Red River

Amazon.com

Any short list of the all-time greatest Westerns is bound to include this 1948 Howard Hawks classic about an epic cattle drive. Red River features one of John Wayne's greatest performances. Like his Ethan Edwards in John Ford's 1956 masterpiece The Searchers, the Duke plays an isolated and unsympathetic man who is possessed by bitterness. Wayne is Texas rancher Tom Dunson, who adopts a young boy orphaned in an Indian massacre. That boy, Matthew Garth (played as an adult by Montgomery Clift in his screen debut), becomes Dunson's assistant and heir apparent--until Dunson's temper gets out of control during a long cattle drive and Matt intervenes to stop him. From that moment on, Dunson swears he will kill Matt. Red River has everything a great Western ought to have: a sweeping sense of history, spectacular landscapes, stampedes, gunfights, Indian attacks, and, of course, Walter Brennan as Dunson's crusty old cook and comic sidekick, Nadine Groot. As a special bonus, the film also features the legendary Harry Carey (upon whom Wayne would base some of his gestures in The Searchers) and his son Harry Carey Jr., who became a fixture in Ford and Hawks Westerns. Red River is essential for anyone who loves Westerns, or movies in general. This one's a real beaut. --Jim Emerson

Description

One of the finest westerns ever made, this "monumental, sweeping and powerful" masterpiece (Variety) features impassioned performances, stunning cinematography and adventure on a grand scale. Starring John Wayne, Montgomery Clift (in his screen debut), Walter Brennan, Harry Carey, Sr. and Noah Beery, Jr., Red River is a hard-hitting, action-packed adventure that captures the grandeur, majestyand dangerof the wild American West.Wayne gives "one of the best performances of his career" (Cinebooks) as Tom Dunson, a self-made cattle baron who'll do anything to protect his way of life. So when plummeting livestock values demand that he drive his herd through thetreacherous Chisholm Trail, Tom proves that he'll risk anything to reach his destination even his own sanity.

Customer Reviews:

Red River.......2007-06-25

Director Howard Hawks gave western icon John Wayne another indelible, ruggedly stubborn character to play in his masterful "Red River," a high point of their many collaborations. Populated by colorful supporting characters, including the salty Walter Brennan as camp cook Groot Nadine, "River" combines psychological drama, action, and suspense in a stirring, expansive western landscape. The final settling of scores between Wayne and Clift is unforgettable.

Great Western, slightly disappointing ending........2007-05-24

I thoroughly enjoyed this film. It's rare to see John Wayne playing a bad guy but he carried it well. The photography was great but the film suffers from contrast particularly during some of the frequent night time scenes. Images are almost lost in the dark of the night due to the limitations of old black and white film. If the light dark contrast could be adjusted, the film would benefit greatly. Beyond that, the acting was great, particularly Montgomery Clift. My lone complaint was the ending. It has a sudden character twist where Wayne shifts gears 180 degrees and everyone just seems to pass it off and forgive his characters actions through out the movie simply because he suddenly turns over a new leaf in the final two minutes. This was just a little too much for me. I would have preferred an actual showdown/shoot out.

A Massive Cattle Drive on the Chisholm Trail.......2007-04-11

The movie begins in 1851 in south Texas near the Rio Grande. Cattle baron Tom Dunson (John Wayne) begins with a small group of cows. After 14 years of hard work, he owns a herd consisting of 10,000 head of cattle. The cows are branded with the Red River mark (parallel curves which represent the banks of the Red River).

At the end of the American Civil War, the area is destitute, and Dunson's cattle have little value locally. For this reason, Dunson wants to drive them along the Chisholm Trail to Missouri. But all kinds of problems develop during the long, tedious drive. Quitters abandon Dunson. He finds and shoots them. Noises cause massive cattle stampedes. Finally, a mutineer takes over and leads the herd to Abilene, Kansas, to be sold for a hefty price and then loaded on a railroad. Will Dunson still get his rightful share of his life's work?

This movie comes in black and white. Made in 1948, it shows a young John Wayne. It also clearly predates political correctness, in that Indians are portrayed only as savages and despoilers of Euro-Americans.

Red River.......2007-03-24

Acting/directing not as good as expected, but still a must see for any serious western fan.

Red River in color?.......2007-02-27

I love this film of course. It is a classic. All the elements of a great film are there. The performances, the music. But why decry the ending? That ending is the film. Thats what happened in the film. I suppose some people do not like a happy ending. Would like to see John Wayne killed and come away from a viewing that resolved the story in that way. But not me I like the ending as it is. So I am happy. However one beef. This film has appeared on TV in color I have seen it several times. I just wonder why it does not seem to be available commercialy in color. Younger people seem to have an aversion to b and w. My grandchildren for instance. It is a cinema mystery why this film is not available to buy in color. Does anyone know the answer?

Average customer rating:

fine Ethel Waters vehicle with more stars than there were in the heavens to support her...
Cabin In The Sky
Excellent package of a piece of history
Historical Gem
Old Time Religion

Cabin in the Sky
Starring: Ethel Waters , Eddie 'Rochester' Anderson , Lena Horne , Louis Armstrong , and Rex Ingram
Director: Vincente Minnelli , and Busby Berkeley
Manufacturer: Warner Home Video
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ASIN: B000BNTMAA
Release Date: 2006-01-10

Amazon.com

The first film directed by Vincente Minnelli (who directed the original Broadway version), this musical offers its pleasures, but also may make you squirm at the racial stereotypes that were considered both acceptable and entertaining in 1943. A story of the struggle between good and evil for the soul of a man named Little Joe (Eddie "Rochester" Anderson), the film plays with the same kind of racial notions that made Stepin Fetchit a star. Still, there's much to recommend it, particularly performances by some of the greatest musical stars of the day: Lena Horne, Ethel Waters, Louis Armstrong, and Duke Ellington, among others. The film also includes a terrific score, a combination effort by Ellington, Harold Arlen, Vernon Duke, and E.Y. Harburg that includes the song "Taking a Chance on Love." --Marshall Fine

Description

Hollywood's first all-black film since The Green Pastures tells the vibrant fable of rascally Little Joe, torn between the love of his good wife Petunia and the wiles of good-time bad girl Georgia Brown...and caught in a tug-of-war between emissaries from the Lord and Satan. How can virtue triumph over evil? Well, as Petunia says, "Sometimes when you fight the devil, you gotta jab him with his own pitchfork." Debuting movie director Vincente Minnelli (An American in Paris, Gigi) and stars Ethel Waters, Eddie "Rochester" Anderson, Lena Horne, Louis Armstrong and Duke Ellington are more than a match for the devil in this musical treasure. With a soundtrack of dazzling standards including Taking a Chance on Love and Happiness Is a Thing Called Joe, Cabin in the Sky is a joyous classic.

Customer Reviews:

fine Ethel Waters vehicle with more stars than there were in the heavens to support her..........2007-09-04

Cabin In The Sky was only the third or fourth film to be made with an all African American cast after "talkies" were introduced. MGM bought the film rights to the stage play of the same name and gave the project to first time director Vincente Minnelli. Wow, how wonderfully it all worked out!

