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Come Back, Africa on DVD
In 1957, Lionel Rogosin--a genuine American independent filmmaker before the term was ever coined--traveled to South Africa to make a film exposing the conditions under which the oppressed black Africans live. He had just made is directorial debut with the critically acclaimed On the Bowery, a portrait of life on New York's Skid Row, and was inspired to take on the daunting challenge of making a film in what Rogosin realized was in fact a police state, one that the rest of the world knew almost nothing about in 1957. He began work under the guise of producing a non-political film about the musical culture of the country (and there is, in fact, a wealth of local music in the film) while secretly meeting anti-apartheid activists and developing a loose script with the help of local writers, artists, and activists. Using non-actors and shooting clandestinely, he improvised from the outline. The result is a loose, sometimes arch drama that draws its power from the texture of the lives and the locations shown on screen.
The basic story follows the experience of Zachariah (Zacharia Mgabi), an uneducated man from Zululand who comes to Johannesburg for work in the gold mines and then stays to find work in town. It's a challenge from the outset in a bureaucracy designed to make life difficult for blacks trying to move to the city. The modern world is all quite new to him--even the radio is a foreign wonder--and he's very much the country naïf in the big city, getting along with help from men who have already learned the system. He goes from job to job, from a servant in a middle-class apartment (he's considered a "house boy," emphasis on "boy," a term used by the whites which is only slightly less offensive than "kaffir") to working in a hotel, in a garage, and on a road crew. His wife comes to the city with their two children. While she looks for work, their preteen son learns the culture of street gangs and street musicians.
As drama, it's all quite stiff. These are, with perhaps an exception or two, not actors by training or by instinct. The exception is Miriam Makeba, the black African singer who came to international attention thanks to the film and publicity surrounding it. She's only in a couple of scenes but in a film of non-actors, her presence and talent and ease in performance jumps out. The most shocking portrait comes from Myrtle Berman, who plays the virulently racist middle-class woman who spews a non-stop litany of complaints and demeaning remarks at Zachariah as he struggles to learn the duties of a houseboy in a modern apartment. Her performance isn't subtle but her portrayal of bone-deep bigotry is so convincing that it's a relief to discover Berman was in real life an equal rights activist who wanted to show the world the attitudes of many South African whites.
Between the staged dramatic scenes are documentary snapshots of life on the streets of Johannesburg and Sophiatown. The opening shots contrast the blacks (in tattered clothes and cheap suitcases) travelling through the city to their homes in the slums with the well-dressed whites, the crowds all self-segregating. Later a montage of black street musicians and singers, from small penny whistle and guitar orchestras to South Africa's answer to doo-wop vocal groups, show a culture of hawking on street corners. We follows Zacharia and friends as they stroll through the slums of Sophiatown with its clapboard shacks and dusty streets and meet in the run-down apartment of a friend where comparing notes on their lives gives way to drinking and singing to forget. Rogosin had no studio resources so it was all shot in location, and the details of those locations describe their lives better than any dialog.
Interestingly enough, many of the other white characters are sympathetic to the plight of the blacks, reluctantly following oppressive laws or forced to let a worker go after a complaint by a white patron. Which is not to call them progressive in any way--even these sympathetic bosses have a rather paternalistic attitude to their black employees--but it does suggest a culture caught between institutional racism and their own instincts to treat all people fairly, if not exactly equally.
The opening panels describe, in general terms, the purpose of the film and its clandestine production under the watch of South African officials. What's not in that introduction is the defining historical moment. Nelson Mandella and other members of the African National Congress were on trial for treason and violent government crackdowns on strikes and protests were to erupt the year after Rogosin left. The film came at a flashpoint, letting the world know of the racism and oppression and institutional poverty just as the South African government became even more tyrannical. As bad as the conditions and the attitudes shown in the film, things got worse before apartheid officially ended in 1991 and the first free elections were held in 1994.
The Milestone release is mastered from a restoration was produced by Cineteca di Bologna, based on the original negatives, a fine grain and a dupe negative preserved at the Anthology Film Archives in New York and at the British Film Institute-National Film and Television Archive in London. Just like Milestone's earlier release of Rogosin's On the Bowery (subtitled "The Films of Lionel Rogosin, Volume I"), this set features two discs of material, including bonus features and shorts and an introduction by Martin Scorsese.
Disc one includes the feature-length documentary An American in Sophiatown, about the making of Come Back, Africa. Directed by Rogosin's son Michael Rogosin with South African filmmaker Lloyd Ross, it features new interviews with collaborators from South Africa, including actress Myrtle Berman and journalist / co-writer Lewis Nkosi, as well as film historians, Rogosin's widow, and archival interview clips with Rogosin shot in the 1978. It provides a wealth of background on the challenges of shooting the film under the noses of wary South African police and politicians and about the contributions the collaborators brought to the film. Rogosin wanted to expose conditions by giving the oppressed citizens a voice and he did. There's also an audio-only interview with Rogosin conducted in 1979 for United Nations radio, which is illustrated with stills and silent film clips, and the film's original trailer.
Disc Two features a companion film of sorts: Black Roots, Lionel Rogosin's 1970 documentary on the African American experience. Also includes Michael Rogosin's 27-minute making-of documentary Bitter Sweet Stories and the bonus feature Have You Seen Drum Lately?, a 1998 documentary about the South African magazine "Drum" that focused on black culture and played a role in the anti-apartheid movement (Come Back, Africa co-writer Lewis Nkosi was one of the magazine's contributors).
by Sean Axmaker - Comment
New Books
In the Company of Legends
By Joan Kramer and David Heeley
In the Company of Legends gives its readers an insider's view of some of Hollywood's most elite and well-known stars of the silver screen. With their captivating behind-the scenes stories of some of the town's most beloved but hard-to-get interviews, Joan Kramer and David Heeley offer a rousing reading adventure.
They began documenting the lives and careers of many of the stars of the golden age of Hollywood in 1980 with their award-winning profile of Fred Astaire, and they quickly gained a reputation for finding the un-findable, persuading the reluctant and maintaining unique relationships long after the end credits rolled. They revitalized the genre of star biography with their high-quality, definitive portraits and helped turn the genre into a mainstay of modern television programming.
The roster of stars who sat down for interviews with them includes Katharine Hepburn, James Stewart, Elizabeth Taylor, Bette Davis and Audrey Hepburn, along with many others. The stories of the productions and the personalities involved are amusing, sometimes moving, and some are revealed for the first time.
Joan Kramer and David Heeley began their long producing partnership WNET before forming their own production company, Top Hat Productions. Their programs have received five Emmy awards, twenty Emmy nominations and national and international honors.
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A Fine Romance - New autobiography by Candice Bergen
By Candice Bergen
Candice Bergen has had a varied career that has included being a film actress, an award-winning television star as well as an acclaimed photographer. Her first memoir, Knock Wood covered her early years growing up with her "brother" Charlie McCarthy and breaking into acting. This new memoir details her later life--her marriage to French film director Louis Malle, her success with Murphy Brown, the birth of her daughter, the tragic loss of Malle to cancer and forging a new life from that loss. Throughout the book, Bergen talks frankly about the journey of her life and shares it with a writing style that is honest, down-to-earth and often hilarious.
As she writes in this memoir, falling in love with Malle changed her life in many ways. The director's huge appetite for life broadened her horizons, and their romance flourished despite the ups and downs of their career choices. But, the heart of the story is in her love for her daughter, Chloe. After years of ambivalence about motherhood, Bergen discovered the overpowering love and bond that can exist between mother and daughter. As Chloe grew up, Bergen found her comic genius in the biggest TV role of the 80s, Murphy Brown, and made headlines as the storyline of the show spilled over into the presidential campaign politics in 1992.
Fifteen years into their marriage, Malle was diagnosed with cancer, and Bergen is unflinching in describing her and Chloe's despair over his death. But after years of widowhood, she discovered she missed the company of men and was surprised to find love anew with a man very different from Malle. She takes us through the first years of her new marriage and shares the bittersweet journey of watching Chloe leave home and flourish, while finding comedy in being an older actress in Hollywood and the losing struggle with wrinkles and extra pounds.
