Robson, Mark

The Inn of the Sixth Happiness

An epic and extraordinary true story--or, at least, an extraordinary story based on a novel (Alan Burgess's The Small Woman) based on a true story. Gladys Aylward (an improbably mesmerizing Ingrid Bergman) is a British would-be missionary with an obsession about China. As she has no experience, the Missionary Society won't let her go, but she goes anyway, alone, to a remote northern province. She is hated, then loved; finally she becomes both a significant political figure and the heroine of a miraculous escape in which she shepherds 100 children to safety across the mountains just ahead of a Japanese invasion. Curt Jurgens is suitably stony as Lin Nan, the half-Dutch, half-Chinese military officer who falls in love with her, and a visibly ailing Robert Donat (who died before this, his final film, was released) is the wily local mandarin who sees and makes use of her extraordinary abilities. Directed by Mark Robson, The Inn of the Sixth Happiness is a sweeping, stirring tearjerker, a big tale told in a big landscape with acres of orchestrated strings by Malcolm Arnold. A beautiful and beautifully made film that's a classic of the "everyone said I couldn't but I did it anyway" genre. --Richard Farr

All her life Englishwoman Gladys Aylward knew that China was the place where she belonged. Not qualified to be sent there as a missionary, Gladys works as a domestic to earn the money to send herself to a poor, remote village. There she eventually lives a full and happy life: running the inn, acting as "foot inspector", advising the local Mandarin and even winning the heart of mixed race Captain Lin Nan. But Gladys discovers her real destiny when the country is invaded by Japan and the Chinese children need her to save their lives. Based on a true story.

The Bridges at Toko-Ri

A powerful study of courage in the face of irrational odds, The Bridges at Toko-Ri (based on James Michener's novel) is no less patriotic than many other war films, but it dispenses with gung-ho bluster to focus instead on the very real and tragic consequences of war. This is also one of the first films to openly criticize the morality of the Korean War while praising the honor and integrity of the men who fought it. Lt. Harry Brubaker (William Holden) is one of those men, with one difference: A lawyer with a loving wife (Grace Kelly) and two young daughters, he's been recalled to duty from the Navy Reserve, and reluctantly accepts his mission to fly with a bomber-jet squadron over one of the Communists' most heavily protected targets--the strategically vital bridges in the Korean canyon of Toko-Ri.

Brubaker has his own noble protection, from his fellow pilots (including Charles McGraw in a fine supporting role), his admiring admiral (Frederic March), and from the helicopter scouts (Mickey Rooney and Earl Holliman) who've saved his life on previous missions. But his ambivalence--and his fear that the Toko-Ri mission will be his last--is what gives the film its potent emotional impact. Holden is perfect in his role, and director Mark Robson steadfastly avoids any false sentiment or macho theatrics that would diminish the film's devastating climax. The Bridges at Toko-Ri is also a superlative showcase for Naval operations; the aerial sequences earned an Oscar for special effects, and complete Navy cooperation assures total authenticity in the "flat-top" aircraft carrier scenes. For these and other reasons, this will remain a timeless classic for anyone seeking to comprehend the emotional maelstrom of warfare. --Jeff Shannon

Valley of the Dolls (Special Edition)

They don't make 'em like this anymore. Well, John Waters might, if he ever had a big enough budget. A steamy "inside look" at the alternately sleazy and glamorous world of catfighting, backbiting show-biz starlets, this Hollywood hit from the bestselling novel by Jacqueline Susann is a high-gloss camp artifact--a time capsule (or some kind of capsule, anyway)--from the screwy '60s, when a broad was a broad, a bitch was a bitch (whether "her" name was Neely O'Hara or Ted Casablanca), and a "doll" was a prescription drug. These dames of whine and poses obsessed over their bust lines, booze, and barbiturates. The once-shocking and scandalous language and behavior of these Broadway babes has been eclipsed by Dallas, Dynasty, and Melrose Place, but time has only enhanced the stature of Valley of the Dolls as a classic--and it still puts Showgirls to shame. With Patty Duke, Susan Hayward, Sharon Tate, Lee Grant, Barbara Parkins, and Martin Milner (and juicy, scene-chewing dialogue such as the infamous: "They drummed you out of Hollywood, so you come crawling back to Broadway. But Broadway doesn't go for booze and dope--now get out of my way, I've got a man waiting for me!"), Valley of the Dolls is the Mount Rushmore of backstage movie melodramas. --Jim Emerson

