Wood, Sam

Essential Classics - Romances (Gone with the Wind / Casablanca / Doctor Zhivago)

This four-disc set, part of Warner's Essential Classics series, collects three truly classic films--Gone with the Wind, Casablanca, and Doctor Zhivago--in one inexpensive package. The drawback is you don't get the bonus second discs of the movies--or, in the case of the deluxe version of Gone with the Wind, the third and fourth discs (the movie of Zhivago is still on a two-sided "flipper" disc)--so if you're a documentary junky or if you simply have to see the Casablanca TV show, you'll want to stick with the individual releases. But this set does include the commentary tracks and any other material that was on the movie discs of those sets, and best of all, they have the great remastered pictures of the previous releases. So if you just want the movies looking better than ever with some bonus features thrown in for good measure, the price per movie makes this set an attractive bargain. --David Horiuchi

Discs 1 & 2: GONE WITH THE WIND Disc 3: CASABLANCA Disc 4: DOCTOR ZHIVAGOFormat: DVD MOVIE Genre: DRAMA UPC: 012569796300 Manufacturer No: 79630

Gone with the Wind (Four-Disc Collector's Edition) 1939

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

DVD Features: Disc 1 & 2 (The Film)
* Commentary by film historian Rudy Behlmer
* 5.1 Dolby Digital Soundtrack
* Original Mono Soundtrack

DVD Features: Disc 3
* The Making of a Legend: Gone With The Wind the acclaimed 1989 documentary made by Selznick's sons and narrated by Christopher Plummer (125 Minutes, Never-before-available on DVD)
* Restoring a Legend- An in-depth look at the restoration and Ultra-Resolution process utilized by Warner Bros. For this new DVD presentation
* Footage from 1939 Atlanta and 1961 Civil War Centennial Atlanta premieres
* The Old South - Fred Zinnerman directed this historical 1940 theatrical short, which was shown by MGM in theatres prior to the release of Gone With The Wind

DVD Features: Disc 4
* Melanie Remembers: Olivia de Havilland Recalls Gone With The Wind - All new documentary produced especially for this new DVD set, features Ms. de Havilland's personal recollections of the film
* Clark Gable: A King Remembered - A Portrait of the legendary actor's long and distinguished career as M-G-M's most famous leading man
* Vivien Leigh: Scarlett and Beyond hosted by Jessica Lange, this is an insightful look at Leigh's short and troubled life
* Mini documentaries covering lives and careers of the most prominent cast members

The Marx Brothers Collection (A Night at The Opera/A Day at The Races/A Night in Casablanca/Room Service/At the Circus/Go West/The Big Store)

When it comes to long-awaited treats like The Marx Brothers Collection, you can never get too much of a good thing. These seven comedies can't compare to the sheer lunacy of the five classics (The Cocoanuts, Animal Crackers, Monkey Business, Horse Feathers, and Duck Soup) that the Marx Bros. made for Paramount between 1929 and 1933 (available in The Marx Brothers Silver Screen Collection), but when uber-producer Irving Thalberg signed Groucho, Harpo, and Chico to an MGM contract in 1935 (by which time sibling costar Zeppo had become the team's off-screen manager), he knew just how to cure their box-office blues. As a result, A Night at the Opera and A Day at the Races were critical and commercial hits, lavishly produced according to the "Tiffany" studio's golden-age formula of glamorous set pieces and musical numbers combined with sensible plots that smoothly integrated snappy, well-written Marxian antics. Opera is the jewel of this set, with timeless scenes (the Stateroom, the Groucho-Chico contract negotiation, etc.) that rank among the greatest bits of silver-screen comedy... not to mention Groucho's flirtatious insults at Margaret Dumont's upper-crust expense.

A Day at the Races deserves near-equal acclaim ("Get-a your tootsie-fruitsie ice cream!"), but Thalberg's death in 1937 dealt a devastating blow, and the Marxes suffered from studio indifference, resulting in a succession of comedies that are timelessly enjoyable even as they fall prey to diminishing returns. By the time they made Go West and The Big Store, the Marxes were out of their element, and a few of the musical interludes indulge racial stereotypes that were common in the studio era. Despite this, these movies remain fresh and frantic, and Warner Bros. (holder of the RKO and MGM libraries) has done a marvelous job of packaging The Marx Brothers Collection to nostalgically approximate the filmgoing experience of the 1930s and '40s, with vintage shorts (Our Gang, Robert Benchley comedies, MGM cartoons, etc.) from the time of each feature's original release. Archival materials are slim but worthwhile (especially Groucho's 1961 interview with TV talk-show host Hy Gardner), and while Glenn Mitchell's commentary on Races is sparse and superficial, Leonard Maltin brings his usual superfan's enthusiasm and encyclopedic knowledge to bear on a full-length Opera commentary track. The new documentaries are somewhat redundant, but essential viewing for Marx Bros. neophytes. With all seven films presented in pristine condition, this is definitely a Marx Brothers Collection worth having. --Jeff Shannon

Contains: day at the races: go west/big store: night at the opera: night in casablanca: and room service/at the circus. Studio: Warner Home Video Release Date: 11/14/2006 Rating: Nr

For Whom the Bell Tolls

Hemmingways classic novel about love set against the spanish civil war. Includes trailer notes and bios. Studio: Uni Dist Corp. (mca) Release Date: 09/02/2003 Starring: Gary Cooper Ingrid Bergman Run time: 116 minutes Rating: Nr Director: Sam Wood

The Pride of the Yankees (Collector's Edition)