Candice Bergen has penned numerous articles, written a play as well as her first memoir, Knock Wood. Her film credits include The Sand Pebbles, Carnal Knowledge, Starting Over (for which she received an Oscar nomination), and Miss Congeniality. On television, she made headlines as the tough-talking broadcast journalist and star of Murphy Brown, for which she won five Emmys and two Golden Globes. She later starred with James Spader and William Shatner in the critically acclaimed series Boston Legal.
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Wild Bill Wellman: Hollywood Rebel
By William Wellman, Jr.
This follow-up book to Wellman's previous biography of his father, The Man and his Wings about the making of the first picture to be awarded the Academy Award for Best Picture, this book looks at the live and career of the man who is best known as "Wild Bill" Wellman.
Wellman, the director, began his career in Hollywood shortly after World War I ended and he went on to direct eighty-two films (six of them uncredited). Many of his films, such as Public Enemy, The Ox-Bow Incident and Battleground, have become icons of American film. But Wellman is also known for his diversity, some of his films are cold and brutal while others are poetic and moving. He worked across a variety of genres from gangster films to westerns, from comedies to searing social dramas.He was as tough talking and hard drinking as his nickname implies but he was also an uncompromising maverick and a family man.
Drawing on his father's unpublished letters, diaries and unfinished memoir, the author gives us the first full portrait of the man--from boyhood to flyer to husband, father, director and, ultimately, artist. It is a portrait of a profoundly American spirit who fueled his creative side by directing a variety of classic American films.
William Wellman, Jr. is the author of The Man and His Wings. His articles have appeared in Film Comment, Films in Review, and DGA News. He is an actor and screenwriter, and was executive producer of the documentary Wild Bill: Hollywood Maverick. He lives in Sherman Oaks, California.
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Follies of God: Tennessee Williams and the Women of the Fog
This insightful book takes us deep into the world of playwright Tennessee Williams and the wonderful female characters he created that helped transform the American theater of the mid-twentieth century.
In 1982, at a time when Williams was feeling as if he had been relegated to a "lower artery of the theatrical art" he received an unsolicited letter from young fledgling writer, James Grissom, asking for advice. Williams replied with an invitation to meet for lunch. After a long, intense conversation, Williams sent Grissom on a journey on the playwright's behalf to find out if he, Tennessee Williams, or his work had mattered to those who had so deeply mattered to him, those who had led him to what he called the blank page, "the pale judgment."
Chief among the more than seventy giants of American theater and film that Grissom sought out were the women who had inspired Williams to write the powerful and flawed characters he created. It was Lillian Gish who helped him visualize Blanche duBois, Maureen Stapleton inspired The Rose Tatoo's Serafina, and Grissom also sought out Jessica Tandy, Kim Stanley, Bette Davis, Katharine Hepburn and many others in his journey to find the answers to whether Williams really mattered to the history of American theater and film.
James Grissom studied at Louisiana State University and the University of Pennsylvania. He has written for HBO, Showtime, CBS, and NBC. He lives in New York.
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DVD Reviews
Point Blank on Blu-ray
When documentary filmmaker John Boorman made the leap to feature filmmaking with Catch Us If You Can (aka Having a Wild Weekend, 1965), a low-budget rock-n-roll vehicle for the Dave Clark Five, he transformed the quickie into a surprisingly biting satire of popular culture set to a bouncy soundtrack, displaying a remarkable sophistication and creativity unexpected from such a project. It was enough to land him his first American film, Point Blank, where he revealed an even greater ambition and talent.
Based on the novel The Hunter by Richard Stark (a pen name for Donald Westlake), Point Blank shuffles the lean, straight-forward story of a gunman named Walker (Lee Marvin), who is double crossed by his partner in crime and returns (seemingly from the dead) for revenge, into a surreal, abstracted crime drama. The plot is faithful to original novel, a hard-boiled piece of crime fiction reimagined for the underworld culture of the sixties, but Boorman and Marvin, who requested the young director and supported his unconventional vision for the film, refract it through a modern lens. Walker's odyssey from Alcatraz in San Francisco to the underworld of Los Angeles is splintered with short, sharp shards of memory that cut through his story, as if reflecting Walker's attempts to put the pieces of cause and effect together in his mind.
Boorman views L.A. through an alienated lens and edits it more like a European art film than an American crime thriller, but fills it with offbeat, ultra-stylized scenes of violence. It opens on a gunshot that should have killed him and he struggles to put it all together when he wakes up: "Cell. Prison cell. How did I get here?" Marvin is enigmatic, to say the least, as he tracks down his unfaithful, guilt-ridden wife (Sharon Acker), his wife's sister (Angie Dickinson), his old friend turned double-crossing heist partner Mal Reese (John Veron), and finally the syndicate bigwigs, all just to get his due: "I want my 93 grand."
This vision of urban Los Angeles is alternately crowded and noisy and urban, and austere and empty and dislocated. His footsteps echoing through an empty, anonymous hallway becomes the disembodied beat of his march of revenge. A scatting, screaming R&B singer at a chic night spot called The Film Club is the feral soundtrack of a brutal backstage fight, at once visceral and abstracted in the clutter of 35mm film cans and nightclub supplies. The aftermath of a suicide becomes a psychedelic vision of destruction, which disappears in a cut to the apartment suddenly empty, a ghost house with no evidence of life or death, just transition.
The dialogue is loaded with references to "a dream" and characters constant remind Walker that he's supposed to be dead. Keenan Wynn adds another level of remove as the devil whispering in Walker's ear, another unreal figure with a carefully concealed agenda who is preternaturally attuned to Walker's movements. More than an informant, he appears from nowhere to provide a name, an address, a piece of information on the trail to the top man in the Organization as Walker's debt keeps getting passed up the chain of command.
Walker is both an unstoppable sentinel who seems more than flesh and blood and a vulnerable man wounded by betrayal who has armored over his emotions with a mission. Marvin delivers both sides of the character without compromising either. There's a cold fury under his deliberate movements and his eyes betray a moment of regret and sadness when he finds his wife dead by her own hand, but it is all pushed down and kept in check by his single-minded focus. "I just want my money" is his mantra, not a matter of greed but a debt to be settled to balance the scales. Marvin is at once deliberate and relaxed, a veteran criminal soldier alert to everything, which makes his character even more fascinating. He doesn't demand attention on screen, he commands it through confidence and ability and cool focus.
That alone makes him more admirable than Mal, who is played by John Vernon as an oily, arrogant, amoral rat, selling out anyone and everyone to buy his way back into the Organization. The rest of the members of the cast don't play characters as much as cogs, functionaries in a criminal enterprise as a cutthroat corporation, simply doing their jobs as if Walker was a rival in a hostile takeover. Only Angie Dickinson's Chris has the passion and fury and emotional life of a human being, siding with Walker out of both loyalty and for payback against Mal ("He makes my flesh crawl") and the Organization that has taken over her business and her life. Sharon Acker, who plays Walker's wife, comes off less haunted than simply weak. She barely leaves an impression, which is fitting for her character but fails to offer any sense of tragedy to her story, and she's almost instantly forgotten after she exits the film. It's really the only weak element of the film, which otherwise is strong, confident, and sure from beginning to end.
Point Blank has been called a modern film noir but it has more in common with Performance, another crime thriller that fractures time, offers enigmatic and ambiguous characters, and equates organized crime with big business. Boorman delivers meticulously executed set pieces that are designed for the wide CinemaScope frame with a sure sense of space and a dispassionate perspective. He emphasizes intelligence over action and presents Walker as total professional, never flustered and always emotionally removed from the situation. And if Walker is an extreme incarnation of the revenge driven noir anti-hero, the modern syndicate has transformed the old school mob into a world of paper jungles and corporate businessmen, an alienating concept to a two-fisted, gun-wielding independent like Walker. "Profit is the only principle," is their motto. Almost 50 years later, it's more modernist than modern, a fascinating time capsule of an era when young directors brought nouvelle vague style to classic genres, and a cryptic crime thriller that turns Marvin into the most enigmatic criminal professional in the movies.
Boorman creates a hard, austere look for the film and the new Blu-ray delivers a sharp clarity to his vision of Los Angeles as an impersonal modern city. Apart from a few scenes, he strips the frame down to isolated figures in an empty urban landscape under the hard light of the California sun. It's an urban desert and the disc preserves that atmosphere of a ghost city by day and a shadowy underworld at night when the crowds gather on the streets and in the clubs. The impersonal palette of concrete surfaces and blank office interiors in the day gives way to the color of human habitation after dark, which oddly enough has a warmer atmosphere than the harsh light of day.
