Classics

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.

Dangerous Crossing (Fox Film Noir)

A relaxing cruise turns into a terrifying journey in Joseph M. Newman's Dangerous Crossing. Part of the Fox Film Noir series, Newman's classy B-movie plays more like a psychological thriller with some particularly atmospheric visuals (heavy on the studio-generated fog). As her honeymoon begins, newlywed Ruth Bowman (Jeanne Craine, Pinky) explores the ship while husband John (Carl Betz, The Donna Reed Show) runs an errand. On deck, a friendly divorcée warns Ruth, "You mustn't let him out of your sight--husbands can get lost so easily." (The familiar-looking sets were recycled from 1953's Titanic and Gentlemen Prefer Blondes.) Hours later, John hasn't returned, and no one has seen him. Ruth's inquiries uncover an empty room, a missing passport, and her spouse's absence from the passenger list. All signs point to delusion. Ruth's plight brings her to the attention of Dr. Paul Manning (the elegant Michael Rennie, The Day the Earth Stood Still), who offers to help in any way he can. Though Ruth confesses to a brief bout with depression, there's nothing else in her background to indicate instability, but that disclosure leads Manning to the real cause of her distress. Based on John Dickson Carr's 1943 radio play Cabin B-13 and shot in 19 days, Newman (This Island Earth) conjures up as much intrigue as Alfred Hitchcock's The Lady Vanishes. The excellent extras include comprehensive commentary from Fox historian Aubrey Solomon, a short featurette (Peril at Sea: Charting a Dangerous Crossing), several stills galleries, and the original theatrical trailer. --Kathleen C. Fennessy

Ruth Bowman (Jeanne Crain) is a new bribe glowing with delight as she and her charming new husband John (Carl Betz) set sail on the SS Monrovia for a transatlantic honeymoon. But when John inexplicably vanishes Ruth discovers that no one on the ship has any record of his existence! As she slips into hysteria Ruth has to prove that her marriage - and John's existence - is not just her own delusion. The ship's physician Dr. Paul Manning (Michael Rennie) might be the only person on board who can save Ruth from a terrifying predicament.System Requirements:Running Time: 75 minutesFormat: DVD MOVIE Genre: DRAMA/CLASSICS Rating: NR UPC: 024543446675 Manufacturer No: 2244667

The Third Man - Criterion Collection (2-Disc Edition)

There have been few better movies in the history of the planet than The Third Man, and fewer still as brilliantly directed from second to second. Orson Welles played the title role, and his legend has tended to engulf the film. But it was directed by Carol Reed and written--except for a Wellesian riff on the Borgias--by Graham Greene, and the credit for this masterpiece is properly theirs. Theirs and Joseph Cotten's; for awesome as Welles is, his Citizen Kane second banana is onscreen about six times as much, and Cotten uses every minute to create one of the most distinctive--if also forlorn--of modern heroes.

You know the story. Holly Martins (Cotten), a writer of pulp Westerns and one of life's congenital third-raters, arrives in post-WWII Vienna only to learn that his old pal Harry Lime, the guy who sent him his plane ticket, is being buried. Everybody, from a cynical British cop named Calloway (Trevor Howard) to Harry's Continental knockout of a girlfriend (Alida Valli) and his sundry absurd/Euro-sinister business associates, feels that Holly should get on another plane and go home. He doesn't. Things come to light. Other deaths follow. The world lies in utter ruin.

The Third Man completed a sublime hat trick--an international critical and popular smash following upon the success of Reed's Odd Man Out ('47) and The Fallen Idol ('48). Although other filmmakers had begun to use war-ravaged Europe as a great movie set, The Third Man is so vivid in its canny mix of gray semidocumentary and insanely angular, Expressionist/Surrealist chiaroscuro that it seems to have imagined not only the postwar thriller but also postwar Europe itself singlehandedly.

What great movie moments: The throwaway details like a mourner who forgets to drop his wreath on a newly dug grave. The sly editing whereby thick-headed Sergeant Paine (Bernard Lee, once and future "M" to 007) goes on leafing through a magazine, knowing just the moment he must rise and subdue the nervy Yank who would take a punch at his boss. The way Anton Karas's legendary zither score seems to jangle in the very guy-lines of a bridge where, far below Robert Krasker's Oscar-winning camera, the Third Man calls a war council. The shadow of a dead man towering, big as Europe, over the nighttime streets of Vienna. --Richard T. Jameson

The fractured Europe post-World War II is perfectly captured in Carol Reed's masterpiece thriller, set in a Vienna still shell-shocked from battle. Holly Martins (Joseph Cotten) is an alcoholic pulp writer come to visit his old friend Harry Lime (Orson Welles). But when Cotton first arrives in Vienna, Lime's funeral is under way. From Lime's girlfriend and an occupying British officer, Martins learns of allegations of Lime's involvement in racketeering, which Martins vows to clear from his friend's reputation. As he is drawn deeper into postwar intrigue, Martins finds layer under layer of deception, which he desperately tries to sort out. Welles's long-delayed entrance in the film has become one of the hallmarks of modern cinematography, and it is just one of dozens of cockeyed camera angles that seem to mirror the off-kilter postwar society. Cotten and Welles give career-making performances, and the Anton Karas zither theme will haunt you. --Anne Hurley