The action begins with Little Joe Jackson (Eddie 'Rochester' Anderson) and his wife Petunia (Ethel Waters) going to church on a Sunday morning. Trouble is, the very religious Petunia worries that Little Joe won't make it to heaven because of his gambling problems. Although Joe goes into the church with Petunia, he soon sneaks out to meet up with his old gambling buddies. They remind Joe of his gambling debts to them; and they convince Joe to come with them and gamble just one more time at Club Paradise.

Well, at The Paradise Club Joe is mortally wounded in a shooting; and then the action REALLY begins. Back at home, Joe fights for his life; but there's also another struggle beginning. Lucifer, Jr. (Rex Ingram), the son of the Devil who wants Joe to go to hell for gambling, becomes entangled with The General (Kenneth Spencer), an agent of the Lord, who wants Joe to get into heaven. It is decided that Joe can live another six months so that they can determine where Joe will go--heaven or hell.

The Devil's agents throw the "temptation" of money and the remarkably attractive Georgia Brown (Lena Horne, seen here in her screen debut) at Joe to make him gamble and womanize as he cheats on Petunia. Meanwhile the agents of God stay equally close to Joe, coaching him all the way to help him stay the course and be a good man.

Will Joe manage to prove himself to the Lord that he is worthy of heaven--or will he be sent to hell for his sins? What happens between Petunia and Joe when Petunia sees Joe with Georgia Brown? How will the agents of both God and the Devil fight amongst themselves over which side gets Joe? No spoilers here, folks; you'll just have to watch the movie to find out.

The choreography couldn't be better; the dancing and the crowd scenes are extremely well done. The cinematography is equally good. The plot moves along at a good pace; and the musical performances by Ethel Waters stun me with her sensitive delivery of each ballad. Look for Ethel to sing "Taking A Chance On Love" and "Happiness Is Just A Thing Called Joe." Duke Ellington also happens to perform at The Paradise Club; they make awesome music! Louis Armstrong makes a brief cameo appearance as one of the devil's agents; his talent was completely wasted in this movie. Butterfly McQueen, who plays Lily, a friend of Petunia's, also gets a role much too small for her. Sigh.

The film has many talented actors and performers in it; but truthfully it belongs to Ethel Waters who gives a riveting performance as Petunia Jackson.

The DVD extras include commentary and audio outtakes with still photos while you listen to what was left out of the movie. You also get outtake footage of Lena Horne performing "Ain't It The Truth."

Cabin In The Sky remains a fantastic motion picture jammed full of remarkable talent from an all African American cast. The morality concept of the struggle between heaven and hell is somewhat dated; and the racial stereotypes that were considered "OK" when this movie was made are practically embarrasing.

Despite the flaw regarding racial stereotypes, I still highly recommend this film for fans of African American cinema because it is one of the first movies to have an all black cast. In addition, people who enjoy classic MGM musicals will love the numerous musical numbers in this film as well.

Enjoy!

Cabin In The Sky.......2007-08-26

So, what do you do when the cable goes out on a stormy night? Pop in the DVD of one of those old movies that has been sitting on your shelf for months, collecting dust and just waiting to be watched. A wonderfully done tale of a man's struggle to get on and stay on the straight and narrow while being tempted into the ways of the wicked and evil. Ethel Waters and Eddie "Rochester" Anderson are perfectly suited as Petunia and Little Joe, Rex Ingram is great (as always) in the role of Lucifer Jr. Lena Horne, stunningly beautiful but underused in her role as the temptress Georgia Brown.

An all Black cast, interesting dialogue, great performances - a really good film for its time.

Excellent package of a piece of history.......2007-08-26

The merits and weaknesses of this film are documented thoroughly - the merits include the legendary performers, a couple of superb Harold Arlen songs, stylish direction from Vincente Minnelli and great black and white photograpy; the weaknesses include a plot of painful piety and a rich display of black stereotypes; but this is the 21st Century and the preservation of this film is important, weaknesses included.

The DVD contains a superb print and a very good commentary which explores all the subtexts and the context of the film. The commentary correctly summarises the value of the film - preservation of the performers at their peak and a visual document reflecting a period in the evolution of the Afro-American. The commentary includes Lena Horne herself adding a few observations - invaluable. Only Drew Casper grates with his usual breathless repetitive delivery.

The DVD also contains a lengthy audio outake of Louis Armstrong which is great listening, an MGM short which contains Horne's version of "Ain't it the Truth" sung in a bubble bath (far too sexy for public consumption at that time) and the original theatrical trailer. This is an excellent package.

Historical Gem.......2007-05-07

Thank God this film has been saved as a historical reference for African-Americans in film. It is a treasure, a gem and a legacy.

Old Time Religion.......2007-04-09

This is a sweet and funny tale about the dangers of sin and the way of redemption.

Average customer rating:

Follow the River.
Great Family/Historical Movie
Truth exaggerated to impossibility, Scenic.
Not worth the purchase
Big Disappointment

Follow the River
Starring: Ellen Burstyn , Tim Guinee , Sheryl Lee , Renee O'Connor , and Eric Schweig
Director: Martin Davidson
Manufacturer: Platinum Disc
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ASIN: B0007N1JN2
Release Date: 2005-03-01

Customer Reviews:

Follow the River........2007-06-27

This is a story about a very strong woman & one that's sorta strong. The stronger woman shows the other what the real meaning of life is. They are both stronger after what they endure.

Great Family/Historical Movie.......2007-05-08

My family thoroughly enjoyed this movie. We were emotionally moved and encouraged with what one woman can do if she has the will-power. We were particularly interested in the story since it is based on true life in Virginia, which is where we live. There is violence and adult themes that might not be suitable for children. The adults in the family viewed it before allowing the older children to watch, and then we watched it with them.

Truth exaggerated to impossibility, Scenic........2007-04-18

The novel, "Follow the River", was based on a true story, and this film is based on that novel.

I read the true story in the book:
"Shawnee Captive: The Story of Mary Draper Ingles" or
"The Long Journey Home: The true story of Mary Draper Ingles"
(Available elsewhere for less money than here).

This film changed the truth just enough to ruin an interesting, true, story. The film is scenic and holds your attention. The men in the story are hapless and helpless.

How many women, in their ninth month of pregnancy, could hike through the forest all day, for days, on short food rations, stop to give birth while leaning against a tree, then immediately start hiking again all day, carrying their baby? A woman wrote the script! Might women benefit from walking all day during pregnancy and right up to giving birth? Is lying in bed really the best way to give birth? Should husbands buy the DVD and book for their complaining pregnant wives? Or was this mindless script-writing? If you click on the comment-button, below, I tell whether such events are true or not.

We are also left wondering whether the very end is true or not.

This film would have been much better, if it had stayed with the key points of truth. You can add things to a true story that do not change the key points of truth. You can new characters to give more personality, whose actions do not effect the key points of truth. You can leave out the uninteresting. You can fill in the gaps and imagine things with historical accuracy without changing the key points of truth. The film, "The Ten Commandments" is a good example, that fills in the gaps of the biblical story well, and imagines pharoah's palace, without changing the key points of truth in the biblical story.