Carried over from the earlier DVD release is an audio commentary track with director John Boorman and fellow director Steven Soderbergh, a fan of the film who essentially hosts the commentary. He engages Boorman in conversations about the film's style, the use of color and camera lenses, working with Lee Marvin (who became close friends with Boorman), and making his Hollywood debut with a film that refused to play by the studio rules. Soderbergh's The Limey was clearly indebted to Point Blank in both its theme of revenge and in its fractured storytelling and unconventional use of flashbacks. Taking part in this commentary is like paying tribute to his inspiration.
Also features the vintage promotional featurette The Rock (in two parts), which looks at shooting the film on location in Alcatraz, and the original trailer.
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Ravenous on Blu-ray
Ravenous (1999) channels the story reminiscent of the Donner Party disaster and the legend of Alferd Packer (the only American ever convicted of cannibalism) into a gruesome survival thriller with a crimson-hued streak of black humor and an elemental hint of the supernatural. The resulting film takes top honors as the definitive frontier cannibal movie. Not that there's a long list to choose from, mind you, but this earns its position with honors, thanks to a gleefully weird and savagely bloodthirsty sensibility.
Guy Pearce is Captain John Boyd, whose battle cowardice during the Mexican-American war inadvertently results in making him an accidental hero. The ordeal of playing dead under the bleeding corpses of his fellow officers also puts him off meat, as the opening scenes so vividly illustrate. Director Antonia Bird cuts straight to the heart of the situation as she intercuts soldiers devouring bleeding-rare steaks at a military luncheon with the bloody casualties of battle stacked like cordwood: meat is meat, at least as far as this film is concerned. Boyd's commanding officer (John Spencer of The West Wing), who knows that his valor is a fraud, ships him out to the fringes of military reach: a fort in a California mountain pass, which runs with a minimal compliment during the impassable winter months. "This place thrives on tedium," smiles fort commander Colonel Hart (Jeffrey Jones), who takes everything with a bemused indulgence. How else to survive a company made up of a useless drunk second-in-command(Stephen Spinella), a giggling weed-head idiot (David Arquette), a twitchy, mumbling chaplain (Jeremy Davies), and a macho soldier boy (Neal McDonough) who holds the rest of the company in utter contempt?
The tedium is quickly dispersed when a bedraggled disaster survivor (Robert Carlyle) stumbles into camp. He spins a horrific story of a lost wagon train and an incompetent scout who strands them in the mountains, where as the winter snows traps them and desperation leads to feeding on human flesh. It's a tale right out of the Donner Party until it turns feral, but it's not even close to the real story of Carlyle's wild-eyed survivor. For a starving man, he looks remarkably fit when he doffs his shirt, and other clues suggest that this is no production gaffe. One night, while camping on the trail to his old camp to search for survivors, he's caught licking the bleeding wounds of an injured soldier. You know, tasting his next potential meal.
That's when the film takes its twist into weird and wild horror, a bizarre plot that doesn't really make much logical sense but sure makes for a wicked mix of psychodrama and visceral body horror. The Native American Wendigo myth is referenced to explain madness, but you could say it's a vampire tale without the supernatural dimension--it turns out human flesh is addictive, and it helps to have a nest of fellow flesh-eaters to keep the diet coming--or call it a particularly gruesome metaphor for manifest destiny. However you label it, it is off-the-charts crazy, an eat-or-be-eaten thriller served very, very rare.
British director Antonia Bird seems like an odd match for this material. She honed her craft on TV drama and made her reputation with the tough, wrenching dramas Priest and Face, two films with complex characters and socially conscious themes. What they have in common with Ravenous is star Robert Carlyle, who recommended Bird after the film's original director Milcho Manchevski was let go after three weeks and the producer's chosen replacement, Raja Gosnell, was rejected by the cast. Bird (who passed away last year at the relatively young age of 62 after a battle with thyroid cancer) was frustrated by the conditions of the production and the oversight of the producers and she complained that her cut was compromised in post-production. That may explain the awkward pace, jarring turns, and a climax that feels tossed together--an uninspired way to end such a devious film--but she is clearly the architect of the odd, offbeat key of the film's blackly comic tone and surreal atmosphere and Carlyle is her partner in outsized madness. He leads the cast in playing their eccentricities big, though next to Carlyle's juicy performance, Arquette and Davies come off more like actor's studio sketches in twitchy weirdness or fidgety indecision than actual characters. Guy Pearce provides the contrast, creating a character fighting to maintain control and keep his emotions and his reflexive revulsion in check as everyone else lets their freak flag fly. It oddly enough makes him the most intense character on screen. As all that fear and disgust and anxiety just bottles up behind his desperate eyes and increasingly battered body, Pearce shows us the toll this ordeal exacts on him. In this survival drama, he's the one in true survival mode.
Scream Factory's Blu-ray features a solid new HD transfer that preserves the dynamic contrast between the white-out daylight scenes of snow and the ominous shadows of the deep forest and the dark rough-hewn quarters of the frontier fort. Night doesn't have to fall for the darkness to seep into the image. Given the elemental quality of the imagery--much of the film takes place in the snowbound wilderness, with the Tatra Mountains of Slovakia standing in for California--the transfer has a satisfying level of grain that not only preserves the texture of the film but gives the entire atmosphere an added level of authenticity. These images feel like they were carved into the film.
The film was previously released on DVD over a decade ago with three separate commentary tracks. Director Antonia Bird and composer Damon Albarn team up for the most informative track, with Bird talking in detail about the physical challenges of the production. Screenwriter Ted Griffin and co-star Jeffrey Jones tend to lapse into silences in their track and actor Robert Carlyle is even more intermittent in his the solo track. Also carried over from the earlier disc is a collection of deleted scenes (many of them in rough-cut form) with optional commentary by Bird and a gallery of stills. New to this edition is a 20-minute interview with Jeffrey Jones, who looks back on the themes of the film.
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Southern Comfort on Blu-ray
A motley crew of Louisiana National Guardsman wade out into the swamps for weekend maneuvers. It's 1973, as the war in Vietnam is grinding away the soul of America and the heart of the military, and this platoon of weekend warriors--a volatile collection of rednecks, hotheads, jokers, and guys who probably signed up to steer clear of the draft--are like fresh recruits going into battle for the first time. They've got the fatigues and the cocky attitude but dubious discipline and training and their machine guns are loaded with blanks as they head into the bayou. To the Cajun swamp folk, the trappers and hunters living on the fringes of society, these men are invaders who trample their camps and steal their boats. And when one of the soldiers lets loose a burst from his weapon, laughing like the class bully after humiliating the new kid, these shadowy swamp dwellers defend themselves, becoming a guerilla strike force waging a war of terror on the utterly unprepared toy soldiers. They don't know that it's just blanks in those guns but it likely wouldn't matter if they did. They've been attacked and they will respond. These city dwellers are out their element and after their commanding officer (Peter Coyote) is gone, the first casualty in the war of attrition, they are out of their depth, flailing around with a panic that dumps their radio, compass, map, and pretty much everything else that was supposed to keep them alive.
Southern Comfort will never be mistaken for a Nation Guard recruitment tool. Call it an anti-platoon movie. Hill gives the squad the outward accoutrements of a real fighting force, down to the uniforms and weapons, but this is a military unit in name only. Beyond the swaggering banter of the soldiers and self-deprecating comments of Spencer (Keith Carradine), the self-appointed company joker, they have no real training, no experience under fire, and no commitment to one another. These guys are more like barroom buddies playing soldier than a disciplined force.
There are two voices of restraint in the wilderness, Spencer and new guy Hardin (Powers Booth), a transfer from Texas who doesn't know anyone in the company but sizes up their weaknesses quickly and realizes that they haven't much a chance as long as wild cards like Reece (Fred Ward) and Stuckey (Lewis Smith) go charging through the swamps looking for payback. Casper (Les Lannom) takes command by virtue of an essentially meaningless detail of rank and bumbles around quoting regulations and making speeches, doggedly following the book because he hasn't a clue what to do next. The filmmakers don't make him a figure of ridicule, mind you, just a guy falling back on the only thing he knows. In fact, none of them are necessarily "bad guys," though like any Hill ensemble, it has its share of jerks, bullies, racists, and anger management candidates and the pressure brings out their worst instincts.