Studio: Tcfhe/mgm Release Date: 03/18/2008 Run time: 125 minutes Rating: Nr

When people say, "They don't make them like they used to," Pride of the Yankees is just the kind of film they're wistfully remembering. Nominated for 11 Academy awards (winning one for film editing), this handsome biographical drama of baseball legend Lou Gehrig is one of the most finely crafted films ever to emerge from Hollywood. Gary Cooper, that great oak of an American actor, progresses from the awkward and naively shy rookie to the seasoned "Iron Horse" first baseman of the New York Yankees without losing his idealism or modesty. Teresa Wright captures the same slice of Americana with her mixture of girl-next-door sweetness and urban sophistication as his supportive wife, Eleanor. After he's diagnosed with a degenerative neurological disease (known today simply as Lou Gehrig's disease), Cooper delivers Gehrig's famous retirement speech from the mound of Yankee Stadium with the courage and spirit of a winner: "I consider myself to be the luckiest man on the face of the earth." One of the finest sports films ever made, Pride is about more than simply baseball: Gehrig, the hard-working, uncommonly talented son of immigrant parents, is the living embodiment of the American Dream. Walter Brennan and Dan Duryea costar as a Greek chorus of sportswriters, and real-life Yankees Bill Dickey, Mark Koenig, Bob Meusel, and Babe Ruth appear as themselves. --Sean Axmaker

You'll be proud to introduce your kids to this film about virtue, courage, and an indomitable spirit. Like Treasure Island and Tom Sawyer, Pride should be required viewing for every family. Gary Cooper plays Lou Gehrig, the "Iron Horse" New York Yankee first baseman who became a record-setting legend in baseball. Sure, Cooper's a little long in the tooth to play a collegian, and he tries to capture Gehrig's innocence with a kind of eye-batting dopiness. But the last moments of the film, before Gehrig's final, famous farewell, transform the picture. Gehrig happens across a young man whom he had encountered years before in a children's hospital, and with this sequence, Pride becomes something more than a movie about innate talent and athleticism, or a lost era of America, it crystallizes into a film about (gulp!) human will. An absolute must. --Keith Simanton

Gone with the Wind (Two-Disc Edition)

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

Command Decision

Command Decision (1949) takes on the kind of questions that Hollywood could never have raised during the war--questions about the cruel responsibilities of command, including the responsibility to spend a great many lives to save thousands more in the future. In 1943, from an American airbase in the English countryside, a campaign of daylight bombardment is being waged against aircraft factories in Germany. For much of the way to their targets and back, the bombers are bereft of fighter escort and at the mercy of the Luftwaffe. The mortality rate is shocking--but perhaps, for reasons that are not widely known, necessary. Clark Gable (himself an air war veteran) plays the commandant who has to call the next day's target, and the film never leaves command HQ; the closest we get to combat is a scene of an untrained crewman trying to land a crippled plane. Command Decision is earnest but outshone by the similarly focused Twelve O'Clock High. The main problem is that it's based on--and essentially remains--a play, static in setting and schematic in its arguments. Still, those arguments should be heard. --Richard T. Jameson

Studio: Warner Home Video Release Date: 06/05/2007 Run time: 111 minutes Rating: Nr

Gone with the Wind

David O. Selznick wanted Gone with the Wind to be somehow more than a movie, a film that would broaden the very idea of what a film could be and do and look like. In many respects he got what he worked so hard to achieve in this 1939 epic (and all-time box-office champ in terms of tickets sold), and in some respects he fell far short of the goal. While the first half of this Civil War drama is taut and suspenseful and nostalgic, the second is ramshackle and arbitrary. But there's no question that the film is an enormous achievement in terms of its every resource--art direction, color, sound, cinematography--being pushed to new limits for the greater glory of telling an American story as fully as possible. Vivien Leigh is still magnificently narcissistic, Olivia de Havilland angelic and lovely, Leslie Howard reckless and aristocratic. As for Clark Gable: we're talking one of the most vital, masculine performances ever committed to film. --Tom Keogh

Vivien Leigh is Scarlett to Clark Gable's Rhett in cinema's greatest epic of passion and adventure. With its immortal cast, magnificent cinematography and sweeping score, this cherished classic continues to thrill audiences today. Year: 1939

A Night at the Opera

Absolutely one of the most hilarious movies ever made, this classic farce featuring the outrageous genius of the Marx Brothers is a chance to see some of their best bits woven together seamlessly in a story of high society, matchmaking, and chaos. In order to bring two young lovers together, brothers Groucho, Chico, and Harpo must sabotage an opera performance even as they try to pass themselves off as stuffed shirts. Featuring the classic sequence where Groucho piles as many people as possible into a ship's stateroom, A Night at the Opera is a deliciously zany romp worth watching again and again. --Robert Lane

A near riot on a ship, a New York scandal and an evening of insanity in a concert hall are just some of the fall out from Groucho's outrageous business schemes to bring Milan's finest opera stars to Manhattan. Year: 1935 Director: Sam Wood Starring: Groucho Marx, Chico Marx, Harpo Marx, Kitty Carlisle, Allan Jones

Goodbye, Mr. Chips

An aged teacher and former headmaster of a boarding school recalls his career and his personal life over the decades. Studio: Warner Home Video Release Date: 07/12/2005 Starring: Robert Donat Terry Kilburn Run time: 114 minutes Rating: Nr Director: Sam Wood

One more terrific film from a terrific year for movies--1939, the year of Gone with the Wind, The Wizard of Oz, and Stagecoach, among others--Sam Wood's Goodbye Mr. Chips is a deeply stirring work starring Robert Donat as the old schoolmaster who looks back upon his life. Told mostly in flashbacks, the film wraps itself around a history of an older England as seen through the generations of boys who pass through Mr. Chips's classroom. Greer Garson is her usual classy, sexy-intelligent self as Donat's wife, their earlier courtship one of the film's highlights. Get out the Kleenex for this one. --Tom Keogh