All would have enjoyed more details on how they lived at the time. It is mystifying, that the film's woman writer presented Mary as less smart, than Mary was in the true story. The film portrays Mary: not planning and not stocking food for the escape.

If you hit the comment button below, you will see truth separated from fiction in this film, and see the story's true ending. You will see the film changed key points of truth that they should not have changed, which made the film fiction, untrue, and impossible as presented (the women taking turns with one blanket in winter). The film also left out some interesting truth. A rule of holding to truth would have caused some interesting facts to be included.

This film should be re-made, sticking to the truth, under the title of the true story.

Not worth the purchase.......2006-10-18

I am a huge fan of the book. I've read it so many times that some pages are taped back into the book.
The 'Made for TV' film just didn't live up to my expectations. I never would have picked this cast, I wasn't impressed on how cut up and the acting was so-so.
I found this film a huge dissappointment.

Big Disappointment.......2006-07-12

What a watered down, sugar coated telling of this powerful story! The enormity of the physical struggle to walk 6 weeks in the wilderness was portrayed with slightly mussed hair (with a few twigs thrown in) and a spotlessly clean blue frock with ruffled sleeves. In the book, Mary was reduced to stark nakedness and her hair had turned white. This was a very poor rendition of the book and it must surely be an embarassment to the author. The sugar-coated ending with the chief returning the perfectly intact children was the final straw. Arrrgh!

The Plow That Broke the Plains & The River / Gil-Ordonez, Post-Classical Ensemble

Average customer rating:

The Plow That Broke the Plains & The River
Apocalypse Then
Two American Classics
Two Masterpieces of Documentary Film Restored with Newly Recorded Musical Scores by Virgil Thomson

The Plow That Broke the Plains & The River / Gil-Ordonez, Post-Classical Ensemble
Starring: Virgil Thomson , Post-Classical Ensemble , and Angel Gil-Ordonez
Manufacturer: Naxos
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ASIN: B000L42J5E
Release Date: 2007-01-30

Amazon.com

Art and propaganda meet to powerful effect in these two documentaries from the 1930s. Written and directed by Pare Lorentz, both The Plow That Broke the Plains and The River were made (in black & white) by the U.S government and clearly intended to promote President Franklin D. Roosevelt's New Deal, a series of initiatives designed to help the country recover from the Great Depression. Yet that fact detracts not at all from their artistry, as the combination of Lorentz's visuals and words and composer Virgil Thomson's music (the voice-over narration and the scores for both films were "re-created" in 2005 for this release) is often quite genuinely transcendent. Released in 1936 and sponsored by the U.S. Resettlement Administration, The Plow focuses on the Great Plains, those millions of grassy acres sprawled between Texas and Canada--"a high, treeless continent," the narration tells us, "without rivers or streams, a country of high winds and sun, and of little rain"--and how, after settlers wiped out the Indians and buffalo who once inhabited the area, the great prosperity and progress that followed eventually left the land over-grazed and over-farmed, turning it into a parched, cracked Dust Bowl, its people impoverished and desperately in need of food, care, jobs, and another chance. The River, from the following year, details the remarkable growth of trade and travel along the Mississippi River, where the booming farming, lumber, iron, coal, and steel industries stripped the surrounding land of its soil and roots, leading to the weakening of the river's levees and disastrous flooding (shades of New Orleans 2005), with government agencies like the Tennessee Valley Authority and the Farm Security Administration offering the best chance to escape this ruinous cycle.

The films are filled with striking images and poetry, but in the end, it's Thomson's music that makes the greatest impression; truly cinematic in scope, it draws on well known tunes ("There'll Be a Hot Time in the Old Town Tonight"), hymns ("The Doxology") and the composer's own brilliance to create a thoroughly American sound whose moods perfectly match and enhance what we see on the screen. An hour or so of bonus features includes discussion of all the films' elements (Thomson himself weighs in during an old audio interview), as well as the original beginning and ending of The Plow. --Sam Graham

Description

Pare Lorentz's The Plow that Broke the Plains (1936) and The River (1937) are landmark American documentary films. Aesthetically, they break new ground in seamlessly marrying pictorial imagery, symphonic music, and poetic free verse, all realized with supreme artistry. Ideologically, they indelibly encapsulate the strivings of Franklin Delano Roosevelt's `New Deal'. Virgil Thomson's scores for both films are among the most famous ever composed for the movies. Aaron Copland praised the music of The Plow for its `frankness and openness of feeling', calling it `fresher, more simple, and more personal' than the Hollywood norm. He called the music for The River `a lesson in how to treat Americana'. Special Features include: George Stoney on The Plow and The River * Stoney on The New Deal, The River, and Race * Charles Fussell on Virgil Thomson * Virgil Thomson on Virgil Thomson (audio only) * Original beginning and ending of The Plow * Option to view The Plow and The River with original sound track and narration

Customer Reviews:

The Plow That Broke the Plains & The River.......2007-08-05

This complemented "The worst of hard Times Book" which helped me under stand how I was raised In Nebraska,
the reason for Social Security and the Path Our country has followed. Our parents and ancestors had it rough but perseved.

Apocalypse Then.......2007-05-16

These stark and dark films are accounts of the land misuse which led to two of the nation's greatest environmental disasters. I found "The Plow That Broke the Plains" especially riveting. The black and white presentation further lends barrenness to these accounts and focuses the viewer more closely on the mechanized devastation. The films demonstrate to what extent the federal government involved itself in national environmental crises in the 1930's, an involvement which may not be possible to repeat today in spite of a much higher environmental awareness across the population. Conservationists, environmentalists, and political historians should enjoy and learn from these documentary films.

Two American Classics.......2007-03-21

Film Schools regard these Lorentz documentaries right up there with Flaherty. Must see! Must hear! The score is fantastic!

Two Masterpieces of Documentary Film Restored with Newly Recorded Musical Scores by Virgil Thomson.......2007-02-02

Pare Lorentz's two groundbreaking 1930s documentaries, paid for by the US government and making no apologies for their propagandist intentions, are here presented with the evocative scores by composer Virgil Thomson played in modern sound by the Post-Classical Ensemble with Angel Gil-Ordóñez conducting. There are unnerving modern resonances in these two films, one about the plow's partial destruction of the great plains that led to the Dust Bowl (reminding us of the modern near-depletion of the Ogalalla aquifer in that same area), and the other about upstream flood control containment by dikes and levees of the Mississipi for 1000 miles of its length, touted as a great marvel of man's taming of Nature but as we now know contributing to such things as the awful destruction wrought by Hurricane Katrina.

The black-and-white films themselves are visually beautiful. The cameramen sent to photograph scenes used in the film included such luminaries as Paul Strand. The narration, written by Lorentz, is poetic.