So yes, it's a story of American soldiers in an alien land, lost in an unfamiliar landscape and outmaneuvered by a guerrilla army at home in the jungle. Director / screenwriter Walter Hill and producer / co-screenwriter David Giler insist to this day that Southern Comfort was never intended to be an allegory for Vietnam, simply a survival tale in an overwhelming and unfamiliar environment. It's hard to take them at face value but it is easy to forget the allegory in the heat of the drama. It also shares DNA with Deliverance, another film about city boys with guns who take their sense of ownership and entitlement into the wilderness, threaten the locals, and end up hunted by them. But where John Boorman's primal thriller turns his Appalachian backwoods men into brutal outlaws who take pleasure in stalking the city invaders, Hill and Giler keep their Cajun soldiers hidden, seen as figures in the distance or blurs running behind the trees, ghosts on the fringes of sight. They treat the would-be soldier like wild game, silently shadowing their progress and whipping them into a state of panic to steer them into their traps. And whatever the short-fused guys in the platoon think, this is no cultural conspiracy to wipe out the invaders. Their enemy consists of a handful of isolated hunters who didn't start the war but by God are determined to finish it. The rest of the Cajun folks they meet don't seem to be a part of it, though after a couple of days in the swamps, the paranoia is powerful enough to make every sidelong glance look ominous. Ry Cooder's eerie and haunting score only intensifies the paranoia.
What ultimately differentiates them from the soldiers of a classical platoon drama is that they haven't bonded under fire and have never had to put their trust in one another. This group unravels and tears itself apart from fear and panic and unfocused rage. And in classic Hill manner, there are no philosophical musings or existential conversations. The closest the film comes to putting its theme into words is from the mantra of a terrified Simms (Franklyn Seales), who finds himself cut off from the group and suddenly aware of just how vulnerable he is. "I'm not supposed to be here," he repeats, as if begging the universe to correct some cosmic planning error. And then he's no longer there.
While this band of infighting brothers wades blindly through the swamp without a clue as to their bearings or direction, Hill's direction never falters. He has always had a sure hand as a storyteller, keeping his plots uncluttered and letting the details of character, conflict, and the world around them define the story. Southern Comfort limits the world to the middle of the swamp, where we (like the soldiers) are unable to find any point of reference, and observes how the discomfort of the environment and the constant disorientation takes its toll on what little good sense the characters bring with them to the mission. It exacerbates the already dysfunctional dynamics of this platoon of battle virgins and is as deadly on its own as the native hunters who use the environment as a weapon in their arsenal. It's not necessarily skill or even luck that saves the guardsmen who survive the ordeal. In classic Hill fashion, it is a matter of intelligence, awareness, teamwork, and the commitment to do what is necessary to survive. There's no sense of victory in survival, merely relief.
Blu-ray / DVD Combo Pack. Both discs feature the new HD master but the Blu-ray of course features superior clarity and richness of color. Both are clean, strong images while the Blu-ray shows off excellent detail. The Dolby Digital Mono soundtrack puts the mix right up front. A couple of scenes of chaos and confusion overwhelm the dialogue with background sound, which is surely intentional but still seems a little out of balance to my ears.
New to this release in an original 27-minute featurette with new interviews with actors Keith Carradine, Powers Boothe, Lewis Smith, and Peter Coyote and, on low-resolution video via Skype, director Walter Hill and producer David Giler, who collaborated on the script with Hill. The actors share stories of shooting in the Louisiana swamps in February with wet suits under their uniforms, six weeks of working in the cold and damp, and they remind us that they were all in it together. The crew endured the same conditions so no one had the right to complain. More interesting is the discussion around the themes of the film. Hill and Giler maintain that while they did not intentionally set out to make a Vietnam allegory they were aware that audiences would make that connection, while the actors admit that they knew it was an allegory from the moment they read the script. Keith Carradine's reading is particularly detailed and interesting. Curiously, none of the six participants mention Deliverance.
Carried over from the old DVD release is a brief collection of outtakes and the original trailer. All of the supplements are featured in both the Blu-ray and DVD discs of the Combo Pack.
By Sean Axmaker - More >
Tess on Blu-ray
Tess (1979), Roman Polanski's film adaptation of Thomas Hardy's 1890 novel Tess of the D'Urbervilles, has in 2014 received a sublime Blu-Ray and DVD release from Criterion. Restored by Pathe under the direct supervision of Polanski himself, the movie looks and sounds magnificent. At first glance, the lushly beautiful Tess is a seemingly unusual work for Polanski, whose films we tend to associate with horror and sex, but this was actually a highly personal project for the master filmmaker. It was his first picture after fleeing the United States in 1977, and also a project that his wife, Sharon Tate, had suggested he make as a vehicle for herself -- just before she was murdered by the Manson gang in 1969. Polanski read the novel after her death and realized it was indeed right up his alley, and he dedicated the eventual film to her with an on-screen inscription.
Hardy's tale, to which the film is very faithful, is about a poor English girl, Tess, whose father learns he is a distant descendant of a once prominent, rich family, the D'Urbervilles. He sends Tess to the home of a remaining D'Urberville to find employment (or at least a handout), but Tess winds up being seduced by the ne'er-do-well Alec D'Urberville (Leigh Lawson), who becomes obsessed with her. Fleeing Alec, she eventually finds work at a dairy farm and starts a passionate relationship with a young farmer named Angel Clare (Peter Firth). But in this society, the revelation of the sins of her past, even if they were not her fault, could doom Tess to shame, ostracism and worse. Ultimately, Tess is about a woman struggling to make her way in the world, looking for happiness, or at least survival, but finding that a judgmental society, timing and even luck are all working against her.
Polanski explores this theme vividly, sympathetically and cinematically. Costumes, speech and physical mannerisms of the actors all convince the audience of the time period and of the distinctions among the social classes, and the film's pictorial beauty does much to stress the contrasting cruelty of some of the characters. The movie is not "pretty" for prettiness' sake. Most important, one really feels the isolation of Tess throughout the film, which is at once sprawling and intimate. The plot itself, while important, feels less vital here than the depiction of Tess' emotional experience of the world she is forced to inhabit, and as a result, the long running time feels entirely appropriate and never tedious.
Tess was shot entirely in France, mostly on locations in Normandy and Brittany, because Polanski worried that if he traveled to England he would be extradited to the United States. Polanski later wrote, "To tell the story at all, it was essential to find the proper setting, a twentieth-century equivalent of Hardy's nineteenth-century Dorset. The only way to convey the rhythm of his epic was to use that setting as an integral part of the film, signaling the passage of time and the change in Tess herself by means of a visible, almost palpable change in seasons. Once our rural locations were chosen, we would have to film throughout the year from early spring, through high summer, to the depths of winter." With such a shooting strategy, filming wound up lasting nine months over 80 separate locations, and Tess became, at $12 million, the most expensive film ever made in France to that point. Freak weather and labor strikes only added to the overall time and expense.
If Tess is atypical of Polanski, it's in the way that The Age of Innocence (1993) is atypical of director Martin Scorsese. But in fact, both films are completely emblematic of their directors' concerns and are indeed suffused with violence. It's just that the violence is emotional, an undercurrent beneath a pristine surface -- exactly like the societies the films depict.
That being said, it's hard to shake some of Tess's most exquisitely beautiful imagery, such as the lovely natural light of an outdoor dance, or the riders and dogs on a fox hunt who appear out of a sublime mist, or the face of Nastassia Kinski, who is heart-stoppingly gorgeous (a quality, incidentally, that is vital to the story). Cinematographer Geoffrey Unsworth, who had shot such films as Becket (1964) and Cabaret (1972), died a few weeks into production and was replaced by Ghislain Cloquet, who sadly would himself pass away two years later. They shared the Oscar for Best Cinematography. The film also won for Best Art Direction and Best Costume Design and was nominated for Best Picture, Best Director and Best Original Score.
