The winner of 10 Academy Awards, this 1961 musical by choreographer Jerome Robbins and director Robert Wise (The Sound of Music) remains irresistible. Based on a smash Broadway play updating Shakespeare's Romeo and Juliet to the 1950s era of juvenile delinquency, West Side Story stars Natalie Wood and Richard Beymer as the star-crossed lovers from different neighbourhoods--and ethnicities. The film's real selling points, however, are the highly charged and inventive song-and-dance numbers, the passionate ballads, the moody sets, colourful support from Rita Moreno, and the sheer accomplishment of Hollywood talent and technology producing a film so stirring. Leonard Bernstein and Stephen Sondheim wrote the score. --Tom Keogh
West Side Story marked a small revolution in the history of the Hollywood musical when it was released in 1961. Enriched by Leonard Bernsteins marvellously brassy, challenging score--as redolent of the place as anything Gershwin ever wrote--the location shooting and aerial views of the Manhattan grid made New York a gritty backdrop to this modern interpretation of Romeo and Juliet. The film rightly became an instant classic which won ten Oscars and brought some of the greatest numbers in the era of the modern musical to a global audience. Everything gels, from Jerome Robbins superlative choreography (he retains a directors credit with Robert Wise, although anxious studio bosses removed him from the film when costs started to mount), to Ernest Lehmans taught screenplay, some of Sondheims most accessible early lyrics, and passionate, raw performances from the gang members and the lovers. For many of the cast, including Richard Beymer as Tony and Natalie Wood as Maria, the film represents a creative climax which wouldnt be surpassed during the remainder of their distinguished careers. Rita Moreno is an outstanding Anita, even with her songs disappointingly dubbed, and George Chakiris sinewy, arrogant Bernardo is magnetic. The whole thing still thrums with a youthful, dramatic energy that even a modern equivalent like Moulin Rouge cant match. On the DVD: West Side Story thoroughly merits the attention to detail in this handsome Collectors Edition. The anamorphic (16:9) widescreen format reproduces the original cinema presentation, brilliantly serving the city panoramas and balletic fight scenes, as well as the softness of the love duets, while a newly processed Dolby Digital 5.1 audio track brings Bernsteins score up as if the notes were still drying on the page. Extras abound. A "Remembering" documentary features significant contributions from director Robert Wise, Richard Beymer, Russ Tamblyn and Rita Moreno. Die-hard fans will lap up the various galleries, comparisons, the original intermission music and even a complete copy of Ernest Lehmans screenplay. --Piers Ford
Based on his own successful 2007 short Dennis, Mads Matthiesen's award-winning Teddy Bear is an intense piece of cinema verite-style realism, showcasing a strong cast comprised of both amateur and professional actors. Contrasting both Danish and Thai cultures, this emotional drama plays with viewers expectations, preconceptions and prejudices as it examines different aspects of love, and the search for happiness. 38 year-old Dennis is a painfully shy bodybuilder who still lives at home with his overbearing mother. When his socially awkward uncle marries a girl from Thailand, Dennis is inspired to go and do the same. Quickly thrown into the seedy underbelly of Thailand's sex tourism scene, he nearly gives up on finding a bride of his own. When a visit to a local gym turns into an unexpected night on the town, however, Dennis finds that there may be hope for him yet.
A beautiful actress with a cult following visits the Cannes film festival only to be hunted by her 'number one fan' a demented director who demands that she star in his next movie...
The Devil's Cauldron a city where depravity and violence has forged a society in which only the lethal and callous can survive two young men who possess the intellect and ferocity to flourish carve a name for themselves as the most efficient and unstoppable hit men. Side by side these two brothers are the deadliest killers feared by even the most evil criminals. But when a woman of rare beauty mysteriously enters the brother's lives she blinds them with her sweet promises and turns them against each other resulting in an epic battle that threatens to bring the Devil's Cauldron to the brink of destruction.
Network television was already wrestling with a generation gap and the rowdy cultural upheaval posed by rock when American network NBC aired this 1967 special for Nancy Sinatra, with younger viewers increasingly tuning out the typical videotaped studio productions that typified TV specials. To sidestep those conventions (and, one suspects, to showcase the stars modest performing gifts to best advantage), director Jack Haley Jr. shot Movin with Nancy on film in and around Los Angeles, yielding sequences that anticipate the visual experiments that would characterise music videos more than a decade later. The results are intriguing: for Sinatras fans, the chance to see her in all her leggy, mini-skirted glory will be irresistible, but amateur pop sociologists will be at least as fascinated by the period details and some unwittingly bizarre undercurrents. For the putative teen viewers of the day, theres the psychedelic montage of "Some Velvet Morning", one of several duets with Sinatras frequent partner at that time, Lee Hazlewood (a country-tinged, B-team Sonny to her blonde variation on Cher), interweaving the two singers on horseback and making much out of bewildering references to Euripides Phaedra. For the grown-ups, there are segments teaming her with Dean Martin (awkwardly addressed as her "god-uncle") and Sammy Davis Jr., as well as a reverential sequence in which she caresses oversized posters of her famous father (including a still from his then-current crime feature, Tony Rome, depicting him with a menacing pistol) that raises all sorts of knotty psychiatric issues. The mix of Rat Pack glitz, flower power, and mainstream pop gets an added kick with Day-Glo fashions cut to Carnaby Street lines, vintage commercials for Royal Crown Cola ("Its a mad, mad, mad, mad cola!"), and pop covers that likewise lock in a sense of temporal dislocation as Nancy gamely tackles "Up, Up and Away" (in a hot air balloon, of course) and "Who Will Buy?" from Oliver!, here goosed with go-go powered dancing. --Sam Sutherland, Amazon.com
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