Ken Russell

Tommy

If you've ever wanted to hear Jack Nicholson sing (or try to) or marvel at the sight of Ann-Margret drunkenly cavorting in a cascade of baked beans, Tommy is the movie you've been waiting for. As it turns out, the Who's brilliant rock opera is sublimely matched to director Ken Russell's penchant for cinematic excess, and this 1975 production finds Russell at the peak of his filmmaking audacity. It's a fever-dream of musical bombast, custom-fit to the thematic ambition of Pete Townshend's epic rock drama, revolving around the titular "deaf, dumb, and blind kid" (played by Who vocalist Roger Daltrey) who survives the childhood trauma that stole his senses to become a Pinball Wizard messiah in Townshend's grandiose attack on the hypocrisy of organized religion.

The story is remarkably coherent considering the hypnotic dream-state induced by Russell's visuals. Tommy's odyssey is rendered through wall-to-wall music, each song representing a pivotal chapter in Tommy's chronology, from the bloodstream shock of "The Acid Queen" (performed to the hilt by Tina Turner) to Nicholson's turn as a well-intentioned physician, Elton John's towering rendition of "Pinball Wizard," and Daltrey's epiphanous rendition of "I'm Free." Other performers include Eric Clapton and (most outrageously) the Who's drummer Keith Moon, and through it all Russell is almost religiously faithful to Townshend's artistic vision. Although it divided critics when first released, Tommy now looks likes a minor classic of gonzo cinema, worthy of the musical genius that fueled its creation. --Jeff Shannon

Altered States

It's easy to understand why the late, great screenwriter Paddy Chayefsky removed his name from the credits of Altered States and substituted the pseudonym Sidney Aaron. After all, Chayefsky was a revered dramatist whose original source novel was intended as a serious exploration of altered consciousness, inspired by the immersion-tank experiments of Dr. John Lilly in the 1970s. In the hands of maverick director Ken Russell, however, Altered States became a full-on sensory assault, using symbolic imagery and mind- blowing special effects to depict one man's physical and hallucinatory journey through the entire history of human evolution. It's a brazenly silly film redeemed by its intellectual ambition--a dazzling extravaganza that's in love with science and scientists, and eagerly willing to dive off the precipice of rationality to explore uncharted regions of mind, body, and spirit. William Hurt made his bold film debut as the psycho-physiologist who plays guinea pig to his own experiments; Blair Brown plays his equally brilliant wife, whose devotion is just strong enough to bring him back from the most altered state imaginable. From the eternal channels of sense memory to the restorative power of a loving embrace, this movie rocks you to the birth of the universe and back again. And while it's clearly not the story that Chayefsky wanted on the screen, the directorial audacity of Ken Russell makes it one heck of a memorable trip. --Jeff Shannon

Women in Love

Before director Ken Russell's name became synonymous with cinematic extravagance and overkill, he actually directed what is one of the most passionate and involving adaptations of D.H. Lawrence in recent memory. Oliver Reed and Alan Bates star as friends who fall in love with a pair of sisters (Jennie Linden and Glenda Jackson, who won an Oscar for the role). But the relationships take markedly different directions, as Russell explores the nature of commitment and love. Bates and Linden learn to give themselves to each other; the more withdrawn Reed cannot, finally, connect with the demanding and challenging Jackson. Shot with great sensuality, it was surprisingly frank for its period (1970) and includes one of the most charged scenes in movie history: Bates and Reed as manly men, wrestling nude by firelight. --Marshall Fine

This compelling rendition of the literary masterpiece is a visual stunner and very likely the mostsensuous film ever made (N.Y. Daily News). Glenda Jackson garnered the first of her two Oscars®* for her superb performance in director Ken Russell and writer Larry Kramer's brilliant exploration of the complexities of sexuality and romantic love. Growing up in the sheltered society of 1920s England, Gudrun (Jackson) and Ursula (Jennie Linden) know little about the ways of love. So when they pursue thrilling, torrid affairs with a notorious playboy (Alan Bates) and abrooding philanderer (Oliver Reed), what they discover about their lovers, and themselves, may be more all-consumingand dangerously volatilethan they ever dared imagine.

Crimes of Passion

The crazy man of British film, Ken Russell (Women in Love, Whore), hit the apex of guilty-pleasure absurdity with Crimes of Passion, a dark if pointed (and ultimately poignant) walk on the wild side. Although this schizophrenic, neon-blurred traipse through the red-light district of Los Angeles, courtesy of hooker and guide China Blue (Kathleen Turner), never made much money at the box office, it still managed to eke out a cult following. Barry Sandler's script felt a lot like a play with its rather stilted (but furiously funny) dialogue between Turner and Anthony Perkins, who plays an obsessed and crazed stalker/reverend who believes he is China Blue's savior. Their story is contrasted against that of Bobby Grady (John Laughlin), who is married to the materialistic Amy (Annie Potts). After taking a second job as a private investigator for a dress manufacturer who thinks his lead designer, Joanna Crane (Turner again), is selling patterns to a rival, Bobby becomes mired in a netherworld he never imagined. But it's Bobby who becomes Joanna/China Blue's true savior; it seems Joanna's husband cheated on her and she created the alter ego, China Blue, in order to control her world by making men dependent on her sexuality. The facade cracks after Bobby hits the scene. Russell's film is bawdy and even daring, and the unrated version on DVD features a couple of scenes (one with China Blue, a cop, and his nightstick, as well as some flashes of pornography) that were not included in the film's original release. Also for die-hard fans, Sandler originally ended the script at a more ambiguous place in the climactic scene in Joanna's apartment. An "epitaph" with Bobby at an encounter group was added to appease the distributor, who wanted a more upbeat, "Hollywood" conclusion. Sandler's original idea gave the film a real wallop, but despite the change, Crimes of Passion remains an original camp classic. --Paula Nechak