Criterion's dual-format release contains one Blu-ray disc and two DVDs, with both formats containing the film and identical extras. And there are plenty, starting with three short documentaries about the film's making (originally included in Columbia's 2004 DVD release), directed by Laurent Bouzereau and totaling 73 minutes in length. Bouzereau expertly interviews key players like Polanski, producers Claude Berri and Timothy Burrill, co-writer John Brownjohn, actors Nastassia Kinski and Leigh Lawson, set decorator Pierre Guffroy, costume designer Anthony Powell, hair and makeup artists, the crew electrician, the assistant editor and others. The artists discuss fascinating details of production, like the challenge of getting the "strawberry seduction" scene between Kinski and Lawson just right (which astonishingly was shot on a rainy day despite looking on-screen like the height of warm summer), the creation of the Stonehenge set outside of Paris, and the design of the costumes to be authentic and truly expressive of character -- beautiful without being decorative. Powell is fascinating as he discusses his approach, and also about the little splotch of blood he put on the hem of Tess' dress at a key point in the story, which Polanski shot for maximum impact.
Burrill recalls that on location the filmmakers were only able to see the rushes days after shooting, rather than the next day, and not always under the best conditions. But gradually, he says, "we started to see what was happening, the magic that was coming off the screen, and the extraordinary professionalism of Nastassia.... I don't think there was ever one day when she fluffed a line. She was word-perfect, always."
Second is a 52-minute documentary from 2006 by Daniel Ablin and Serge July entitled Once Upon a Time... Tess. This is also interesting, but it covers much of the same material as the Bouzereau pieces, with many of the same interviewees telling the same stories. It's also not as smoothly edited. But unlike the Bouzereau film, it includes composer Philippe Sarde, and delves more into Polanski's pre-Tess life and career. It also recounts the difficulties in Tess's post-production, particularly concerning the running time. Francis Coppola was brought in by producer Claude Berri to trim the film, which was deemed overlong, but Polanski hated the result, leading to a falling-out between Berri and Polanski and between Polanski and Sarde. Polanski himself eventually trimmed the film by about 20 minutes, resulting in the current running time of 171 minutes.
Third, there's a 1979 episode of the French TV program Cine Regards, running 48 minutes, that looks at the making of Tess and interviews Polanski during the film's production. The interviews with Polanski are revealing, but the real strengths of the piece are the long, uninterrupted slices of life on the set as Polanski directs and thinks through scenes, conducting his orchestra of crewmembers. These sequences go on long enough to make us feel as if we are there.
Fourth is a 1979 episode of the British TV program The South Bank Show, 50 minutes in length, in which host Melvyn Bragg interviews Polanski. And Criterion rounds things out with the film's trailer as well as a handsome printed booklet containing a fine essay by Colin MacCabe and crisp, colorful photos from the film, almost all of which feature the entrancing Nastassia Kinski. It's a beautiful package and motion picture, all very highly recommended.
By Jeremy Arnold - More >
Used Cars on Blu-ray
The opening of Used Cars (1980) has the ominous, wind-scoured character of a modern crime film in a desperate southwest town where a Sergio Leone western wouldn't be out of place. The camera cranes down from a high shot over a struggling used car dealership, where a few pathetic beaters line the lot, and slowly glides over to one car with someone is crammed under the dashboard. The only sound is the lonely wind--the kind of strangled, desolate howl you get in dustbowl dramas and desert survival thrillers--and the grunts of the man struggling with the mechanics under the dash. And then we see the odometer turn back, shaving some 40,000 or so miles from the record. The title hits the screen, a brass band jumps in with "Stars and Stripes Forever," and the unidentified mechanic wriggles out to reveal Kurt Russell in a cheap, loud suit making his rounds to mask the sorry condition of the cars on the lot. It turns out that this is a crime movie after all, or at least a film of multiple misdemeanors and bald-faced misrepresentation, and the perpetrators are the good guys.
The second feature from director Robert Zemeckis and co-writer and producer Bob Gale, Used Cars comes right out of the screen comedy culture of the late 1970s and early 1980s, when the underdogs snubbed their collective noses at authority, propriety, property and privacy laws and anything else that crossed their paths in slobs vs. snobs comedies like Animal House (1978), Caddyshack (1980) and Ghostbusters (1984). Used Cars is raucous and reckless and far more gleefully corrupt than any of its brothers in rebellion, embracing the confidence games and illegal stunts pulled by the skeleton crew that works for Luke Fuchs (Jack Warden), who is the closest thing that the film has to an honest man. The devotion of salesmen Rudy (Russell) and Jeff (Gerrit Graham) and mechanic Jim (Frank McRae) to Luke is really all that separates them from Luke's rapacious brother and across-the-street rival Roy L. Fuchs (Warden again) and his slick sales force. That and the fun they have ripping off the rubes who wander on to their lot.
The premise of film - two used car outfits at war with one another - was hatched by John Milius, who was one of the executive producers (along with Steven Spielberg), but the script is pure Zemeckis and Gale. The rivals are twin brothers, the Cain and Abel of used car dealers. When impending freeway construction threatens to destroy bad brother Roy's dealership and make the good brother Luke rich, Roy finds a way to speed the demise of Luke's bad heart and Rudy makes good on his promise to keep Roy from taking over the lot. Rudy has his own, more immediate motivation, of course--he's trying to buy his way into the local political machine and he's still a little short on the down payment--but it's also personal. Luke is something of a father figure to the crew, which makes them the mischievous sons who break the rules whenever dad's back is turned. After Luke dies, their antics more outrageous, from secretly burying Luke on the lot (his beloved convertible fittingly serves as his casket) to jamming satellite signals with wild pirate commercials replete with gratuitous nudity and senseless destruction of private property. The plot seems to careen from one comic collision to another but there's a nicely-constructed plan under it all, simple but ingenious enough that you don't actually see how the pieces are laid in place until it all comes together in the ragged spectacle of final act.
It's not really a satire of American business so much as a wicked lampoon: lie, cheat and steal as the American way, as long as you do it with a sense of fun. Kurt Russell was just breaking out of his clean-cut post-Disney persona when he took on the role and he sinks his teeth into Rudy, turning the brash characters into the epitome of the smiling mercenary selling lemons to suckers with dirty tricks and phony promises. Gerrit Graham is his partner in commercial piracy, unfazed by anything but harbingers of bad luck, notably red. Deborah Harmon is both romantic interest and plot complication as Luke's long lost daughter, who shows up just after dad's death. Jack Warden has a field day playing twin brothers and Frank McRae is hilarious as the giant adrenaline-pumped mechanic. The crotch-grabbing Mexican junk car wholesaler is ubiquitous character actor and future director Alfonso Arau in his first great comic role in an American film (Romancing the Stone and Three Amigos soon followed). But the entire cast is in danger of being upstaged by the adorable dog Toby, who has his own role to play in the sale stunts. This pooch's hilarious performance makes him one of the greatest movie dogs.
Zemeckis matured into a polished filmmaker and an ambitious storyteller and went on to make more sophisticated, more provocative, and certainly more subtle films, but he never made anything as savagely funny as Used Cars. Its banged-up ingenuity and rough-and-tumble energy and warped mirror reflection of the American Dream as a snatch and grab free-for-all is wickedly funny. Everyone is a crook here and the epilogue even enshrines mendacity as a virtue, at least when it comes to stepping into the used car game.
Used Cars has a remarkably tidy visual aesthetic for a film about a seedy, shabby culture, with a screen that is uncluttered and flooded with desert sunlight in day scenes and blasted with floodlights as bold as a football stadium night game for the after-dark stunts. The new HD transfer shows a well-preserved print and is sharp and clear. Simply put, it looks superb.
The commentary track with Zemeckis, Gale, and Russell, carried over from the 2002 DVD reelease, is almost as fun as the movie. "We wanted Jimmy Stewart in It's A Wonderful Life, except he's totally corrupt," is how Zemeckis explains the genesis of Rudy. Kurt Russell laughs back: "So you cast me!" These guys are having a blast laughing their way through their remembrances, but they manage to stay on track and keep the production stories coming. Few commentaries manage to balance the information and entertainment so well.
There's a four-minute reel of outtakes (apparently taken from surviving video dub; it's all quite hazy), a radio interview with Russell, a car commercial featuring Russell, galleries of art and stills, and not one but two isolated score tracks: along with Patrick Williams' musical score heard in the film is an alternate, unused score by Ernest Gold. We don't quite get it in the context of the film (at least not with dialogue and sound effects) but it's a more conventional, less satirical approach. The accompanying 8-page booklet features another fine essay by Julie Kirgo.