Thomson's music is simple-sounding and triadic in the extreme, making use as it does of such tunes as the Doxology ('Praise God From Whom All Blessings Flow', scored differently and aptly at different points in 'The Plow') and 'Go Tell Aunt Rhody.' And it is both esthetically and emotionally satisfying. The DVD makes use of a modern re-recording of Thomson's scores, and the new recording of the original voice-over narration is nicely done by Floyd King. There is, however, the option to play both films with the original scores' 1930s soundtrack music conducted by Alexander Smallens. We also get a couple of interviews with George Stoney, later himself a distinguished documentarian but in the 1930s a PR person for the government; he showed the films to groups of citizens in the Southeast and recalls many details about the films' origins and their initial reception. Joseph Horowitz talks with composer Charles Fussell, a student of Thomson's, about the scores. (It might be noted that there has been a recent CD on the Albany label that presents both Thomson's and Fussell's cello concertos, and very nicely done, too.) There is a 1979 audio-only interview with the late Virgil Thomson in which he talks about the two films and about film-scoring in general.

I had been familiar with the scores of these two films for many years. As I grew up in the Dust Bowl area, I remember many stories of that awful period and had been particularly interested to see 'The Plow'. (As a small bit of irony, I now live in the Vermont town where the inventor of that plow, John Deere, learned the blacksmithing trade.) I must say that I was thrilled with both films. These are important documents restored to their original luster.

Enthusiastically recommended.

Scott Morrison

The Very Best of the Ed Sullivan Show: Unforgettable Performances Volume 1

Average customer rating:

Great gift for Parents!
Made for the MTV crowd
The really really big sheww
Just a question on comedian Zoots Reed
An excellent collection of wonderful performances

The Very Best of the Ed Sullivan Show: Unforgettable Performances Volume 1
Starring: Jackie Mason , Duke Ellington , Elvis Presley , Judy Garland , and Flip Wilson
Manufacturer: Sofa
ProductGroup: DVD
Binding: DVD

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ASIN: B00009XN5S
Release Date: 2003-07-22

Customer Reviews:

Great gift for Parents!.......2007-02-19

My parents who grew up watching Ed Sullivan loved this as a Christmas gift!

Made for the MTV crowd.......2007-02-13

I suspect the five-star reviews of this DVD were written by spammers working for the company that sells it.

These compendium DVDs are routinely made by stupid jackasses who figure our attention span is only 10 seconds (the MTVers) so there's no point in showing an entire performance. What we get here is Carol Burnett talking about Ed Sullivan and occasionally throwing out little snippets of the acts. We get only a few seconds of the comedians and novelty acts, though they sometimes provide a whole song, other times a fraction of the song. This format is so annoying I didn't much like the DVD.

The really really big sheww.......2006-06-12

Watching Ed Sullivan on Sunday night was an American tradition. He came out with his squinchy little body and his upraised hands and told us all that it was going to be a 'really big really big sheww' . 'Let's hear it for Curtis Le May from SAC. He 's going to bomb the Commies into Smithereens' Down there in the front row say a big hello to one of the great champeens of all time. Let's hear it for Jack Dempsey'
Ed would begin that way introducing the celebrities and warming us for Toppo Gigio the Little Italian Mouse or for , a young man from Memphis , Tennessee ( Ed could hardly hide the distaste as he pronounced the words ) Elvis Presley. "
The video contains records of some of the highlight performances, and also an interview with Ed and his wife Sylvia.
Highlights are wonderful, but my sense is that putting together a package in which the complete shows as they came on at the time would give a dimension no excerpts can.

Just a question on comedian Zoots Reed.......2005-12-26

I was looking for the show which had Zoots Reed on it?Thanks,Teddy

An excellent collection of wonderful performances.......2005-02-11

The best thing about this DVD is that the performances shown appear in their entirety - not as excerpts! So many documentary collections just give you a portion of a performance. Also, the quality of the old films, especially the ones in color, is remarkable.

The Very Best of the Ed Sullivan Show, Vol. 2: The Greatest Entertainers

Average customer rating:

Great gift for Parents!
Made for the MTV crowd
The really really big sheww
Just a question on comedian Zoots Reed
An excellent collection of wonderful performances

The Very Best of the Ed Sullivan Show, Vol. 2: The Greatest Entertainers
Starring: Jackie Mason , Duke Ellington , Elvis Presley , Judy Garland , and Flip Wilson
Manufacturer: Sofa
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Binding: DVD

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ASIN: B0000CC83H
Release Date: 2004-01-06

Customer Reviews:

Great gift for Parents!.......2007-02-19

My parents who grew up watching Ed Sullivan loved this as a Christmas gift!

Made for the MTV crowd.......2007-02-13

The really really big sheww.......2006-06-12

Just a question on comedian Zoots Reed.......2005-12-26

I was looking for the show which had Zoots Reed on it?Thanks,Teddy

An excellent collection of wonderful performances.......2005-02-11

Paul Robeson: Portraits of the Artist (The Emperor Jones / Body and Soul / Borderline / Sanders of the River / Jericho / The Proud Valley / Native Land / Paul Robeson: Tribute to an Artist) - Criterion Collection

Average customer rating:

An excellent collection of an important man
An excellent release

Paul Robeson: Portraits of the Artist (The Emperor Jones / Body and Soul / Borderline / Sanders of the River / Jericho / The Proud Valley / Native Land / Paul Robeson: Tribute to an Artist) - Criterion Collection
Starring: Paul Robeson , Henry Wilcoxon , Wallace Ford , Kouka , and John Laurie
Director: Thornton Freeland , Kenneth MacPherson , and Zoltan Korda
Manufacturer: Criterion
ProductGroup: DVD
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ASIN: B000KRNGOA
Release Date: 2007-02-13

Amazon.com

Paul Robeson is today known for little more than singing "Ol' Man River" in Showboat, but this hefty and potent collection from Criterion (seven movies and a rich trove of documentary features and commentaries) should return Robeson to much-deserved cultural awareness. An imposing, charismatic black actor who demanded respect when most black actors were trapped in mammy and minstrel roles, and a singer whose deep, rolling voice won him acclaim on the concert stages of Europe, Robeson was among the most significant performers of the 20th Century--until the 1950s, when the U.S. government suspended his passport out of fear that Robeson's commitment to social progress and civil rights would project a negative view of America. But even before then, Robeson's career took place outside of the establishment channels of Hollywood. Paul Robeson: Portraits of the Artist includes two silent films (Body and Soul, a melodrama railing against the hypocrisies of the church, made by the pioneering black filmmaker Oscar Micheaux; and Borderline, a startlingly inventive story of an interracial love rectangle, made by film theorist Kenneth Macpherson), both given additional vitality by contemporary jazz scores; three movies from Robeson's rich period in England (Sanders of the Valley, Jericho, and The Proud Valley, which chart both Robeson's rising social conscience and his increasing clout in the industry); Robeson's most significant Hollywood film, The Emperor Jones, adapted from the Eugene O'Neill play that shot Robeson to stardom in the first place; and the movie that probably reflected Robeson's social beliefs more than any, the remarkable and riveting semi-documentary Native Land, which Robeson narrated.

