not included in this collection), and the scenes between Flynn and Olivia De Havilland achieve a tenderness that deepens with each reel. The magic-hour cinematography is by veteran John Ford cameraman Bert Glennon.

And that--apart from a new documentary feature, The Adventures of Errol Flynn--leaves The Private Lives of Elizabeth and Essex (1939). Sad to say, that doesn't leave much. Bette Davis (taking the role Flora Robson played in The Sea Hawk) and Flynn (as the English knight the not-so-Virgin Queen loved but feared as a rival) have zero chemistry; she delivers a mannered performance only a Bette Davis impersonator could love, and Flynn demonstrates how stiff he could be (no pun intended) when clueless about his material. In fairness to both, the movie is a static adaptation of a very repetitious and declamatory Maxwell Anderson play. Its inclusion here is notable only as a vast technical improvement on the long-ago VHS release. --Richard T. Jameson

Three Came Home