Lured by their dreams of fame and fortune three ambitious young women enter the world of show business and discover how easy it is to sink into a celebrity nightmare of ego alcohol and 'pills' - the beloved "dolls." A prim New Englander (Barbara Parkins) unexpectedly skyrockets from her job as secretary in a talent agency to a glamorous TV model. A determined singer (Patty Duke) finds that Hollywood success can also spell self-destruction. And a beautiful sex symbol (Sharon Tate) is torn between the money commands and the shame of feeling exploited. Based on Jacqueline Susann's phenomenal best-seller about the underside of Hollywood this fascinating melodrama was once seen as a shocking behind-the-scenes look at how show business creates instant stars destroys romances and changes personalities forever.System Requirements:Running Time: 123 MinFormat: DVD MOVIE Genre: DRAMA Rating: Unknown UPC: 024543246367 Manufacturer No: 2234636

Von Ryan's Express (Two-Disc Collector's Edition)

Forget Indiana Jones. This 1965 high adventure stars Frank Sinatra as the leader of a mass escape from a World War II POW camp in Italy. That mission accomplished, Old Blue Eyes has sundry adventures camouflaging the freed men as German soldiers, trying to fool the Gestapo, and finally doing battle with enemy planes and ground troops while trying to get a hijacked train through a blocked tunnel. Sinatra is in great form and director Mark Robson handles the endless chain of action set-pieces with panache. A great pulse-quickener. --Tom Keogh

Ryan an American POW leads his fellow prisoners on a dangerous escape from the Germans in Italy. Having seemingly made errors of judgement Ryan has to win the support of the mainly British soldiers he is commanding.System Requirements:Running Time: 117 Mins.Format: DVD MOVIE Genre: DRAMA Rating: PG UPC: 024543440611 Manufacturer No: 2244061

Peyton Place

Nominated for nine Academy Awards in 1957, Peyton Place has become synonymous with torrid soap opera. Though the novel by Grace Metalious is even more sensational, the movie provides plenty of tantalizing story turns--secrets, adultery, rape, bitter parents, frustrated teenagers, suicide, and murder. Multiple storylines deftly interweave: Allison MacKenzie (Diane Varsi), an ambitious young girl struggling with the neurotic fears of her mother (Lana Turner, in a career-reviving performance) and the neurotic fears of the boy she loves (Russ Tamblyn), while her best friend Selena Cross (Hope Lange) fights off the brutal advances of her drunken stepfather. The movie had to sanitize the novel's New England town in order to get some of the more unsavory plot turns past the censors; ironically, the glossy "normal" surface makes these events all the more shocking, paving the way for David Lynch's Blue Velvet and Twin Peaks. --Bret Fetzer

Peyton Place is the sensitive and poignant story of coming of age in a small New England village whose peaceful facade hides love and passion, scandal and hypocrisy.

From the Terrace

From the Terrace is one of Paul Newman's lesser-known films, but it's a worthy showcase for the actor's developing screen persona. Like Butterfield 8, this is a slick, prestigious adaptation of a John O'Hara novel, about loose morals and forbidden love among the wealthy elite. Director Mark Robson lacks the mastery of melodrama that Douglas Sirk would've brought to this material, but he's still on target with O'Hara's tale of a prodigal son (Newman) who rejects his late father's steel mill in favor of big-business conquest, only to find his trophy wife (superbly played by Newman's off-screen wife, Joanne Woodward) straying into the arms of her former fiancé, while he falls in love with a socialite (Ina Balin) with whom he's much more compatible. A well-tuned drama of marital discord and unchecked ambition, From the Terrace was sharply adapted by Ernest Lehman between the triumphs of North by Northwest and West Side Story, and Newman's brooding performance gave him a solid boost to his iconic role in the 1961 classic The Hustler. --Jeff Shannon

Paul Newman portrays a young man whose struggle for success threatens his personal happiness, in this well-scripted screen version of John O'Hara's best-selling novel. Having never known his father's love or respect, Alfred Eaton (Newman) sets out to prove himself in the business world. Marrying the "right" woman (Joanne Woodward), he works unceasingly, but is ultimately confronted with crises and choices that force him to rethink his priorities. Co-starring Myrna Loy as Alfred's alcoholic mother, Leon Ames as his embittered father, and Ina Balin as the woman who might bring him genuine happiness, From The Terrace is an absorbing tale of ambition, power and love fueled by sharp dialogue, complex characterizations and keen insight into the human heart.