Robeson is one of those rare actors, like Bette Davis or Humphrey Bogart, whose performances drive his movies as much as the director or the screenplay. Much is made of Robeson's powerful voice and intimidating physique, but just as impressive are his piercing eyes; in every role, a questing intelligence bursts through, looking at the world and cutting through charades and illusions. Criterion packages always have phenomenal extras, but Portraits of the Artist is unusually complex because Robeson's life is as important to his stature as his movies. These excellent features capture the world around Robeson, a world that both raised him up and tore him down. Far from a musty historical document, this is a film package that matters, which will reward and surprise viewers used to conventional notions of Hollywood and America. --Bret Fetzer

Description

All-American athlete, scholar, renowned baritone, stage actor, and social activist, Paul Robeson (1898-1976) was a towering figure and a trailblazer many times over. He made perhaps his biggest impact, however, in the medium of film. The son of an escaped slave, Robeson managed to become a top-billed movie star around the world during the time of Jim Crow America, always striving to use film to educate viewers about equality, democracy, and the rights of workers. Though he eventually left movies behind, using his international celebrity to speak on behalf of those denied their civil liberties and ultimately becoming a victim of ideological persecution himself, Robeson left a film legacy that continues to speak eloquently of the long and difficult journey of a courageous and outspoken African American.

Customer Reviews:

An excellent collection of an important man.......2007-08-17

Semi-terse comments on this box set:

Here is a set that is more historically important than aesthetically interesting or artistically elegant (with the exception of Borderline). It is nice to see Criterion put out a set (like the Monsters and Madmen collection) that is not director focused. Paul Robeson is such a captivating character that he (usually) rises above the flawed material he is in. It is interesting how music made way into most of his films even when it seemed out of context of the movie. His philosophy of getting early roles for Black work fell way to good roles for African American or nothing at all which is why he stopped acting in the early 40s.

The Emperor Jones (1933): A strong characterization from Robeson (reprising his stage role from Eugene O'Neill's play) as a power hungry and conniving Pullman porter who eventually becomes emperor of a Caribbean island. Dated and a lot of racist language that has been cut out for past edits of the film, but the movie is still interesting to watch. The first two-thirds of the film are so strongly presented by Robeson that his eventual collapse seems unconvincing. Jones is a good early example of an anti-hero. One scene with a lover of Jones refuses the money he gives her after breaking up, but she eventually picks it up reminds me of the similar scene in Spike Lee's "Do The Right Thing". Excellent commentary by Jeffrey C. Stewart, Professor of History and Art History at George Mason University and author of Paul Robeson: Artist and Citizen, who discusses the context, mise en scenes, actors and comparisons to the stage play. He does not discuss too many biographical details of Robeson though.

Body and Soul (1925): so far the only film I've seen by Oscar Micheaux in one of four extant silent films from this director. Robeson is decent in this silent-film (Robeson's first film) playing two different characters of Isaiah T. Jenkins and his better brother (though he is stiff in his performance). This movie is a strong commentary on the hypocritical aspects of religious leadership. This movie does make you wonder if the mother could have been ignorant enough to ignore the daughter and her cries against the pastor. I wonder if the ending was considered cliché then because it is certainly now though it could have been the fault of the many edits that were forced upon Micheaux to get this film played. This is discussed in the good commentary by Micheaux author/historian Pearl Bowser. She also discusses a variety of topics including the "Race" movies of the time, Micheaux during this time and the actors that are in the film.

Borderline (1930): Beautiful use of editing and montage (Criterion labels this as Eisensteinian) in this film about an interracial love affair (including Robeson's wife Eslanda) and its consequences. There is not much use of intertitles so it forces you to concentrate on the performances and the particular meanings of each countenance. Paul Robeson is not the focal point of the film. Too bad Kenneth Macpherson did not make another film.

Sanders of the River (1935): this film is embarrassing especially for Robeson who still puts in a strong performance. It is a very pro-British imperialistic film. Some beautiful footage of Africa though (mentioned in the extras that several hours were taken).

Jericho (1937): Robeson's had more artistic control (especially how he worked the end and his characters became more utopian and less realistic) but I the film is a bit too simplistic and ends up a little dated -- though still entertaining. Roberson plays Cpl. Jericho Jackson a top notch military man who saves several men but kills a superior. This forces him to go AWOL where he eventually becomes an important leader to Bedouin in northern Africa. It does a nice job to juxtapose the stereotypical black/white duo with comic relief played by Henry Wilcoxon.

The Proud Valley (1940): slow moving idealistic tale of Welsh coal mineworkers (wayward American played by Robeson does make the coal choir club though) during WWII. Proud Valley deals with the dangers of coalminers but more with the Welsh spirit of continuing life even after a calamity (the mine collapsed and the miners had to fight the government to get it back running again). Heartwarming, but ultimately its ending is too naive. An early Ealing production.

Native Land (1942): very biased pro-union film (the union appears almost as a perfect solution) that reminds me of Michael Moore's work. The characters are so one-dimensional and so extremely polarized that the film seems an exercise in finding the logical fallacies. Paul Robeson does the voice-over well though with his booming, brilliant baritone/bass voice in this quasi-documentary.

The extras are good especially the Academy award winning short "Paul Robeson: Tribute To An Artist" (1979), but are far from complete; not much is made on his pro-Stalin comments (especially the written eulogy for Stalin published in the New World Review, April, 1953). It would have been nice if Criterion put out Robeson's last film "Tales of Manhattan" with this set. I am interested in reading his son's (Paul Robeson Jr.) main book on his father, The Undiscovered Paul Robeson, An Artist's Journey, 1898-1939, where he does talk about Paul's career, his political troubles and his long-term affair with an actress. Paul Robeson Jr. was instrumental in getting this set together. This set is long overdue because other than his rendition of "Ol Man River" for "Show Boat" much of Paul Robeson's legacy has been forgotten because of age and political persecution in the 50s.

An excellent release.......2007-02-25

This Release of Paul Robeson films is a great release from Criterion. Released for Black History Month, this set includes 7 feature films and two documentaries.

Each disc contains two fims and select special features

"The Emperor Jones" is about a black man who escapes from a chain gang and flees to the West Indies.
"Paul Robeson: Tribute to an Artist" is a biographial documentary about Robeson narrated by Sidney Poiteir.
"Body and Soul" is about a corrupt preacher.
"Borderline" is about a group of interracial lovers
"Sanders of the River" is about an African tibesman
"Jericho" is about a black World War I soldier who deserts and heads to Africa,
"The Proud Valley" is about a coal miner in Wales
"Native Land" is socialist documentary film about labor unions.

Disc one contains commentary for "The Emperor Jones" by historian Jeffrey C. Stewart, "Our Paul: Remembering Paul Robeson" a retrospective containing interviews various black filmmakers and performers including James Earl Jones, and an interview with Robeson's son, Paul Robeson Jr.

Disc two contains commentary for "Body and Soul" by Micheaux historian Pearl Bowser. Also included are new scores for both films on the disc

Disc three contains "True Pioneer: The British Films of Paul Robeson" a progarm featuring interviews with Robeson Jr. and other persons

Disc four contains "The Story of Native Land," an interview with cinematographer Tom Hurwitz, and a1958 radio interview with Paul Robeson.

