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
Journey Together is a unique feature length documentary-drama film written by Terence Rattigan directed by John Boulting and produced by the RAF. It provides a vivid and gripping depiction of the selection and training process for the RAF pilots and aircrew during the Second World War and follows new recruits through the arduous procedure of their first mission - a night bombing raid on Berlin.
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The Stranger, according to Orson Welles, "is the worst of my films. There is nothing of me in that picture. I did it to prove that I could put out a movie as well as anyone else." True, set beside Citizen Kane, Touch of Evil, or even The Trial, The Stranger is as close to production-line stuff as the great Orson ever came. But even on autopilot Welles still leaves most filmmakers standing. The shadow of the Second World War hangs heavy over the plot. A war crimes investigator, played by Edward G Robinson, tracks down a senior Nazi, Franz Kindler, to a sleepy New England town where he's living in concealment as a respected college professor. The script, credited to Anthony Veiller but with uncredited input from Welles and John Huston, is riddled with implausibilities: we're asked to believe, for a start, that there'd be no extant photos of a top Nazi leader. The casting's badly skewed, too. Welles wanted Agnes Moorehead as the investigator and Robinson as Kindler, but his producer, Sam Spiegel, wouldn't wear it. So Welles himself plays the supposedly cautious and self-effacing fugitive--and if there was one thing Welles could never play, it was unobtrusive. What's more, Spiegel chopped out most of the two opening reels set in South America, in Welles' view, "the best stuff in the picture". Still, the film's far from a write-off. Welles' eye for stunning visuals rarely deserted him and, aided by Russell Metty's skewed, shadowy photography, The Stranger builds to a doomy grand guignol climax in a clock tower that Hitchcock must surely have recalled when he made Vertigo. And Robinson, dogged in pursuit, is as quietly excellent as ever. On the DVD: not much in the way of extras, except a waffly full-length commentary from Russell Cawthorne that tells us about the history of clock-making and where Edward G was buried, but precious little about the making of the film. Print and sound are acceptable, but though remastering is claimed, there's little evidence of it. --Philip Kemp
A strange blob-like creature terrorises the inhabitants of a Scottish village.
Jack loses his fortune in the Wall Street crash. He returns to Liverpool illegally with gangsters pursuing him across the Atlantic. He becomes involved in the Spanish Civil War and agrees to run arms for an ex-Sergeant Major. Episodes include: 'Action! Comrades In Arms!' and 'Roll Of Honour'.
Based on actual events. When the commander of the crew of a B17 Flying Fortress bomber is killed in action in a raid over Sicily in 1943, his replacement, a young naive pilot struggles to be accepted by the plane's already tight-knit Irish American crew.
The first three volumes of Knight Rider - including the pilot - on this fantastic triple disc boxed set. Volume 1: 1. Pilot (Feature length): Police Officer Michael Long is shot and left for dead. A metal plate in his head from a previous injury deflects the bullet. Dying millionaire Wilton Knight provides Michael with a new name a new face and a new car. In return Michael must help the Foundation for Law and Government bring criminals to justice - criminals who operate beyond the reach of the law. 2. Chariots of Gold: Bonnie is accepted into an elite society for brilliant thinkers only to be brainwashed into helping K.I.T.T. commit a crime. 3. Good Day at White Rock: While taking a few days holiday at White Rock Michael Knight and K.I.T.T. find themselves involved in a full-blown war with a gang of vicious bikers who are terrorising the town. Volume 2: 1. Knight Racer: Someone tries to kill Michael after he qualifies to drive for an independent racing team plagued by a series of accidents. 2.Sky Knight: Bonnie's plane is hijacked and the passengers are held hostage by an ex-intelligence agent who wants money and political prisoners set free. 3. Knight Sting: Bonnie poses as a jetsetter to gain access to a foreign embassy planning to ship a canister of deadly bacteria out of the country. Volume 3: 1.Knight Of The Rising Sun: Michael and K.I.T.T. come to the aid of Nick O'Brien a friend of Devon's who is being forced out of business by a powerful Japanese businessman. 2. Slammin' Sammy's Stunt Show Spectacular: Michael is asked to stand in for a stunt show owner who is injured during a plot to put him out of business. Micheal and K.I.T.T. perform some death-defying stunts but are soon the subject of the saboteurs' attentions. 3. Just My Bill: Michael and K.I.T.T. have to protect a maverick politician when she becomes the subject of several assassination attempts after opposing the Kern River Bill.
Benjamin Britten's opera 'Billy Budd' in two acts tells of the sadism and injustice abroad a British man-of-war.
After his mother's death Collin Fenwick goes to live with his father's cousins the wealthy avaricious and controlling Verena Talbo and her compliant earthy sister Dolly...
Empire Day on the Slag Heap. With the strike at an end the miners are back however an accident leaves Bill with a broken back. Jessie receives a marriage proposal whilst Jack receives some surprising news. Episodes titles: Empire Day On The Slagheap A First Time For Everything Paddy Boyle's Discharge and Angel On Horseback.
Available for the first time on DVD! Ash Wednesday 1980. Hell's Kitchen New York City. Exactly three years ago while tending bar Sean Sullivan (Elijah Wood) overhears some mobsters who speak of a plan to murder his older brother Francis (Edward Burns). Sean pulls a gun and shot at them. Soon thereafter he goes missing and only his arm is found. Three years later Francis who has given up his crime-ridden lifestyle and is now looking after Sean's widow (Rosario Dawson) and child receives word that Sean may not be dead after all. Burns also wrote and directed this moody crime drama following on from his earlier efforts such as The Brothers McMullen and No Looking Back.
White Lightnin': The Jesco White Murders
Jason Blade is back to sweep the bad guys out of town once again...
In protest at the corruption and hypocrisy he sees all around him an unemployed man calling himself ""John Doe"" has written to the New Bulletin newspaper pledging to throw himself from the top of City Hall on Christmas Eve. Written by a discharged journalist as a publicity stunt and as a parting shot at the paper's new editor the premise of the letter unexpectedly fires the imagination of the bulletin's readers and the wider American public. Its real author Ann Mitchell (Barbara S
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