Earthquake

The disaster-movie trend of the early and mid-1970s was starting to wear out its welcome when Earthquake was released in 1974. It's another one of those enjoyably mindless all-star marathons, and the title tells you all you need to know about the plot. Charlton Heston offers his trademark brand of macho courage as the citizens of Los Angeles brace for the Big One--an earthquake that rattles the city to its crumbling foundation. It's got all the sophistication of a Love Boat episode, but the movie's momentum scores high marks (at least on the Richter scale), and the Oscar-winning sound design and special visual effects are still impressive, especially when you consider that advanced computer-graphics effects were still two decades in the future. Genevieve Bujold adds a touch of class to the all-star ensemble, and of course, what self-respecting disaster flick would be complete without a role for George Kennedy? In more ways than one, this cheesy movie rocks! (If you want to re-create the movie's original sound process known as "Sensurround," you'll just have to crank up the bass and subwoofer on your home theater system until plaster cracks and windows shatter!) --Jeff Shannon

This essential 1970s disaster epic with a script co-authored by Mario Puzo (THE GODFATHER) centers around a devastating earthquake in Los Angeles and the shocking aftermath it causes. The all-star cast is led by Charleton Heston as a construction engineer whose marital problems supply him with plentiful stress before the quake even hits. The film was presented theatrically with a sound process known as "Sensurround" which caused cinemas to physically vibrate during quake sequences.System Requirements:Running Time 123 Mins.Format: DVD MOVIE Genre: DRAMA Rating: PG UPC: 025193046925 Manufacturer No: 30469

The Val Lewton Horror Collection with Martin Scorsese Presents Val Lewton Documentary (Cat People / The Curse of the Cat People / I Walked with a Zombie ... / The Seventh Victim / Shadows in the Dark)

"He rescued me and restored my soul" Boris Karloff said about working Val Lewton the Hollywood genius who fused light and dark the bizarre and everyday into hypnotic gems that transcended the horror genre. Martin Scorsese produced and narrates this documentary that features insightful analysis on screen interviews with Lewton collaborators and--best of all--clip after clip from his work: The Cat People (Lewton's RKO debut which singlehandedly pulled the struggling studio into the black) The 7th Victim The Body Snatcher I Walked with a Zombie and many more. The studio brass gave Lewton shoestring budgets lurid titles and a degree of creative freedom. Lewton gave the world art.System Requirements:Running Time: 87 minutesFormat: DVD MOVIE Genre: DOCUMENTARIES/BIOGRAPHY Rating: NR UPC: 085391156727 Manufacturer No: 115672

Lost Command

The Val Lewton Horror Collection (Cat People / The Curse of the Cat People / I Walked with a Zombie / The Body Snatcher / Isle of the Dead / Bedlam / The Leopard Man / The Ghost Ship / The Seventh Victim / Shadows in the Dark)

Val Lewton a famous RKO Radio Pictures producer redefined the horror genre with low-budget high-box office films. Now available are nine of these horror classics on DVD in the all new Val Lewton Horror Collection. Exclusive to the collection are a new documentary on the producer and 3 of the 9 films.Format: DVD MOVIE Genre: TELEVISION/CLASSIC UPC: 053939727029

Val Lewton's name is synonymous with the subtlest, most mysterious brand of horror filmmaking in Hollywood's golden age, and the nine horror classics he produced at RKO between 1942 and 1946 constitute the most remarkable cycle of creativity in B-movie history. (For the record, the Lewton/RKO legacy also includes two non-horror entries, Youth Runs Wild and Mademoiselle Fifi.)

Before becoming a film producer, the Russian-born Lewton was a prolific writer of pulp fiction, nonfiction, and a couple of pornographic novels. He also worked for years as assistant to David O. Selznick, a legendary producer with a distinctive personal signature--and a flair for grandiosity Lewton himself never emulated. It's ever so revealing that, on Selznick's Gone With the Wind, it was Lewton who came up with the idea for the famous rising shot of the Atlanta railyard filled with Southern wounded, with the Confederate flag streaming above--only he idly proposed it as a joke, never imagining that anyone would actually film such a spectacularly ambitious scene.