Cynical pulp novelist Holly Martins travels to shadowy postwar Vienna only to find himself investigating the mysterious death of an old friend black-market opportunist Harry Lime and thus begins this legendary tale of love deception and murder. Thanks to brilliant performances by Joseph Cotten Alida Valli and Orson Welles; Anton Karas's evocative zither score; Graham Greene's razor-sharp dialogue; and Robert Krasker's haunting deep focus shots off-kilter angles and dramatic use of light and shadow The Third Man directed by the inimitable Carol Reed only grows in stature as the years pass. System Requirements:Running Time: 104 Mins.Format: DVD MOVIE Genre: DRAMA Rating: NR UPC: 715515023429 Manufacturer No: CC1690DDVD

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

Rear Window (Universal Legacy Series)

Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder.

Photographer L.B. "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered.

Hitchcock scholar Donald Spoto convincingly argues that the crime at the center of this mystery is the MacGuffin--a mere pretext--in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbors (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbors' lives.

At minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humor, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. --Sam Sutherland

One of Alfred Hitchcock's most suspenseful screen achievements, Rear Window, is now available in a new 2-disc Special Edition DVD! When a professional photographer (James Stewart) suspects his neighbor of murdering his nagging wife, he enlists his socialite girlfriend (Grace Kelly) to help investigate the suspicious chain of events.

Honored in AFI's 100 Years ... 100 Movies for excellence in film, Rear Window has also been hailed as “one of Alfred Hitchcock's most stylish thrillers” (Leonard Maltin's Classic Movie Guide). With in-depth bonus features and a digitally remastered picture, this set showcases a cinematic masterpiece that continues to entertain audiences around the world.

The Haunting

Certain to remain one of the greatest haunted-house movies ever made, Robert Wise's The Haunting (1963) is antithetical to all the gory horror films of subsequent decades, because its considerable frights remain implicitly rooted in the viewer's sensitivity to abject fear. A classic spook-fest based on Shirley Jackson's novel The Haunting of Hill House (which also inspired the 1999 remake directed by Jan de Bont), the film begins with a prologue that concisely establishes the dark history of Hill House, a massive New England mansion (actually filmed in England) that will play host to four daring guests determined to investigate--and hopefully debunk--the legacy of death and ghostly possession that has given the mansion its terrifying reputation.

Consumed by guilt and grief over her mother's recent death and driven to adventure by her belief in the supernatural, Eleanor Vance (Julie Harris) is the most unstable--and therefore the most vulnerable--visitor to Hill House. She's invited there by anthropologist Dr. Markway (Richard Johnson), along with the bohemian lesbian Theodora (Claire Bloom), who has acute extra-sensory abilities, and glib playboy Luke Sanderson (Russ Tamblyn, from Wise's West Side Story), who will gladly inherit Hill House if it proves to be hospitable. Of course, the shadowy mansion is anything but welcoming to its unwanted intruders. Strange noises, from muffled wails to deafening pounding, set the stage for even scarier occurrences, including a door that appears to breathe (with a slowly turning doorknob that's almost unbearably suspenseful), unexplained writing on walls, and a delicate spiral staircase that seems to have a life of its own.

The genius of The Haunting lies in the restraint of Wise and screenwriter Nelson Gidding, who elicit almost all of the film's mounting terror from the psychology of its characters--particularly Eleanor, whose grip on sanity grows increasingly tenuous. The presence of lurking spirits relies heavily on the power of suggestion (likewise the cautious handling of Theodora's attraction to Eleanor) and the film's use of sound is more terrifying than anything Wise could have shown with his camera. Like Jack Clayton's 1961 chiller, The Innocents, The Haunting knows the value of planting the seeds of terror in the mind, as opposed to letting them blossom graphically on the screen. What you don't see is infinitely more frightening than what you do, and with nary a severed head or bloody corpse in sight, The Haunting is guaranteed to chill you to the bone. --Jeff Shannon

A group is introduced to the supernatural through a 90-year old New England haunted house. Be prepared for hair-raising results in this classic horror film!

To Catch a Thief (Special Collector's Edition)

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

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

Dial M for Murder

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

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

Notorious

One of Alfred Hitchcock's classics, this romantic thriller features a cast to kill for: Ingrid Bergman, Cary Grant, and Claude Rains. Bergman plays the daughter of a disgraced father who is recruited by American agents to infiltrate a post-World War II spy ring in Brazil. Her control agent is Grant, who treats her with disdain while developing a deep romantic bond with her. Her assignment: to marry the suspected head of the ring (Rains) and get the goods on everyone involved. Danger, deceit, betrayal--and, yes, romance--all come together in a nearly perfect blend as the film builds to a terrific (and surprising) climax. Grant and Bergman rarely have been better. --Marshall Fine

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