By Sean Axmaker - More >
Press Release
Dick Dinman Salutes BAND WAGON/LUST FOR LIFE Director Vincente Minnelli
DICK DINMAN SALUTES "BAND WAGON" DIRECTOR VINCENTE MINNELLI (PART ONE): Although principally remembered and revered for his astonishing contribution to musical cinema Warner Home Video's recent and gorgeous blu-ray releases of not only the musical comedy classic THE BAND WAGON (which can be purchased either individually or as included as part of Warner's magnificent 4 film BLU-RAY MUSICAL COLLECTION) but also the intensely dramatic Oscar-winning Vincent Van Gogh biography LUST FOR LIFE and both graphically demonstrate the fact that Vincente Minnelli's directorial brilliance extended to a dizzying variety of genres and who better to join producer/host Dick Dinman in turning the spotlight on the length and breadth of Minnelli's amazing versatility than Mark Griffin, author of the acclaimed biography A HUNDRED OR MORE HIDDEN THINGS: THE LIFE AND FILMS OF VINCENTE MINNELLI.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.
- More >
John Wayne Birthplace Museum Grand Opening
WINTERSET, Iowa--Over the past 30 years more than one million visitors have journeyed to historic Madison County to tour the modest four-room home where film icon John Wayne was born on May 26, 1907. Guests have included President Ronald Reagan, movie legend Maureen O'Hara, Wayne's widow and all of his children and fans from 50 states and 40 foreign countries. And, as testament to the star's enduring popularity, they keep on coming.
To provide a more meaningful visitor experience, the Birthplace organization has announced the May 23rd Grand Opening of the John Wayne Birthplace Museum, a brand-new 5,000 square ft. facility which will offer an astounding collection of memorabilia from the screen legend's life and motion picture career. The only museum in the world dedicated to John Wayne, it will feature the largest diversified exhibit of John Wayne artifacts in existence, including original movie posters, film wardrobe, scripts, letters, artwork and sculpture, one of his customized automobiles and, of course, a movie theater.
A birthday celebration of this magnitude requires considerable flourish and the weekend of May 23-25 will not disappoint. Providing patriotic fanfare for the opening ceremonies will be the 100-member Iowa Military Veterans Band, in addition to rodeo queens, reduced price admission to the new museum, free John Wayne movies, food and merchandise vendors, cowboy mounted shooters and much more.
A highlight for many will be the Museum Benefit Dinner ($150 per person) headlined by country music legend and RFD-TV star Marty Stuart & His Fabulous Superlatives. Also featured will be an auction of unique and one-of-a-kind John Wayne collectibles including artwork and film wardrobe.
For further information call 877-462-1044 or visit the website at
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Dick Dinman and George Feltenstein Salute Black and White on Blu-ray
DICK DINMAN AND GEORGE FELTENSTEIN SALUTE BLACK AND WHITE ON BLU-RAY: Defying initial doubt by some of the viability of releasing black and white film classics on blu-ray Warner Home Video has been instrumental in repeatedly demonstrating how visually effective the melding of both formats could be and their latest stunning blu-ray restoration releases such as YANKEE DOODLE DANDY, THE PICTURE OF DORIAN GRAY, POSSESSED and CHRISTMAS IN CONNECTICUT continue to hammer home the point with consistently beautiful results. Producer/host Dick Dinman's returning guest George Feltenstein (Warner Home Video Senior V.P. of Classic and Theatrical Marketing) extols the limitless visual virtues of back and white on blu-ray.
DICK DINMAN AND GEORGE FELTENSTEIN SALUTE "PETE KELLY'S BLU-RAY.": Producer/host Dick Dinman welcomes back Warner Home Video Sr. V.P. George Feltenstein and both share their enthusiastic admiration for director/star Jack Webb's lavish and invigorating foray into the guns, gangster, gals, gams and most emphatically the musical traditions (flawlessly demonstrated by both Ella Fitzgerald and Oscar -nominated Peggy Lee) that made the roaring 20's roar all of which has been brought brilliantly to renewed sight and sound life in Warner's magnificent new blu-ray incarnation of PETE KELLY'S BLUES.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.
- More >
Strictly Sturges at NYC's Film Forum, April 10-23
Friday, April 10 - Thursday, April 23
- Andrew Sarris
As a child, he cavorted in toga and sandals with Isadora Duncan. Later, he invented kissproof lipstick and introduced the club sandwich to Germany. He was once the toast of Broadway and his elopement with an heiress made the Times front page. But writer/director PRESTON STURGES (1898-1959) will forever be remembered for a dizzying, golden run of early 40s comedies. With The Great McGinty, Sturges rose overnight from screenwriting serf to "prince of the blood" -- his own definition of a director -- and soon became one of the directing elite. But Sturges was the first director to write his own scripts without collaborators -- his example inspired others, like Billy Wilder and John Huston, to follow in his footsteps. This series includes all of his Hollywood work as director and no-less-important films he wrote but didn't direct.
Friday & Saturday, April 10 & 11
Sunday, April 12 & Monday, April 13
Tuesday, April 14
Wednesday, April 15
Thursday, April 16
Friday, April 17 & Saturday, April 18
Sunday & Monday, April 19 & 20
Tuesday, April 21
Wednesday, April 22
Thursday, April 23
Thursday, April 23
Thursday, April 23
Thursday, April 23
Thursday, April 23
Thursday, April 23
For more information, links and showtimes, visit www.filmforum.org
- More >
TCM and Walt Disney World Resort Team Up
Turner Classic Movies, Walt Disney World Resort and The Walt Disney Studios Team Up to Share Stories Centered on Classic Film
Features Include New TCM Integration in Theme Park Attraction and On-Air Showcase of Disney Treasures
Turner Classic Movies has announced new strategic relationships with Walt Disney World Resort and The Walt Disney Studios to broaden its reach in family entertainment with joint efforts centered on classic film.
At Disney's Hollywood Studios, the "The Great Movie Ride" Attraction highlights some of the most famous film moments in silver screen history and is set to receive a TCM-curated refresh of the pre-show and the finale. TCM branding will be integrated into the attraction's marquee as well as banners, posters and display windows outside the attraction. In the queue line, families will enjoy new digital movie posters and will watch a new pre-ride video with TCM host Robert Osborne providing illuminating insights from the movies some of which guests will experience during the ride. The finale will feature an all-new montage of classic movie moments. After guests exit the attraction, they will have a photo opportunity with a classic movie theme. The TCM-curated refresh is set to launch by spring.
As part of the relationship with The Walt Disney Studios, TCM will launch Treasures from the Disney Vault, a recurring on-air showcase that will include such live-action Disney features as Treasure Island (1950), Darby O'Gill and the Little People (1959) and Pollyanna (1960); animated films like The Three Caballeros (1944) and The Adventures of Ichabod and Mr. Toad (1949); classic nature documentaries, including The Living Desert (1953) and The African Lion (1955); made-for-television classics, such as the Davy Crockett series; special episodes from Walt Disney's Wonderful World of Color; documentaries about the studio, including Walt & El Grupo (2009) and Waking Sleeping Beauty (2010); and animated shorts, such as 1932's Oscar®-winning "Flowers and Trees."
Treasures from the Disney Vault is scheduled to premiere on TCM Sunday, Dec. 21 at 8 p.m. The opening night will include the holiday and winter animated shorts "Santa's Workshop," "On Ice" and "Chip An' Dale," followed by The Disneyland Story. The night will also include The Reluctant Dragon, Disney's 1941 film that combined a live-action tour of the Walt Disney Studios facility with animated shorts; Davy Crockett, King of the Wild Frontier (1955), a compilation of the first three episodes of the iconic series starring Fess Parker; the Oscar®-winning documentary The Vanishing Prairie (1954), part of Disney's True Life Adventure series; the rarely seen Third Man on the Mountain (1959), an Alpine tale starring Michael Rennie and James MacArthur; and Perilous Assignment (1959), a documentary about the making of Third Man on the Mountain.
"At TCM, it's our mission to share and celebrate the greatest films of all time," said Jennifer Dorian, general manager of TCM. "Disney provides the perfect relationship through which we can share the magic of the movies with every generation, not only through an amazing new showcase on TCM, but also through newly refreshed components of 'The Great Movie Ride' Attraction."