In 1942 Lewton left Selznick to undertake a series of horror films for RKO Radio Pictures. The studio would give him a budget around $200,000 per picture and a title RKO deemed to be grabby; Lewton would have a free hand as long as he stayed on budget, used the title, and gave the studio a salable movie of second-feature length (around 70 minutes). Over time, Lewton would increasingly have trouble with studio supervisors, but RKO was the right place for him. Although low in the pecking order among Hollywood majors, the studio made up for its lack of MGM-style glamour and Warner Bros. grit-and-gusto by working in a finely filigreed, almost miniaturist style. The art department under Van Nest Polglase and Albert S. D'Agostino was capable of exquisite artisanry, and in Nicholas Musuraca, a master of low-key cinematography and supple camerawork, Lewton found an invaluable collaborator in creating moody shadow-worlds where what you couldn't see was more disquieting than what you could.

He was also fortunate in having Jacques Tourneur to direct his first three efforts (they had teamed years earlier on the Bastille-storming sequence for Selznick's A Tale of Two Cities). They scored first time out of the gate with both a popular hit and a masterpiece: Cat People (1942). The story involves a pretty young Serbian woman in Manhattan (Simone Simon) convinced that her ancestors had practiced animal worship during the Middle Ages--and that she herself might shape-change into a lithe, ravening panther if her passions were aroused. The film is uncannily successful in keeping the viewer guessing whether this is a phobia borne of morbid obsession and sexual repression, or a genuine, horrific possibility. There are two sequences of matchless artistry and almost unbearable suspense--a lonely, echoing walk through pools of lamplight alongside Central Park, and a late-night swim in a deserted indoor pool--that build to throat-grabbing climaxes and remain milestones in the history of screen horror.

Many critics feel that the second Lewton-Tourneur endeavor, I Walked With a Zombie (1943), is both men's finest work. The title is so lurid that the heroine-narrator (Frances Dee) must shrug it off with her very first words, yet the movie is an amazingly delicate and poetic piece of spellbinding--nothing less than a reworking of Jane Eyre on a voodoo island in the Caribbean. Other horror aficionados prefer the more mainline ferocity of The Leopard Man (1943), an adaptation of a Cornell Woolrich story about a serial killer strewing corpses along the U.S.-Mexican border. Although on one level this is the Lewton film that veers closest to conventional mystery-suspense, there's no end of unsettling ambiguity (another black panther on the loose!) and hints of occultism and religious mania.

RKO promoted Tourneur to A-movies after this; Lewton would never again have so masterly a directorial partner. Yet in a weird sense (which is only appropriate), this underscores how much Lewton--with his wealth of arcane historical lore and storytelling archetypes, his quiet, patient attention to detail, and his taste for oblique narrative--was the essential auteur of all his films. Promoting first Mark Robson and then Robert Wise from the editing table, Lewton went on to make the deeply mysterious The Seventh Victim (1943) and The Ghost Ship (1943), two films in which such grotesque elements as Satan worship and murderous psychopathology are folded away inside eerily drifty, almost becalmed sleepwalks into eternal night. The Seventh Victim--a movie populated with more walking dead than Lewton's out-and-out zombie picture--is one of the cinema's supreme meditations on the ways lives brush against one another in the spaces of a great, impersonal city. And The Ghost Ship (the rarest of Lewton's films, owing to a ruinous copyright suit) is like a fever dream from which the viewer never awakens.

That's enough for a legacy, surely. Yet there remain The Curse of the Cat People (1944), a sequel that is not quite a sequel, a pretend-horror movie that's really a contemplation of the fragility of childhood; Isle of the Dead (1945), a doomed reverie about travelers who escape the Goya-esque chaos of a 19th-century war only to be beset with plague on a miasma-shrouded island; The Body Snatcher (1945), an atmospheric Robert Louis Stevenson adaptation that invokes the grisly history of graverobbers Burke and Hare, and supplies a together-again-for-the-last-time occasion for Boris Karloff and Bela Lugosi; and Bedlam (1946), the Hogarth painting come to life to portray the real-life horrors of an 18th-century insane asylum. Bedlam's critical and box-office failure ended Lewton's quasi-independent status at RKO; he would live to make only three other, unsuccessful films.

James Agee, the premier American film critic of the 1940s, reckoned that Val Lewton was one of the three foremost creative figures in Hollywood--an assessment yet more impressive when we consider that the other two were Charles Chaplin and Walt Disney. His greatest films--Cat People, I Walked with a Zombie, The Seventh Victim--are towering achievements, and even his half-realized projects are haunting experiences, the products of an utterly distinctive sensibility. This is an extraordinary collection. --Richard T. Jameson