Film Noir

L.A. Confidential [Blu-ray]

In a time when it seems that every other movie makes some claim to being a film noir, L.A. Confidential is the real thing--a gritty, sordid tale of sex, scandal, betrayal, and corruption of all sorts (police, political, press--and, of course, very personal) in 1940s Hollywood. The Oscar-winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)--a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown. Kim Basinger richly deserved her Supporting Actress Oscar for her portrayal of a conflicted femme fatale; unfortunately, her male costars are so uniformly fine that they may have canceled each other out with the Academy voters: Russell Crowe, Guy Pearce, Kevin Spacey, and James Cromwell play LAPD officers of varying stripes. Pearce's character is a particularly intriguing study in Hollywood amorality and ambition, a strait-laced "hero" (and son of a departmental legend) whose career goals outweigh all other moral, ethical, and legal considerations. If he's a good guy, it's only because he sees it as the quickest route to a promotion. --Jim Emerson

Touch Of Evil (50th Anniversary Edition)

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

Experience director Orson Welles' masterpiece Touch of Evil like never before in an all-new 50th Anniversary Edition DVD! Starring Charlton Heston, Janet Leigh and Orson Welles himself, this exceptional film noir portrait of corruption and morally compromised obsessions tells the story of a crooked police chief who frames a Mexican youth as part of an intricate criminal plot.

Now for the first time ever, see all three versions of the film - the preview version, the theatrical version and the restored version based on Orson Welles' vision. The Touch of Evil 50th Anniversary Edition commemorates a true cinematic achievement and is an essential addition to the very movie lover's library!

L.A. Confidential (Two-Disc Special Edition)

In a time when it seems that every other movie makes some claim to being a film noir, L.A. Confidential is the real thing--a gritty, sordid tale of sex, scandal, betrayal, and corruption of all sorts (police, political, press--and, of course, very personal) in 1940s Hollywood. The Oscar-winning screenplay is actually based on several titles in James Ellroy's series of chronological thriller novels (including the title volume, The Big Nowhere, and White Jazz)--a compelling blend of L.A. history and pulp fiction that has earned it comparisons to the greatest of all Technicolor noir films, Chinatown. Kim Basinger richly deserved her Supporting Actress Oscar for her portrayal of a conflicted femme fatale; unfortunately, her male costars are so uniformly fine that they may have canceled each other out with the Academy voters: Russell Crowe, Guy Pearce, Kevin Spacey, and James Cromwell play LAPD officers of varying stripes. Pearce's character is a particularly intriguing study in Hollywood amorality and ambition, a strait-laced "hero" (and son of a departmental legend) whose career goals outweigh all other moral, ethical, and legal considerations. If he's a good guy, it's only because he sees it as the quickest route to a promotion. --Jim Emerson

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.

Road House (Fox Film Noir)

Ida Lupino is a singer working at Richard Widmark's club. When she falls for Cornel Wilde, Widmark goes berserk.

Dangerous Crossing (Fox Film Noir)

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

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

Moontide (Fox Film Noir)

Daisy Kenyon (Fox Film Noir)

Film noir a classic film style of the '40s and '50s is noted for its dark themes stark camera angles and high-contrast lighting. Comprising many of Hollywood's finest films film noir tells realistic stories about crime mystery femmes fatales and moral conflict.Joan Crawford Dana Andrews and Henry Fonda deliver dazzling performances in this "highly polished slick triangle melodrama" (The Film Daily) based on the novel by Elizabeth Janeway and directed by Otto Preminger!Daisy Kenyon (Crawford) is a lovelorn commercial artist caught in a romantic triangle with two men - one she loves but cannot have and one whose love she cannot return. While in an emotionally draining love affair with married attorney Dan O'Mara (Dana Andrews) who refuses to leave his wife she meets returning army sergeant Peter Lapham (Henry Fonda) - a decent and gentle man - who instantly falls in love with here. Althought she carries a torch for Dan she knows Peter will give her the secure life she desires and she agrees to marry him. But when Dan divorces his wife Daisy is suddenly torn between her obligations... and her passions.System Requirements:Running Time: 99 minutesFormat: DVD MOVIE Genre: DRAMA/CLASSICS Rating: NR UPC: 024543446644 Manufacturer No: 2244664