"We are looking forward to this collaboration, which complements Disney's commitment to telling great stories and immersing our guests in family entertainment," said Tiffany Rende, senior vice president of Disney Corporate Alliances and Operating Participants. "Through this alliance, we are able to share more classic Disney stories with TCM audiences, while further enhancing the guest experience by showcasing TCM content and talent."
This marks an expansion of TCM's already robust relationship with the family entertainment and media enterprise. TCM set sail on its fourth TCM Classic Cruise in October 2014, the second aboard the Disney Cruise Line's Disney Magic. In addition, TCM has collaborated with Buena Vista Home Entertainment on various initiatives, including the 2008 documentary The Age of Believing: The Disney Live-Action Classics, which premiered in conjunction with a 25-movie showcase of family classics. The 2012 TCM Classic Film Festival in Hollywood featured a multi-film collection of Disney classics presented in collaboration with D23, The Official Disney Fan Club. And the 2014 TCM Classic Film Festival featured the 50th Anniversary screening of one of Walt Disney's most successful films Mary Poppins (1964) at Disney's El Capitan Theatre.
- More >
TCM Book Corner Try for a chance to win a free book ENTER NOW >
TCM Podcast An in-depth look at this month's films by the employees of TCM DOWNLOAD TODAY >
TCM This Show Taking viewers beyond the pages of TCM's Now Playing Guide WATCH FEATURES >
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Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca
Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca
Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca


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The weather in Arizona can often be unpredictable, so you can't take any chances. Prepare for the weather and add some character to your yard with this temperature gnome. It features a gnome with Arizona D-Backs attire equipped with a thermometer that includes both Celsius and Fahrenheit measurements to let you know the temps! Your friends and neighbors will have no doubt who you're rooting for come baseball season!
- Approximately 8" x 11" x 5"
- Hand-painted figurine
- Imported
- Officially licensed Diamondbacks gnome
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Boston Bruins Duvet Cover & Pillowcase
$39.50 – $159
- Overview
Stay warm while you dream of the ice. This heavy-duty duvet cover comes in three shades and is topped with an 8" patch of your favorite team's logo. Choose from all 30 NHL teams.
- 100% cotton twill.
- Pre-washed for added softness.
- Duvet cover and pillowcase reverse to self.
- Detailed with metal grommets and cargo pockets for a sporty look.
- Duvet cover has interior ties and a hidden button closure.
- Twin size duvet cover fits both standard twin and twin XL dorm mattresses.
- Duvet cover, pillowcase and inserts sold separately.
- Machine wash.
- Imported.
- This is a special-order item and cannot be canceled or returned except when due to defect.
Mix + match our bedding to create your own unique look with our Design Your Own Bed Tool.
- Dimensions + Care
Duvet Cover
- Twin: 68 x 86"
- Full/Queen: 90 x 88"
- Standard: 20 x 30"
- Made of cotton twill.
- Wash before first use.
- Machine wash in warm water; gentle cycle.
- Use only nonchlorine bleach, if needed.
- Tumble dry on low heat.
- Warm iron as needed.
- Shipping Info
Please allow 5-7 business days for delivery. Delivery estimate includes monogrammed and gift-wrapped items.
This is a special-order item and cannot be cancelled or returned except when due to defect.
$129 – $159
- More Colors
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Down Duvet Inserts
$189 – $249
Down Alternative Duvet Inserts
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- Eco Leaf
Premium Down Comforter
$199 – $269
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LOS ANGELES (AP) -- Between the claw-like hands and those mutton chops, the competition didn't stand a chance against "The Wolverine" at the box office.
SAN ANTONIO (AP) -- What has two heads, a hard shell -- and a Facebook page?
Asia stock markets fall ahead of Fed meeting
BANGKOK (AP) -- Asian stock markets fell today as traders awaited a packed schedule of data releases this week in the U.S. and a key meeting of the Federal Reserve.
BC-TX--Gas Prices,112
AAA says Texas retail gasoline prices fall 5 cents
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HOUSTON (AP) -- Retail gasoline prices across Texas have fallen by a nickel a gallon for the second straight week. ...
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Pink Skyline was taken during July of 2011 in Whitefish Bay Wisconsin
I have a passion for capturing images of Wisconsin's natural beauty and a commitment to not let that beauty fade from existence. I enjoy creating all types of art. My original degree was in Accounting and Finance from the University of Wisconsin Milwaukee, but I have since gone on to pursue creative interests. I am also an avid writer.
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The Touch by Alyssa Milano® women's pullover hoodie goes from the game to dinner with friends in sporty style! Featuring an adjustable hood with shoelace ties, this cute shirt displays a printed NBA team name on the left chest, while their logo is appliquéd above the right hem.
- 60% Cotton, 40% Polyester fleece
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- Hood with adjustable shoelace ties
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Show off your team's big win in this Reebok® 2011 NFC Conference Champions T-shirt. Crafted of comfy tri-blend material, this short sleeve tee is decorated with NFL® team and championship graphics.
- 50% Polyester, 37.5% Cotton, 12.5% Rayon
- Crew neckline
- Decorated with NFL team and championship graphics
- Made in El Salvador
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Home > California > West Covina
West Covina, California Costume StoresLooking for a costume in West Covina, CA? Here you'll be able to find all the costume stores in West Covina, California. Whether you are looking for a halloween costume, costume ideas, costume accessories, or costume rental, you will be able to find all the resources you need. Costume stores in West Covina, California:
Types of CostumesCostumes come in many different types. Find halloween costumes, masks, accessories and ideas in your town. Costumes sizes range from baby, infant, children, boys, girls, all the way to men and women's adult sizes. Stores typically offer rentals for elaborate fashions. |


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After nabbing three trophies at the 57th Annual Grammy Awards, pop diva Beyonce posed for pics in the press...
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SPECIAL DIRECTIONS: W of Rt 45 at Devonshire & Fox Dr
ELEMENTARY SCHOOLS BUSED TO: Bottenfield, Carrie Busey, Barkstall, Robeson, Southside, Westview, Kenwood, Washington, Garden Hill, Doctor Howard, Stratton
JOIN OUR COMMUNITY SOCIAL MAY 19th THIS MONTH, WE CELEBRATE SUMMER LEARNING! Kids love summertime because it means outdoor fun with friends. But it's also important for them to continue learning and not lose momentum gained during the school year. Join our Community Social on May 19th as we talk about fun ways for kids to play and still continue to grow intellectually every day. Together we can make summer so much fun, kids won't even realize they're still learning! We hope to see you there!
Thank you for choosing the KinderCare Learning Center in Champaign, Illinois. KinderCare learning Center is a part of Knowledge Universe, the largest privately owned early childhood education and care provider in the United States of America. At KinderCare, we are pioneering the practice of developing the whole child. Our curriculum gives each child the skills that he or she needs to excel socially, emotionally, physically and intellectually. Our program is designed to make sure that your child receives the best education experience possible while having fun. Please feel free to come and meet our teachers, view our curriculum and see our children at work. Our center serves the following schools: Bottenfield Elementary School, Stratton Elementary School, South Side Elementary School, Booker T. Washington Elementary School, Westview Elementary School, University Primary School, Dr. Howard Elementary School, Vernon L Barkstall Elementary School, Judah Christian School, Robeson Elementary School, Kenwood Elementary School, Carrie Busey Elementary School, Holy Cross School, St. Matthew School and Leal Elementary School.
Many of our child care centers are accredited by national organizations that require us to meet rigorous early childhood education standards and guidelines for high-quality care and education. Programs that are accredited have demonstrated their commitment to go beyond the state's minimum licensing requirements to meet and maintain these high standards of quality.
(6 Weeks–1 Year)
Babies grow and learn every day. Our goal is to provide a safe and nurturing "home away from home" where babies can explore and make new discoveries. We know that learning through play is extremely valuable at this age and our Early Foundations® Infant program is designed to give babies the skills that will serve as the building blocks for a lifetime of learning.
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(1 – 2 Years)
As toddlers develop friendships, self-esteem, and curiosity, our Early Foundations® Toddler program will help them explore their world in a safe and nurturing environment. Our unique curriculum is based on the philosophy that children learn best through experiences. So each day is filled with fun activities that excite and develop toddlers, giving them the comfort and confidence to speak those first few important words, as well as make their first friends.
