Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown
A showcase for some of the most unexpected and surprising turns in the great director's prolific career: The Whole Town's Talking is a screwball comedy about a law-abiding man (played by Edward G Robinson) who happens to be the doppelganger of Public Enemy No. 1, Killer' Mannion; The Long Gray Line is a Ford military picture with a difference, focusing its attentions away from the battlefield and onto the fifty-year career of an Irish immigrant who rises through the ranks at West Point; The Last Hurrah is a star-studded political drama boasting the talents of Spencer Tracy, Jeffrey Hunter, Pat O'Brien, Basil Rathbone, Donald Crisp, and John Carradine, and; Gideon's Day takes us on a twenty-four journey in the life of Jack Hawkins' titular London-based detective. All four films are presented for the first time on Blu-ray in the UK, with The Long Gray Line making its world Blu-ray premiere. This limited edition box set is strictly limited to 6,000 numbered units. Extras: THE WHOLE TOWN'S TALKING 4K restoration Original mono audio Introduction by TCM host Ben Mankiewicz (2014) Cymbaline (2020): a new video essay by Tag Gallagher, author of John Ford: The Man and His Films Leonard Maltin on The Whole Town's Talking' (2014): archival appreciation by the film critic and historian Sheldon Hall on The Whole Town's Talking' (2020): new appreciation by the film historian Pamela Hutchinson on Jean Arthur (2020): a look at the life and career of the acclaimed actor Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Farran Smith Nehme, an extract from the W R Burnett's Jail Breaker, Edward G Robinson on The Whole Town's Talking, an overview of contemporary critical responses, and film credits UK premiere on Blu-ray THE LONG GRAY LINE 4k restoration Original mono audio Audio commentary with film historians Diana Drumm, Glenn Kenny and Farran Smith Nehme Living and Dead (2020): a new video essay by Tag Gallagher, author of John Ford: The Man and His Films Leonard Maltin on The Long Gray Line' (2014): archival appreciation by the film critic and historian The Red, White and Blue Line (1955): rare promotional film, featuring the principal cast of The Long Gray Line Original theatrical trailer Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Nick Pinkerton, archival interviews with John Ford, Maureen O'Hara on The Long Gray Line, an overview of contemporary critical responses, Anthony Nield on The Red, White and Blue Line, and film credits World premiere on Blu-ray GIDEON'S DAY 4K restoration Original mono audio Alternative feature presentation with the US Gideon of Scotland Yard titles Audio commentary with film historian Charles Barr (2020) Milk and Sugar (2020): a new video essay by Tag Gallagher, author of John Ford: The Man and His Films Leonard Maltin on Gideon's Day' (2014): archival appreciation by the film critic and historian John Ford's London (2020): new appreciation by Adrian Wootton, Chief Executive of Film London Interview with Elaine Schreyeck (2020): the continuity supervisor recollects her work on the set John Ford and Lindsay Anderson at the NFT (1957): rare silent footage of Ford visiting London's National Film Theatre during the production of Gideon's Day Original UK theatrical trailer Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Robert Murphy, an interview with producer Michael Killanin, Jack Hawkins on Gideon's Day, Lindsay Anderson on John Ford, an overview of contemporary critical responses, and film credits UK premiere on Blu-ray THE LAST HURRAH 2K restoration Original mono audio True Blue (2020): a new video essay by Tag Gallagher, author of John Ford: The Man and His Films Leonard Maltin on The Last Hurrah' (2014): archival appreciation by the film critic and historian Super 8 version: original cut-down home cinema presentation Original theatrical trailer Image gallery: promotional and publicity materials New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Imogen Sarah Smith, John Ford on Spencer Tracy and The Last Hurrah, screenwriter Frank S Nugent on John Ford, an overview of contemporary critical responses, and film credits UK premiere on Blu-ray Extras subject to chang
A bumper box set of classic films featuring 'The Queen' Barbara Stanwyck! Double Indemnity (Dir. Billy Wilder 1944): Director Billy Wilder and writer Raymond Chandler ('The Big Sleep') adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray) who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But of cou
A collection of Nick Cave And The Bad Seed's promotional videos. The tracklist features 'Stagger Lee' 'Where The Wild Roses Grow (featuring Kylie Minogue)' 'Into My Arms' '(Are You) The One That I've Been Waiting For?' 'Henry Lee (featuring PJ Harvey)' 'Red Right Hand Man' 'Loverman' 'Do You Love Me?' 'Deanna' 'The Ship Song' 'Tupelo' 'In The Ghetto' 'Jack The Ripper' 'What A Wonderful World (featuring Shane MacGowan)' 'Straight To You' 'The Mercy Seat' 'The Weeping Son
