Classics

To Catch a Thief (Special Collector's Edition)

Cary Grant plays John Robie reformed jewel thief who was once known as "The Cat" in this suspenseful Alfred Hitchcock classic thriller. Robie is suspected of a new rash of gem thefts in the luxury hotels of the French Riviera and he must set out to clear himself. Meeting pampered heiress Frances (Grace Kelly) he sees a chance to bait the mysterious thief with her mother's (Jessie Royce Landis) fabulous jewels. His plan backfires however but France who believes him guilty proves her love by helping him escape. In a spine-tingling climax the real criminal is exposed. System Requirements:Runtime: 106 minsFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: NR UPC: 097361207346 Manufacturer No: 120734

One of the creamiest of all of Alfred Hitchcock's films, To Catch a Thief is something like pure pleasure. Begin ticking off the ingredients of this 1955 movie and you'll get the picture: Cary Grant, Grace Kelly, the French Riviera, champagne, fireworks, cat burglary. Mmm, it already feels good. Grant plays a retired thief who becomes a suspect when valuable things begin disappearing along the Cote d'Azur. The diamonds hanging from the well-sculpted neck of Grace Kelly would appear to be the newest target, but it's just possible that actual romance might also be wafting through the Mediterranean air. The lightness of the story keeps To Catch a Thief from being one of the masterpieces of Hitchcock's great run in the 1950s, but it is very difficult to cavil about the sunny locations, Grant's elegant aplomb, and Kelly's shrewd withholding of her sexual interest beneath the ice-queen exterior. John Michael Hayes provided the amusing script (which stretches double entendres to their limit, especially in a romantic discussion of fried chicken), Edith Head the splendid costumes. If the movie has any weight at all, it's in proving that at this point in his career Hitchcock was consumed with charting the tricky terrain of male-female courtship; if issues of trust are treated here with a light touch, they nevertheless matter as much as the mechanical working-out of Mr. H's suspense stories. --Robert Horton

Laura (Fox Film Noir)

This silky smooth film noir pits gruff police detective Dana Andrews, stiff and blunt in his street-bred manners, against a cultured columnist and acidic wit (Clifton Webb at his prissiest) in a battle of wits during a murder investigation. The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment. Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as the object of every man's gaze and the target of a killer. Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries. In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder. Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard. --Sean Axmaker

Nominated for five Academy Awards®, this stylish mystery thriller twists and turns with new suspects, new evidence and unexpected revelations. A wealthy journalist (Clifton Webb) becomes entranced with a beautiful young career woman named Laura (Gene Tierney). But shortly before her wedding to a dashing young playboy (Vincent Price), she is found murdered. Stirred by her portrait, the detective (Dana Andrews) assigned to her case finds that he, too, is strangely under Laura's spell.

Witness For the Prosecution

Billy Wilder cowrote and directed this brilliant 1957 mystery based on Agatha Christie's celebrated play about an aging London barrister (Charles Laughton) who's preparing to retire when he takes the defense in the most vexing murder case of his distinguished career. In his final completed film (he died of a heart attack less than a year later), Tyrone Power plays the prime suspect in the murder of a wealthy widow, and Marlene Dietrich plays the wife of the accused, whose testimony--and true identity--holds the key to solving the case. A classic of courtroom suspense, Witness for the Prosecution is one of those movies with enough double-crossing twists to keep the viewer guessing right up to the very end, when yet another surprise is deftly revealed. This being a Billy Wilder film, the dialogue is first-rate and the acting superb, with both Laughton and his offscreen wife Elsa Lanchester (playing the barrister's pesty nurse) winning Academy Awards for their performances. Although later films would concoct even more complicated courtroom scenarios, this remains one of the best films of its kind and a model for all those films that followed its lead. --Jeff Shannon

Tyrone Power, Marlene Dietrich and Charles Laughton star in this brilliantly made courtroom drama (The Film Daily) that left audiences reeling from its surprise twists and shocking climax. Directed by Billy Wilder, scripted by Wilder and Harry Kurnitz and based on Agatha Christie's hit London play, this splendid, six-time Oscar-nominated* classic crackles with emotional electricity (The New York Times) and continues to keep movie lovers riveted until the final, mesmerizing frame. When a wealthy widow is found murdered, her married suitor, Leonard Vole (Power), is accused of the crime. Vole's only hope for acquittal is the testimony of his wife (Dietrich) but his airtightalibi shatters when she reveals some shocking secrets of her own! *1957: Best Picture, Actor (Laughton), Supporting Actress (Elsa Lanchester), Director, Sound, Film Editing