(2 – 3 Years)
At this age, children are making new discoveries daily. And as two-year olds begin to exert their independence, our Early Foundations® Discovery Preschool program is prepared to open their eyes to a world of learning, sharing, and exploring. Our holistic approach in the classroom engages young minds with a blend of music, art, and movement, as well as the early education fundamentals they'll need as they continue on to preschool.
(3 – 4 Years)
As preschoolers gain more self-esteem, they may feel ready to take on the world. Our Early Foundations® Preschool program enhances that confidence by providing activities to help children become problem solvers and lifelong learners. Through independent exploration, structured activities, and hands-on learning, children will work on early literacy, math, science, and social studies concepts. A healthy dose of running, jumping, and dancing keeps them active too.
(4 – 5 Years)
Prekindergartners are preparing for the adventure of a lifetime – school. And our Early Foundations Prekindergarten® program is designed to get them ready by teaching letters and words, math concepts, and valuable social skills. With small group instruction, independent play in an organized atmosphere, and whole-group activities, children will have all the right skills to hop, skip, and jump right into kindergarten.
(5 – 6 Years)
As children reach school age, our comprehensive full-day kindergarten program helps them explore, communicate, and create – all in a nurturing, small-class setting. Our team of expert educators has created a unique curriculum of reading, language, arts, math, science, and physical fitness that's presented in a fun way to encourage a lifelong love of learning. Plus, our program is aligned with local and state elementary school standards, so children will be prepared to confidently enter first grade.
(5 – 12 Years)
Even after school's out for the day, children need to be engaged in a comfortable, yet stimulating environment. That's where our Catch the Wave® program comes in. This innovative before – and after-school program allows school-age children to balance learning and fun through a variety of experiences. From homework help to fun physical activities, our program is designed so that everyone goes home happy.
Don't miss out on KinderCare's Summer of Wonder: Six themed programs that will make summer exciting, educational and tons of fun. Whether your child is in our preschool, Pre-K or school-age programs, all of it is designed to help children learn while soaking up the fun. We offer flexible scheduling options to meet the needs of busy families like yours so we hope to see you there.
KinderCare has partnered with Child Care Aware® of America in an effort to offer fee assistance for Active Duty military families and solutions to their child care needs when care at a Child Development Center on the installation is not available.
The Cooking Adventures program gives children opportunities to participate in fun, developmentally appropriate cooking experiences. They will learn about recipes, ingredients, cooking vocabulary, and the importance of a healthy diet. The curriculum includes lessons on picnics, pizza, and heart-healthy meals.
The Math Adventures enrichment program is designed to teach important mathematics concepts such as geometry, numbers, measurement, and probability. Your child will learn about length, height, and weight. He will learn about shapes and solids. He will learn how to add, subtract, multiply, and count money. Math is everywhere and giving your child every advantage now will add up to success later in life.
Ongoing research proves that early exposure to music helps children think, reason, create, and express themselves. Children will laugh and learn about rhythm, vocal melodies, and a variety of musical genres and instruments, which can lower stress and advance memory. Learning never sounded so good.
Set your child up for advanced success with literacy through phonics, the study of letters and sounds. Reader books, games, and activity cards help your child understand the basics of vowels and blending syllables, giving him confidence and command of language.
Spanish Adventures provides young learners with a foundation for later success with the Spanish language. Music, games, children's Spanish literature, and other tools give children multiple opportunities to hear, practice, and see Spanish language for vocabulary and conversational development. Curriculum includes lessons on greetings, numbers, colors, animals, family, body parts and pets as well as how to get engage conversationally during common scenarios at home, a restaurant, or at the zoo. Qué pasa?
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When considering serious Nissan Pathfinder cat back exhausts upgrades for their vehicles, many drivers focus on installing the most effective Nissan Pathfinder cat back exhaust system. A catback exhaust is the portion of an exhaust setup that contains all the components from the rear of the catalytic converter on down. Finely tuned Nissan Pathfinder cat back exhausts serve as excellent Pathfinder racing exhausts, and with all of the proper parts like universal mufflers and sleek tail pipes included, the setup can provide the sound and emissions flow a serious driver would want.
Nissan Pathfinder Catalytic converters are the starting points for Nissan Pathfinder cat back exhaust upgrades, and for good reason. These Nissan Pathfinder converters help to make emissions cleaner and less polluting, and can correct problems caused by unruly Nissan Pathfinder car exhausts. While mufflers focus on sound control and Nissan Pathfinder exhaust pipes and tips are often upgraded for their looks more than anything, entire Nissan Pathfinder cat back exhaust system upgrades can really affect the whole vehicle in a positive way, making for a cleaner, better looking exhaust array.


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Owner Direct Vacation Rentals is a unique vacation home rental matching service that makes finding perfect vacation rentals quick and easy. Advertise your Residencial Las Palmeras vacation home, villa, condo or cabin with Owner Direct for free and turn your Residencial Las Palmeras property into a revenue-generating income source. We have been finding and helping guests book vacation rental homes online since 1994.
With our superior customer service, renting out your Residencial Las Palmeras vacation home is a breeze. Just fill out the forms and contact us anytime with questions.


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If you are associated with Bethesda Meadow , click the Claim Listing button to contact a representative about a free listing with our referral program.
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Description of Bethesda Meadow in Ellisville, MO
Number of Beds : 176
Bethesda Meadow, located in Ellisville, Missouri provides the following services: Nursing Home, Alzheimer's Care, and Skilled Nursing Facility. It accepts the following payment methods: Medicare and Medicaid. Bethesda Meadow has received 3 stars from Medicare and an average user review rating of 2 stars. Bethesda Meadow has a very good hospital, St Lukes Hospital, located nearby, which scored a 84 out of 100 in its most recent Medicare review. The Bethesda Meadow's nearest hospital is 7 miles away. The zipcode (63021) in Missouri, where Bethesda Meadow is located, has an above average safety rating based on recent crime statistics. A more detailed description of the types of care for Bethesda Meadow can be found here.
Bethesda Meadow is a nursing home. It provides medical nursing service for seniors with serious illnesses or disabilities twenty-four hours a day, delivered by registered nurses, licensed practical nurses, and certified nurse aids.
Nursing care facilities cater to several types of patients: some patients require short-term rehab while recovering from surgery; others require long-term nursing and medical supervision. In addition, some nursing homes offer specialized care programs for Alzheimer's or other illnesses, or short-term respite care for frail or disabled persons when a family member requires a rest from providing care in the home. Please note that you can help compare nursing homes by looking at the Medicare ratings of a given facility (Medicare has a 5-star rating system for comparing nursing homes). There are various ways for paying for care in a nursing home. Make sure you know your loved one's Medicare and Medicaid eligibility, and understand how you can use tools like long term care insurance to pay for nursing home care.
Also, Bethesda Meadow facility provides Alzheimer's care. This means it has special safeguards for wandering seniors, and caregivers are trained in handling dementia behaviors.
Also, Bethesda Meadow is a skilled nursing facility (SNF). It is primarily engaged in providing skilled nursing care and related services for residents who require medical or nursing care; or rehabilitation services for the rehabilitation of injured, disabled, or sick persons.
Skilled nursing facilities cater to patients who either need short-term rehab while recovering from surgery; or require long-term nursing and medical supervision. Skilled Nursing facilities are very often associated with area hospitals.
For more information about Bethesda Meadow call (866) 825-8549 to speak with a local Care Advisor |
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New York Jets Gear
New York Jets Ladies
New York Jets Ladies Accessories
New York Jets Ladies Accessories Toys & Games
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Your tiny fan adores the Jets, and there's nothing that makes you more proud! The thing is, your little cutie has taken to cuddling with a football at night — an actual football with laces! Since this can be slightly unsafe, give your young fan a more suitable cuddle buddy with this New York plush football toy. It features a football-shaped body with white stitching, an embroidered team name, floppy arms and legs, and a face replicating the team mascot. Your little New York sidekick will never want to go anywhere without this snuggly plush toy!
- Approximately 9" x 9" (including arms & legs)
- Imported
- Officially licensed NFL product
- Polyester stuffing
- Quality embroidery
- Suitable for ages 0 and up
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received in our warehouse.
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are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite
number, and/or designs. Some options may be limited by league rules.