Director Billy Wilder (Sunset Boulevard) and writer Raymond Chandler (The Big Sleep) adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck: kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy (notably in the TV series My Three Sons and the movie The Shaggy Dog), is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown
Has dialogue ever been more perfectly hard-boiled? Has a femme fatale ever been as deliciously evil as BARBARA STANWYCK (The Lady Eve)? And has 1940s Los Angeles ever looked so seductively sordid? Working with cowriter RAYMOND CHANDLER, director BILLY WILDER (Ace in the Hole) launched himself onto the Hollywood A-list with this paragon of film-noir fatalism from JAMES M. CAIN's pulp novel. When slick salesman Walter Neff (The Caine Mutiny's FRED MACMURRAY) walks into the swank home of dissatisfied housewife Phyllis Dietrichson (Stanwyck), he intends to sell her insurance, but he winds up becoming entangled with her in a far more sinister way. Featuring scene-stealing supporting work from EDWARD G. ROBINSON and the chiaroscuro of cinematographer JOHN F. SEITZ (Sunset Blvd.), Double Indemnity is one of the most wickedly perverse stories ever told and the cynical standard by which all noir must be measured. Product Features New 4K digital restoration, with uncompressed monaural soundtrack Audio commentary featuring film critic Richard Schickel New interview with film scholar Noah Isenberg, editor of Billy Wilder on Assignment New conversation between film historians Eddie Muller and Imogen Sara Smith Billy, How Did You Do It?, a 1992 film by Volker Schlöndorff and Gisela Grischow featuring interviews with director Billy Wilder Shadows of Suspense, a 2006 documentary on the making of Double Indemnity Audio excerpts from 1971 and 1972 interviews with cinematographer John F. Seitz Radio adaptations from 1945 and 1950 Trailer English subtitles for the deaf and hard of hearing
It's No Picnic! Brace yourself for mutant mayhem and pestilent payback in this scary (Los Angeles Times) and repulsively convincing (The Hollywood Reporter) creature feature about good bugs gone BAD! Starring queen of mean Joan Collins this incredible insect extravaganza is swarming with flesh-crawling chills hair-raising thrills and spine-tingling terror...with a venge-ANTS! A heavenly paradise becomes a hellish nightmare when a toxic spill turns harmless ants into rampaging radioactive reprobates! Stumbling into their creepy lair a sleazy land developer (Collins) and her clients are horrified to realize that the ants are having a picnic...and humans are on the menu! Fleeing for their lives - only to be squashed underfoot - they soon discover that these bad-boy bugs are hell-bent on exterminating mankind and building an evil empire where humans check in...but they can't check out!
The Iron Horse was John Ford's 50th film and remains his most celebrated of the silent era. Its theme of enterprise and achievement its open-air locations and setting in a vigorous and pioneering past proved just the subject to stimulate the young director's talent. The sheer scale of the film surpassed all other Westerns of the silent era and established Ford as one of the leading directors in the industry. The film combines a conventional tale of double-dealing vengeance and romance with a poetic sense of history and an epic theme - uniting a nation by building a transcontinental railroad and a great man's dream realised by the courage skill and labour of ordinary folk. This restored version features a new score composed and conducted by John Lanchbery performed by the City of Prague Philharmonic.
Director Billy Wilder and writer Raymond Chandler adapted James M. Cain's hard-boiled novel into this wildly thrilling story of insurance man Walter Neff (Fred MacMurray), who schemes the perfect murder with the beautiful dame Phyllis Dietrichson (Barbara Stanwyck): kill Dietrichson's husband and make off with the insurance money. But, of course, in these plots things never quite go as planned, and Barton Keyes (Edward G. Robinson) is the wily insurance investigator who must sort things out. From the opening scene you know Neff is doomed, as the story is told in flashback; yet, to the film's credit, this doesn't diminish any of the tension of the movie. This early film noir flick is wonderfully campy by today's standards, and the dialogue is snappy ("I thought you were smarter than the rest, Walter. But I was wrong. You're not smarter, just a little taller"), filled with lots of "dame"s and "baby"s. Stanwyck is the ultimate femme fatale, and MacMurray, despite a career largely defined by roles as a softy, is convincingly cast against type as the hapless, love-struck sap. --Jenny Brown, Amazon.com
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