Otto Preminger's Daisy Kenyon is an unsung beauty from Hollywood's golden age, a remarkably good and intelligent movie that's all the more gratifying because it could so easily have come out formulaic and sappy. In 1947 it was regarded (and implicitly shrugged off) as a "women's picture" or, more specifically, a "Joan Crawford picture." But there's more going on here. This was shortly after the Oscar for Mildred Pierce revived the actress's career, and the nature of a Crawford picture was changing since she had entered her (gasp) 40s. New York careerwoman Daisy (a magazine illustrator) is trying to break off her longtime affair with a high-profile lawyer and family man (Dana Andrews), and tentatively beginning a relationship with an attractive WWII veteran and widower (Henry Fonda). The men's roles are as important as Crawford's, and neither man is entirely what he first seems--Andrews a self-centered manipulator in all arenas, Fonda a poetic New Englander who used to design boats. Enough ambivalence, wounded psyches, and intimate violence surface to make the movie a kissing cousin to film noir... albeit a variation of noir in which no gun is pulled. Noir also leaks in through the gorgeous Fox craftsmanship. Leon Shamroy's lustrous lighting paints the characters and their studio-made, persuasively three-dimensional environs with insinuating shadow, while still serving director Preminger's penchant for fluid camerawork and mise-en-scène that doesn't dictate our attitudes toward the characters. The production is a model of Hollywood professionalism at every level, and the three star performances are each atypical and complex, with Crawford more restrained and thoughtful than we're accustomed to seeing her. And speaking of model performances, plan to rewatch the film while listening to the commentary by Foster Hirsch, author of the excellent critical biography, Otto Preminger: The Man Who Would Be King; Hirsch is especially sharp on Preminger's stylistic choices and the underappreciated Dana Andrews. --Richard T. Jameson

Blade Runner - The Final Cut (Two-Disc Special Edition)

In celebration of Blade Runner's 25th anniversary, director Ridley Scott has gone back into post production to create the long-awaited definitive new version. Blade Runner: The Final Cut, spectacularly restored and remastered from original elements and scanned at 4K resolution, will contain never-before-seen added/extended scenes, added lines, new and improved special effects, director and filmmaker commentary, an all-new 5.1 Dolby® Digital audio track and more. Harrison Ford, Rutger Hauer, Edward James Olmos, Joanna Cassidy, Sean Young, and Daryl Hannah are among some 80 stars, filmmakers and others who participate in the extensive bonus features. Among the bonus material highlights is Dangerous Days, a brand new, three-and-a-half-hour documentary by award-winning DVD producer Charles de Lauzirika, with an extensive look into every aspect of the film: its literary genesis, its challenging production and its controversial legacy. The definitive documentary to accompany the definitive film version.

Disc One
RIDLEY SCOTT'S ALL-NEW "FINAL CUT" VERSION OF THE FILM
Restored and remastered with added & extended scenes, added lines, new and cleaner special effects and all new 5.1 Dolby Digital Audio. Also includes:

• Commentary by Ridley Scott
• Commentary by executive producer/co-screenwriter Hampton Fancher and co-screenwriter David Peoples; producer Michael Deely and production executive Katherine Haber
• Commentary by visual futurist Syd Mead; production designer Lawrence G. Paull, art director David L. Snyder and special photographic effects supervisors Douglas Trumbull, Richard Yuricich and David Dryer

Disc Two
DOCUMENTARY DANGEROUS DAYS: MAKING BLADE RUNNER
A feature-length authoritative documentary revealing all the elements that shaped this hugely influential cinema landmark. Cast, crew, critics and colleagues give a behind-the-scenes, in-depth look at the film -- from its literary roots and inception through casting, production, visuals and special effects to its controversial legacy and place in Hollywood history.