Billion Dollar Brain

Secret agent Harry Palmer (OscarÂ(r)-winner Michael Caine - Best Supporting Actor, The Cider House Rules, 1999; Hannah and Her Sisters, 1986) is blackmailed into working for MI5 again on his wildest - and most dangerous - assignment yet. An insane oil billionaire, intent on destroying Communism by starting a new world war, is close to achieving his goal with the help of the world's largest, and mostpowerful, computer. Harry is the only man who may be able to stop him; but as he races from London to Finland to Latvia to Texas and back, he must determine who of his supposed allies (a sexy Russianagent, a Soviet colonel and an American mercenary) is the one he can actually trust!

The Lair of the White Worm

Hugh Grant Amanda Donohoe and Catherine Oxenberg star in this mix of heart-stopping horror and campy humor. James D'Ampton (Grant) returns to his country castle in England. Legend has it that James' distant ancestor once slayed the local dragon-a monstrous white worm with a fondness for the sweet flesh of virgins. The young Lord dismisses the legend as folklore until archaeology student Angus Flint unearths a massive reptilian skull and the ancient worship site of a pagan snake god on James' property. When James' virtuous girlfriend Eve (Oxenburg) suddenly disappears he and Angus set out to investigate the foreboding cavern said to be the worm's lair where a centuries-old mystery begins to uncoil. Features: WIdeScreen version 2.0 Dolby Stereo Surround Scene AccessInteractive MenusSystem Requirements:Run Time: 93 MinFormat: DVD MOVIE Genre: HORROR Rating: R UPC: 012236125600 Manufacturer No: 12560

Wittily updated from one of Dracula author Bram Stoker's lesser-known horror novels, The Lair of the White Worm is a camp classic that only Ken Russell could have delivered. It's got all the perversity one expects from the bombastic director of Tommy and Altered States: sensible plotting, intelligent dialogue laced with double entendre, graphic imagery with Boschian intensity, and a mischievous disregard for good taste and decorum. In other words, it's heretically hilarious, especially when skeptical Lord D'Ampton (fresh-faced Hugh Grant, in one of his earliest films) begins to suspect that seductive neighbor Sylvia (Amanda Donohoe, game for anything) is connected to the local legend of a monstrous serpent that feeds on sacrificial virgins. Evidence mounts with the help of a local archaeologist (Peter Capaldi) and two endangered sisters (Catherine Oxenberg, Sammi Davis), and Russell infuses Stoker's grisly plot with his inimitable brand of blasphemy, including a gouged eyeball, a venom-splattered crucifix, Roman soldiers raping nuns (in a delirious hallucination sequence), and some of the funniest one-liners since Young Frankenstein. Prudes beware; everyone else…enjoy! --Jeff Shannon

Tommy (Superbit Collection)

If you've ever wanted to hear Jack Nicholson sing (or try to) or marvel at the sight of Ann-Margret drunkenly cavorting in a cascade of baked beans, Tommy is the movie you've been waiting for. As it turns out, the Who's brilliant rock opera is sublimely matched to director Ken Russell's penchant for cinematic excess, and this 1975 production finds Russell at the peak of his filmmaking audacity. It's a fever-dream of musical bombast, custom-fit to the thematic ambition of Pete Townshend's epic rock drama, revolving around the titular "deaf, dumb, and blind kid" (played by Who vocalist Roger Daltrey) who survives the childhood trauma that stole his senses to become a Pinball Wizard messiah in Townshend's grandiose attack on the hypocrisy of organized religion.

The story is remarkably coherent considering the hypnotic dream-state induced by Russell's visuals. Tommy's odyssey is rendered through wall-to-wall music, each song representing a pivotal chapter in Tommy's chronology, from the bloodstream shock of "The Acid Queen" (performed to the hilt by Tina Turner) to Nicholson's turn as a well-intentioned physician, Elton John's towering rendition of "Pinball Wizard," and Daltrey's epiphanous rendition of "I'm Free." Other performers include Eric Clapton and (most outrageously) the Who's drummer Keith Moon, and through it all Russell is almost religiously faithful to Townshend's artistic vision. Although it divided critics when first released, Tommy now looks likes a minor classic of gonzo cinema, worthy of the musical genius that fueled its creation. --Jeff Shannon

The Superbit titles utilize a special high bit rate digital encoding process which optimizes video quality while offering a choice of both DTS and Dolby Digital 5.1 audio. These titles have been produced by a team of Sony Pictures Digital Studios video, sound and mastering engineers and comes housed in a special package complete with a 4 page booklet that contains technical information on the Superbit process. By reallocating space on the disc normally used for value-added content, Superbit DVDs can be encoded at double their normal bit rate while maintaining full compatibility with the DVD video format.

Prisoner of Honor

Ken Russell at the BBC

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