North By Northwest

A strong candidate for the most sheerly entertaining and enjoyable movie ever made by a Hollywood studio (with Citizen Kane, Only Angels Have Wings and Trouble in Paradise running neck and neck). Positioned between the much heavier and more profoundly disturbing Vertigo (1958) and the stark horror of Psycho (1960), North by Northwest (1959) is Alfred Hitchcock at his most effervescent in a romantic comedy-thriller that also features one of the definitive Cary Grant performances. Which is not to say that this is just "Hitchcock Lite"; seminal Hitchcock critic Robin Wood (in his book Hitchcock's Films Revisited) makes an airtight case for this glossy MGM production as one of The Master's "unbroken series of masterpieces from Vertigo to Marnie." It's a classic Hitchcock Wrong Man scenario: Grant is Roger O. Thornhill (initials ROT), an advertising executive who is mistaken by enemy spies for a U.S. undercover agent named George Kaplan. Convinced these sinister fellows (James Mason as the boss, and Martin Landau as his henchman) are trying to kill him, Roger flees and meets a sexy Stranger on a Train (Eva Marie Saint), with whom he engages in one of the longest, most convolutedly choreographed kisses in screen history. And, of course, there are the famous set pieces: the stabbing at the United Nations, the crop-duster plane attack in the cornfield (where a pedestrian has no place to hide), and the cliffhanger finale atop the stone faces of Mount Rushmore. Plus a sparkling Ernest Lehman script and that pulse-quickening Bernard Herrmann score. What more could a moviegoer possibly desire? --Jim Emerson

Cary Grant teams with director Alfred Hitchcock for the fourth and final time in this superlative espionage caper judged one of the American Film Institute's Top-100 American Films and spruced up with a new digital transfer and remixed Dolby Digital Stereo. Grant plays a Manhattan advertising executive plunged into a realm of spy (James Mason) and counterspy (Eva Marie Saint) and variously abducted framed for murder chased and in another signature set piece crop-dusted. He also holds on for dear life from the facial features of the Presidents on Mount Rushmore (backlot sets were used). But don't expect the Master of Suspense to leave star or audience hanging.Format: DVD MOVIE Genre: DRAMA UPC: 012569670990

High and Low - Criterion Collection

Toshiro Mifune is unforgettable as Kingo Gondo a wealthy industrialist whose family becomes the target of a cold-blooded kidnapper in Akira Kurosawa's highly influential domestic drama and police procedural High and Low. Adapting Ed McBain's detective novel King's Ransom Kurosawa moves effortlessly from compelling race-against-time thriller to exacting social commentary creating a diabolical treatise on class and contemporary Japanese society. Criterion is proud to present High and Low (Tengoko to jigoku) in this new high-definition digital transfer.SPECIAL EDITION DOUBLE-DISC SET FEATURES:New restored high-definition digital transfer with newly restored original four-track surround soundNew audio commentary by Akira Kurosawa scholar Stephen PrinceA 37-minute documentary on the making of High and Low created as part of the Toho Masterworks series Akira Kurosawa: It Is Wonderful to CreateRare archival interview with Toshiro MifuneNew video interview with actor Tsutomu Yamazaki who plays the kidnapperTheatrical trailers from Japan and the U.S.New and improved English subtitle translationPLUS: A booklet featuring a new essay by critic Geoffrey O'Brien and a reprinted essay by Japanese film scholar Donald RichieMore!System Requirements:Running Time: 143 minutes Language: Japanese Subtitles: EnglishFormat: DVD MOVIE Genre: ACTION/ADVENTURE/THRILLERS Rating: NR UPC: 715515030922 Manufacturer No: CC1760DDVD

Although best known for his samurai classics, Japanese master filmmaker Akira Kurosawa proved himself equally adept at contemporary dramas and thrillers, and 1962's High and Low offers a powerful showcase for Kurosawa's versatile skill. The great Toshiro Mifune stars as a wealthy industrialist who has just raised a large sum of money to execute his planned takeover of a successful shoe manufacturer. Fate intervenes when he receives a phone call informing him that his son has been kidnapped, and by unfortunate coincidence the ransom demand is nearly equivalent to the amount Mifune has raised for his corporate coup. A philosophical dilemma emerges when it is revealed that the executive's son is safe, and that it is actually his chauffeur's son who has been taken. What follows is both a tense detective thriller, as the police attempt to track down the kidnapper, and a compelling illustration of class division in Japan--the "high and low" of the title. Far be it from Kurosawa to make a mere thriller, however; this loose adaptation of the Ed McBain novel King's Ransom provides the director with ample opportunity to develop a visual strategy that perfectly enhances the story's sociological themes. The Criterion Collection DVD of this extraordinary film is presented in the original "Tohoscope" aspect ratio of 2.35:1. --Jeff Shannon

Charlie Chan Collection, Vol. 4 (Charlie Chan in Honolulu / Charlie Chan in Reno / Charlie Chan at Treasure Island / City in Darkness) (4DVD)

Volume four of the Charlie Chan Collection series includes the feature-length films CHARLIE CHAN IN HONOLULU CHARLIE CHAN IN RENO CHARLIE CHAN AT TREASURE ISLAND and CHARLIE CHAN IN CITY IN DARKNESS.Format: DVD MOVIE Genre: DRAMA/CLASSICS UPC: 024543475224 Manufacturer No: 2247522