Also included is a booklet with various other materials

Average customer rating:

Gem from Budget Row
"It will soon be over, John. She'll soon be in the river and it will all be forgotten."
Melodramatic Victorian murder mystery
A Fritz Lang Film With Style And Technique
A much underrated psychological drama

House By the River
Starring: Lee Bowman , Peter Brocco , Howland Chamberlain , William Fawcett , and Kathleen Freeman
Manufacturer: Kino Video
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ASIN: B000BGH2N6
Release Date: 2005-11-22

Amazon.com

Virtually unseeable for half a century, House by the River, the rarest of Fritz Lang's American films, proves to be an atmospheric serving of Southern Gothic with style and perversity to burn. This is a happy surprise, given that the film was made at a low point in Lang's career, at a Poverty Row studio, with a low-wattage cast. Louis Hayward--whose dark, spoiled good looks and insinuating smile suggest Orson Welles' tawdry evil twin--plays an effete author in a small 19th-century town. One hot, lazy afternoon he's tempted (in a brilliantly directed scene) by thoughts of the comely maid soaking in his upstairs bathroom. There follows an awkward pass, a hand over her mouth, and suddenly he finds himself an accidental murderer. With a dead body to get rid of, living by a river comes in handy. But on this river, secrets have a way of returning with the tide.

The script by Mel Dinelli (who had just written the trim 1949 thriller The Window) ably milks the suspense, and there's a creepy moonlit search by rowboat for the now-you-see-it, now-you-don't corpse. The failed novelist, beginning to relish his guilt, acquires fresh inspiration as a writer and also becomes a cagy manipulator of other people, notably the wife (Jane Wyatt) who doesn't know what he's done, and the crippled brother (Lee Bowman) who does. Making a virtue of production resources only slightly upscale of Edgar G. Ulmer, Lang turns the titular domicile into an Expressionist hothouse where lace curtains yield a web of shadows, potted plants throw jagged black spears across high-key faces, and the breeze from the river is anything but fresh. Mastered from British archival materials, the DVD gleams like a cutlery-store window. --Richard T. Jameson

Customer Reviews:

Gem from Budget Row.......2007-05-20

This shows what a great director like Fritz Lang can do with peanuts. Laughton must have seen this for his "Night of the Hunter", some of the feel is so similar. "Hunter" is superior because the script and cast are, but Jane Wyatt is one of the most underrated talents ever in films, in part because of the Red Scare blacklist of which she was a victim. The other leads are good but the film suffers from mediocre talent in the supporting roles. All the same, this is the kind of film Manny Farber used to champion in his reviews. Pulpy and full bodied. If the budget had been higher, the studio better, this would be talked about in hushed tones.

"It will soon be over, John. She'll soon be in the river and it will all be forgotten.".......2006-11-09

The way I understand it, after some commercial failures and word getting around Hollywood that he was difficult to work with, Fritz Lang (Dr. Mabuse: The Gambler, Metropolis, M) found employment at the poverty row studios directing such features as this one titled House by the River (1950), which was released by Republic Productions. Based on a novel by British author A.P. Herbert, and adapted for the screen by Mel Dinelli (The Spiral Staircase), the film stars Louis Hayward (The Man in the Iron Mask), Jane Wyatt (Lost Horizon), and Lee Bowman (Buck Privates). Also appearing is Dorothy Patrick (Torch Song), Ann Shoemaker (Thirty Seconds Over Tokyo), and Jody Gilbert (Willard).

As the story begins, aptly by a house by the river, we meet a man named Stephen Byrne (Hayward), an author of manuscripts, who's just received news that his most recent submission has been rejected. In an effort to console himself he decides to make a pass at his young, pretty maid Emily (Patrick), as nothing says class like trying to diddle the help when your wife's away. Anyway, Emily seriously freaks out, and Stephen accidentally strangles and kills the girl...smooth move, Ex-Lax...Stephen's cripple brother John (Bowman) makes the scene, game leg and all, and Stephen tries to claim Emily fell, but it's apparent to John the woman was murdered. Seems John has more than just a passing affinity for Stephen's wife Marjorie (Wyatt), who's away at the moment, and Stephen uses this to get John to help him dispose of the body (against John's better judgment), the pair stuffing the deceased into a wood sack and dumping it into the river. By this point it's pretty apparent that Stephen's a murderous, manipulative slime ball, but it gets worse. As time passes Emily's `disappearance' makes the news and some salacious rumors begin to circulate, specifically about Emily's character. As it turns out, the rumors were started by Stephen himself, and he's even gone so far as to steal some of his wife's things to make it appear Emily did it, and then took off, perhaps, with an unnamed suitor. For what purpose? Well one would think it was an effort to more fully cover his tracks, but in reality Stephen uses the generated publicity to help promote his books...okay, so not only is Stephen a murderous, manipulative slime ball, but a highly opportunistic one at that. As Stephen basks in newfound limelight, John's suffers terribly given the fact he's a human being with a conscience (Stephen seems to have one, but his is more easily stifled). Now here's where things get really interesting...the corpse surfaces, is found by the authorities, and there's an inquest, one that results in the appearance of guilt resting squarely on John's shoulders, something which Stephen seems to have little issue with...from here things continue their downward spiral as relationships degrade and Stephen, fearful his secret may come out, decides to tie up some loose ends...

This is the third film I've seen by Fritz Lang, the other two being M (1931) and Scarlet Street (1945), and while I'm certainly not an authority, the general consensus seems to be this wasn't one of his best works. That might be true, but if it is the case, then even his middling efforts are still worth attention, in my opinion. Personally, I had a lot of fun with this gothic thriller set in Victorian times. One aspect I liked were the intricacies within the plot, the small details that helped flesh out the relationships, particularly between Stephen and John. Another film would have been content to leave some of this out for simplicity's sake, but I enjoyed the depth it added to the story. One element of the story I had a difficult time swallowing was Marjorie's inability to see her husband for what he really was, an oily, skeevy, lying, opportunistic philanderer and all around no-goodnik, especially since she wasn't portrayed as an idiot. Stephen was certainly charming, and there's a bit where Marjorie speaks to the fact that perhaps this charm had blinded her initially to his peccadilloes, but still, she seemed oblivious towards that which he was capable. At one point we do get a sense she knew about his philandering ways, among other things, so did it really seem all that unreasonable she might have connected Emily's disappearance to her husband long before she did? I don't think so...perhaps she just decided to ignore the obvious in the hopes that it wasn't true, in which case made me rather apathetic towards her character. I think Ms. Wyatt performed well enough despite some significant flaws within her character. As far as the two male leads, Hayward was a lot of fun to watch, especially in terms of seeing how far he was willing to go, not only to cover up his deeds, but also to capitalize on them. Well after the murder and disposal of the body John questions Stephen's willingness profit from the subsequent publicity, to which Stephen replies something about `the ends justifying the means'. I thought Bowman did well enough, but again, here's another character I found myself unable to develop any substantial sympathy for as he seemed to enable his brother's actions, even to the point of taking the blame, that and the fact he passively coveted his brother's wife. He certainly suffered for the former, but only because he allowed it. Despite these perceived issues, the story was engaging, and I thought the direction wonderful, as there were some really creepy visuals and the pacing brisk. The production values were quite good, especially given the fact the film was released by Republic, which specialized in low budget features (occasionally a larger studio would produce a film and then offer it to one of these poverty row studios for release, if it wasn't up to their standards). All in all, while this may be one of Lang's lesser efforts, it's still a great film and one worth checking out.