Stills from Blade Runner (click for larger image)

Visually spectacular, intensely action-packed and powerfully prophetic since its debut, Blade Runner returns in Ridley Scott's definitive Final Cut, including extended scenes and never-before-seen special effects. In a signature role as 21st-century detective Rick Deckard, Harrison Ford brings his masculine-yet-vulnerable presence to this stylish noir thriller. In a future of high-tech possibility soured by urban and social decay, Deckard hunts for fugitive, muderous replicants - and is drawn to a mystery woman whose secrets may undermine his soul. This incredible 2-Disc Set features the definitive Final Cut of Ridley Scott's legendary Sci-Fi classic and the in-depth feature length documentary "Dangerous Days" and features all new 5.1 Audio.

The Woman in the Window (MGM Film Noir)

In this tense melodrama a meek college professor gets mixed up in murder and blackmail. After his wife and kids leave for vacation in Maine Professor Richard Wanley remains behind on his own. En route to his club he's riveted by a painting he sees in a store window. It's a portrait of a beautiful woman and he's shocked when he realizes that the picture's model--Alice Reed--is standing right next to him. Wanley innocently goes to Reed's apartment to look at other pieces of art when an angry man breaks in. After accusing Alice of cheating on him the stranger attempts to harm the professor. But Wanley defends himself by stabbing his attacker who it turns out is a famous financial promoter. The professor and the model then cover up the crime by dumping the body in the woods. The police eventually do find out about the death and they start an investigation; meanwhile the professor tries desperately to figure out a way out of this mess. Then it turns out that someone else knows what happens...and intends to blackmail Wanley and Reed.System Requirements:Running Time: 99 Mins.Format: DVD MOVIE Genre: DRAMA UPC: 027616081070 Manufacturer No: M108107

Fritz Lang did his best work in Hollywood throughout the 1940s, and The Woman in the Window ranks among his best films from that period. Equally adept at crafting first-rate Westerns and melodramatic thrillers, Lang returned to the latter category for The Woman in the Window, a deliciously devious follow-up to 1944's Ministry of Fear and a near-perfect companion piece to Lang's 1945 follow-up, Scarlet Street. Adapted by producer/screenwriter Nunnally Johnson from J.H. Wallis's novel Once Off Guard, this briskly paced and brilliantly plotted thriller begins with a chance encounter between mild-mannered psychology professor Richard Wanley (Edward G. Robinson) and Alice Reed (Joan Bennett), the stylishly alluring subject of a portrait that Wanley has dreamily admired in a window near the men's club where he socializes with a savvy District Attorney (Raymond Massey) and a friendly physician (Edmund Breon). When Alice invites Wanley to her apartment for casual drinks and conversation, Wanley is forced to kill an intruder, and his subsequent cover-up leads to a nail-biting plot in which Wanley must feign innocence as he "innocently" participates in the D.A.'s investigation with a homicide detective.

Lang was an expert at turning the screws of suspense, and while Johnson's screenplay tempers its convenient coincidences with well-written characters, Robinson's increasing desperation is the engine that drives the plot. When a sleazy blackmailer (Dan Duryea) squeezes Wanley and Reed for every penny they've got, The Woman in the Window winds up to a fever pitch, with a "twist" ending that's either a cop-out or clever, depending on your tolerance for now-familiar surprises. As renowned critic Pauline Kael astutely noted, The Woman in the Window has "the logic and plausibility of a nightmare," and Lang surely enjoyed the superbly cast trio of Robinson, Bennett, and Duryea, for he invited them back for Scarlet Street just a few months later. And speaking of murder, check out the kid playing Robinson's son in one of the opening scenes: that's future real-life murder-conspiracy suspect Bobby (Robert) Blake (subsequently acquitted), at the innocent age of 10. --Jeff Shannon