Dial M for Murder

When American writer Mark Halliday visits the very married Margot Wendice in London he unknowingly sets off a chain of blackmail and murder. After sensing Margot's affections for Halliday her husband Tony Wendice fears divorce and disinheritance and plots her death. Knowing former school chum Captain Lesgate is involved in illegal activities Tony blackmails him into conspiring to kill Margot. When she kills Lesgate in self-defense Tony implicates her as being guilty of premeditated murder. Halliday must out-stratagize Tony to save Margot's live.Running Time: 105 min.Format: DVD MOVIE Genre: DRAMA UPC: 085391115625

A suave tennis player (Ray Milland) plots the perfect murder, the dispatching of his wealthy wife (Grace Kelly), who is having an affair with a writer (Robert Cummings). Amazingly, the wife manages to stave off her attacker, a twist of fate that challenges the hubby's talent for improvisation. Alfred Hitchcock wisely stuck to the stage origins of Dial M for Murder, ignoring the temptation to "open up" the material from the home of the unhappy couple. The result may not be one of Hitchcock's deepest films, but it's a thoroughly engaging chamber movie. It also features Grace Kelly at her loveliest, the same year she made Rear Window with Hitchcock. Dial M for Murder was filmed in the briefly trendy 3-D process, and Hitchcock shot some scenes to bring out the depth of the 3-D field; it's especially good for the nail-biting attempted murder of Kelly, and her desperate reach for a pair of scissors that seems to be just outside her grasp. However, the film was rarely shown with the proper 3-D projection, going out "flat" instead (a 1980 reissue restored the process for a limited theatrical release). Dial M was remade in 1998 as A Perfect Murder, a film that changed and expanded the material, with no improvement on the clean, witty original. --Robert Horton

The Moon-Spinners

Hayley Mills was well on her way to adulthood when she found intrigue and chaste romance on the island of Crete in this 1964 Disney attempt at Hitchcock in one of his lighter moods. That means the principals do wind up in a hearse trapped on a narrow street by celebratory but ominous masked paraders. And that seemingly good guys can and do turn out to be bad guys and vice versa. But it's Disney and Mills, so there are no deaths in this mystery, although gunplay and some scariness do earn it a PG rating. Based on the Mary Stewart novel of the same name, this 118-minute film finds Mills and her aunt visiting a Cretan village on holiday. In the face of hostility from their innkeeper's brother (Eli Wallach), the pair befriend a fellow Brit. The young man's escapades with jewel thief Wallach draw a beguiled Mills into a sometimes perilous adventure involving a harrowing ride upon the sails of a windmill, hiding out in an underground crypt, and a showdown with a cheetah-loving millionairess (the scene-stealing Pola Negri) aboard her yacht. Probably a little too sophisticated for those under 8. --Kimberly Heinrichs

Start with a fortune in stolen jewels. Add a dash of danger. A pinch of romance. Season with Hitchcock-like intrigue and comic flair. What do you have? A mystery thriller for the whole family ... with the Disney touch. Set against the sun-bleached beauty of the Isle of Crete, the story pits a young English tourist (Hayley Mills) against a wily Greek jewel thief (Eli Wallach). Mistaken identities and perilous escapes -- including a nail-biting battle with a windmill -- lead the junior-miss detective to a final confrontation aboard the yacht of an eccentric millionairess (Pola Negri) with a passion for priceless gems and pet cheetahs!

Touch of Evil (Restored to Orson Welles' Vision)

Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon

Ultimate Flint Collection (Our Man Flint / In Like Flint)

There's really been only one rival to James Bond: Derek Flint. That's because of James Coburn's special brand of American cool. He's so cool, in fact, that he doesn't care to save the world. That is, until he's personally threatened. He's a true libertarian, with more gadgets and girls than Bond, but with none of his stress or responsibility. In Our Man Flint (1966), he's totally unflappable as he thwarts mad scientists who control the weather--and an island of pleasure drones. Lee J. Cobb costars as Flint's flustered superior, and Edward Mulhare plays a British nemesis with snob appeal. For fans of Austin Powers, incidentally, the funny-sounding phone comes from the Flint films. However, the best gadget remains the watch that enables Flint to feign death. There's a great Jerry Goldsmith score, too.

There was bound to be a Flint sequel, and In Like Flint (1967) delivers the same kind of zany fun as its predecessor. Flint is recruited once again by Lee J. Cobb to be the government's top secret agent, this time to solve a mishap involving the President. Turns out, the Chief Executive has been replaced by an evil duplicate. The new plan for world domination involves feminine aggression, and Flint, with his overpowering charisma, is just the man to turn the hostile forces around. In Like Flint is still over the top, but some of the novelty has worn off, and it doesn't have quite the same edge as the original. Even Jerry Goldsmith's score is a bit more subdued. But the film still has James Coburn and that funny phone. --Bill Desowitz

International spy Derek Flint saves the world with various gadgets and surrounded by beautiful women.
Genre: Feature Film-Drama
Rating: NR
Release Date: 7-NOV-2006
Media Type: DVD