The picture, presented in fullscreen (1.33:1), on this Kino Video DVD release, looks strong, but does show some signs of wear due to age. Apparently the source material was taken from a print obtained through the National Film and Television Archive in London, so chances are this is the best you see this rare film, at least until someone mounts a full blown restorative effort. The two channel mono audio comes through well enough, with only a slight background hiss. There are a couple of extras including a 7 ½ minute interview with filmmaker Pierre Rissient who apparently discovered the print used on this DVD, and a small photo gallery featuring lobby cards and production photos.

Cookieman108

Melodramatic Victorian murder mystery.......2006-10-16

Louis Hayward stars as erratic and unbalanced writer Stephen Byrne in Fritz Lang's despondent film noir drama, "House By the River". The privileged Hayward accidently kills his wife's attractive housemaid after she rejected his unwanted amorous advances. With fear of exposure he wheedles the help of his staid and ethical brother John played by Lee Bowman, to help him dispose of the body. They put the corpse in a sack then submerge it in the nearby river. Curiously the notoriety of the maid Emily's apparent disappearance allows Hayward's writing to increase significantly in popularity.

The crime adversely affects the behavior of both brothers. Hayward's behavior becomes more bizarre detaching him from his wife Marjorie played by Jane Wyatt, who in reality cares more for brother John.

The body soon surfaces and police discover clues that implicate John Byrne for the crime he didn't commit. The demented Hayward is only too happy to have to brother take the fall for him. In the end however, as in most film noir, justice is served.

A Fritz Lang Film With Style And Technique.......2005-12-31

If nothing else, House By The River establishes that a first-rate director can still make an interesting but second-rate film. There are so many elements of style and technique in this movie that make it worth watching, yet there's not much you're left with afterwards.

Sometime before the turn of the century, Stephen Byrne (Louis Hayward) and his wife, Marjorie (Jane Wyatt), live in a comfortable house next to a river in a small town. Byrne thinks of himself as a writer, but everything he writes is rejected. He's charming, selfish and easily manipulates his brother, John (Lee Bowman), a quiet, successful businessman who walks with a limp and who deeply loves Marjorie. John even turned over most of his share of an inheritance to Stephen so that Marjorie and Stephen could live comfortably while Stephen wrote. One day while Stephen's wife is away, Stephen attempts to kiss their attractive housemaid after she has bathed. She resists and screams. Just then someone appears at the front door. Almost without realizing what he's doing, he strangles the maid in a panic to keep her quiet. The man at the door turns out to be John, and Stephen convinces him to help dispose of the body by placing it in a sack and throwing it in the river. But the river has a nasty habit, because of the tides, of bringing things back up.

While Stephen becomes energized, John is guilt-ridden. Stephen obsessively searches the banks of the river to find the sack with the decaying corpse, afraid it might show up on the tide. When the maid's body is eventually discovered, circumstantial evidence points to John as the killer, not Stephen. Stephen gradually and carefully begins to point more evidence toward John. As he does so, he writes more confidently. He begins to write the story of what happened, of a death on the river. He begins to denigrate Marjorie. He becomes confident and dangerous. The ending is ironic and just.

So what's not to like in this Gothic creep show? For starters, none of the characters except Stephen are particularly interesting. Partly this is because of the story; partly because the actors are not strong. Jane Wyatt's Marjorie Byrne is so unfailingly sympathetic and understanding it's a wonder she wasn't strangled instead of the maid. Lee Bowman was a reliable journeyman actor, but little more. Louis Hayward could be a great swashbuckler and, in my view, was a good actor when he had quieter roles. When he went for evil, however, I think he tended to overplay his hand. Second, the plot itself is not all that engrossing...man kills woman, man blames another, man becomes unhinged...and retribution happens. There are no surprises. Third, the music by George Antheil is even more melodramatic than the last half of the movie. Whenever a dramatic moment occurs, Antheil's score punches it home unmercifully.

And what's to like? First, the pacing. Lang keeps things moving, and he doesn't let things get dull. Second, the photography. This is a great-looking Hollywood Gothic production. Most of the movie takes place either in Stephen Byrne's home, full of dark wood, deep shadows, candles, heavy furniture and antimacassars, or on the river, full of more dark shadows, with fallen trees and decaying roots, with overhanging branches ready to snag the unwary. We see a bloated dead cow come in and out with the tide. Third, the stylistic flourishes that catch your eye and are just different and subtle enough to be uneasy. After Byrne strangles the maid and hears the knock on the door, he scuttles into deep shadows, but for a moment finds one wrist entangled in the sash of the dead woman's dressing gown. In Stephen Byrne's imagination the bright reflection from the back of a hand mirror turns into a twisting fish from the river. The judge at the inquest, a severe-looking middle-aged man, wears a pair of spectacles with round lenses. One of the lenses is black, and is not commented on. At the top of the stairs in Byrne's home, deep in shadow, suddenly some drapes billow out and seem to have a life of their own. Fourth, there is the character of Stephen Byrne himself. The murder seems to set him free, but in ways that are unhinged. "I was always afraid as a child," Stephen tries to explain to John, before he tries to kill him. "I didn't have the courage to do things. I was afraid of people...what they might say and think. Maybe that's why my writing wasn't good. I'm not afraid anymore. I've written something good...because it's real." Stephen Byrne is an interesting villain.

Even with all this, Fritz Lang stated he thought little of the movie. I think it's a workmanlike job, worth watching and perhaps better than Lang thought it was.

The movie has it's share of scratches here and there, but on balance it's in very good shape. The one extra is a brief interview with a French cineaste, a friend of Lang's, who explains why he thinks the movie is far better than Lang thought it was.

A much underrated psychological drama.......2005-12-19

This is a thrilling crime drama made in 1949, and is one of the many films directed by Fritz Lang who was one of Germany's foremost filmmakers in the silent 1920s era before going to the US in the early 30s. In Lang's very capable and experienced hands, this low budget melodrama becomes quite a high-class drama with convincing characters and psychological suspense which is still exciting and entertaining viewing over half a century later. Lang's use of strong light and shadow contrasts add intensity and mood to many scenes, and his fine attention to detail further enhances the viewer's appreciation of the story and characters. These aspects, along with a fine script (based on a novel) allowed Lang to really bring out the nature of each character which, for me, is the highlight of this film. First there is the contrast between two brothers: one is a struggling novelist whose lust for the housemaid leads to her accidental death, which he then attempts to cover up with the help of his innocent and good-natured brother. Louis Hayward plays the role of Stephen Byrne superbly as the character becomes even more vile, twisted and ruthless, thinking he can get away with murder and even cash in on the housemaid's mysterious disappearance and death. Right from the start, the viewer is already repulsed by Stephen Byrne, but drawn in sympathy to the morally upright brother, John, and Stephen's unsuspecting, loving wife, played wonderfully by Jane Wyatt. Apart from this outstanding trio, I also enjoyed the character of John's gossipy and nagging housemaid, and found the pace, timing and unfolding of the story perfect in every aspect. The picture quality, while black & white, is nice and clear, and the sound is also good on this DVD, making it overall very enjoyable viewing for anyone who likes a good psychological crime drama. There is also a brief interview with the French producer Pierre Rissient, to whom credit is due for making "House by the River" available again, and there are also some colour stills from the film as bonus features on the DVD, both of which I also enjoyed.

Marilyn Monroe - The Diamond Collection II (Don't Bother to Knock / Let's Make Love / Monkey Business / Niagara / River of No Return)

Average customer rating:

Marilyn Monroe - The Diamond Collection II
Marilyn Monroe - The Diamond Collection II
STUNNING LEGENDARY PERFORMANCES~BRAVO MARILYN!!!
Niagara is a (flawed) Gem
Waiting for the soundtrack of the DIAMOND COLLECTION , Volume II. This collection merits a soundtrack.

Marilyn Monroe - The Diamond Collection II (Don't Bother to Knock / Let's Make Love / Monkey Business / Niagara / River of No Return)
Starring: Marilyn Monroe
Manufacturer: 20th Century Fox
ProductGroup: DVD
Binding: DVD

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ASIN: B000062XG8
Release Date: 2002-05-14

Amazon.com

Some essential examples of the Marilyn Monroe mystique make up this second collection of titles from MM's years at Twentieth Century Fox. After sparkling in small roles, she burst upon the public consciousness in 1952, thanks to five films and a certain nude calendar. Two of the 1952 pictures, showing very different sides of the new actress, are included here. One is Monkey Business, Howard Hawks's raucous comedy about a youth serum, in which top-lined stars Cary Grant and Ginger Rogers regress to a state of adolescent abandon, with Monroe doing spot-on supporting duty. Don't Bother to Knock gives Marilyn her first lead role, in a tense little film noir; she's a babysitter with an unstable streak, a fine performance hinting at depths rarely touched in her career.

In Niagara, Monroe is a full-fledged sex goddess, a scheming wife tormenting husband Joseph Cotten in their cabin by the falls. This Technicolor slice of pseudo-Hitchcock is a fun location picture with a genuinely exciting climax. Otto Preminger's River of No Return has Marilyn livened up by the presence of costar Robert Mitchum, in a strong outdoorsy Western that catches the two stars in appealing form. By the time of 1960's Let's Make Love, MM looks tired. This backstage musical is more interesting as a time capsule than as a romance, although one number shines: "My Heart Belongs to Daddy." Less urgent for Monroe fans than the first Diamond Collection, this set is still a good one for the die-hards. --Robert Horton

Description

Contains: *Don't Bother to Knock *Let's Make it Legal *Monkey Business *Niagra *River of No Return

Customer Reviews:

Marilyn Monroe - The Diamond Collection II.......2007-01-19

These are the movies that made us love her forever and a day or two.

Marilyn Monroe - The Diamond Collection II.......2007-01-10

If you're a fan of Marilyn Monroe, this is a great collection ... each selection is Classic Marilyn. Quality is excellent.

STUNNING LEGENDARY PERFORMANCES~BRAVO MARILYN!!! .......2006-11-10

Marilyn Monroe is a once-in-a-lifetime legend and nobody has come along since to match the magic of this gifted and very versatile performer...each gem in this Diamond Collection are classics to be enjoyed over and over again for anyone who enjoys the finest that the world of entertainment has to offer! "Don't Bother To Knock" is an amazing hauntingly brilliant performance early in Marilyn's career that shows incredible dramatic range while "Monkey Business" is a fun romp showing Monroe's great comic ability. "Niagara" is a real DIVA Superstar turn unlike any other and Marilyn is drop-dead gorgeous in this colorful spectactular with this film being the one that made Marilyn Monroe a true film Superstar and introduced without a doubt that famous Monroe walk with Marilyn unforgettable in that sumptuous red dress...mesmerizing and exotic singing "Kiss" and never was Marilyn more seductive!!! "River Of No Return" is a great movie that has aged well having a timeless quality to it with a moving and richly etched performance from Marilyn that holds up well today...musical numbers show Marilyn had her own totally original style and made magic with these numbers and every moment is fascinating to watch. "Let's Make Love" was ahead of its time and its style of intergrating musical numbers into the story was used some ten years later in "Cabaret"...listening to the Original Soundtrack CD it is clear that Marilyn delivers some of the finest musical performances of her brilliant career (Cole Porter's "My Hear Belongs To Daddy" is a real showstopper!) making this a must have for fans of great musical films and this winning release also features wonderful unreleased performances not in the film...as a young teen who sneaked into the theatre to see this racy at that time film, I have lost track of how many times I have seen this classic and find it richly entertaining every time...and the final never completed "Something's Got TO Give" show a sophisicated and very beautiful Marilyn who never looked so stunning on the big screen and this motion picture would have been a real classic...Marilyn was coming into her own as a unique performer and living screen legend who showed promise of becoming the greatest star of her generation...too bad her career which meant so much to Marilyn and showed such promise of hitting greater heights was cut tragically short. Thankfully movies such as these keep this incredible legend alive and Marilyn will in this way always shine the brightest and she always lit the screen up in a way that nobody else ever could...Marilyn was the true meaning of SUPERSTAR...we love and miss you Marilyn and thank you for leaving behind a treasure chest of magic for all of us to savor and enjoy!!!

Niagara is a (flawed) Gem.......2006-01-01

I bought the 1st Diamond collection for my wife (a devoted Marilyn fan) and we were both impressed with the quality of the restorations. We were looking for more of the same with the Marilyn II collection. Although I ordered the collection well before Christmas, I didn't receive it until the day after Christmas. The tracking site showed it ready for pickup on December 18. When we received it we first viewed Niagara. The restoration was very good. I've been to the Falls many times and I got a kick out of how little things had changed since this movie was shot. Joseph Cotton was very convincing as the tortured soul who was infatuated with Marilyn. The action was well-paced and kept you in suspense during the last half of the movie. Unfortunately, this DVD was defective and the picture broke up 30 minutes into the movie and we lost about 10 minutes of the movie. I went to Amazon's site and after going through a short questionaire I was able to print out a postage-paid mailer without having to talk to anyone. I returned the collection for replacement due to arrive in a week. Hopefully this one will not be defective since we are looking forward to viewing the other DVDs in this set.

Waiting for the soundtrack of the DIAMOND COLLECTION , Volume II. This collection merits a soundtrack........2005-12-19

After The DIAMOND COLLECTION of Marilyn Monroe DVD was released,
a soundtrack CD was also released with many interesting tr