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    • The Great Flood on Blu-ray

    • Experimental Collage filmmaker Bill Morrison specializes in poetic assemblages of old film footage, often without voiceover or comment. Several of his films were commissioned to accompany music by noted composers. His well received The Miner's Hymns (2011) juxtaposes aerial shots of the modern East England countryside with historical footage of the mines that were worked there, and now-forgotten labor actions of the 20th century. The images share equal emphasis with a music score by the Icelandic composer Jóhann Jóhannsson. Morrison's best known film Decasia: The State of Decay is even more abstract: the director scanned miles of vintage film that had succumbed partially or completely to nitrate decomposition. The random nature of the footage breaks down narrative conventions, as bits of old dramas, comedies and nonfiction films pass by without our knowing anything about their original context. And the weird way that the nitrate decay corrupts and twists the film images seems a comment on mortality -- images die, just like people do.

      Bill Morrison's newest is The Great Flood, another meditative art film. At first glance it might seem to be a documentary about a massive 1927 flooding of the Mississippi that had widespread consequences for the Deep South. Morrison located a wealth of unedited film on the natural disaster that was apparently locked away and forgotten. Much of it had partially deteriorated, a la his earlier Decasia experiment. Morrison used this unseen film reportage to fashion not a documentary, but a free-form visual exploration.

      Viewers seeing The Great Flood cold will not learn much about the actual historical event. The synopsis paragraph on the video case divulges much more information on the disaster than does the movie itself. All we're given are few chapter titles, and an opening statement saying that the Mississippi flooded and broke through its levees at 145 separate places. We must look elsewhere to learn more. Philip Horne's liner notes fill in this gap, offering many facts about the disaster and the film footage. The floods were heaviest in Mississippi and Louisiana. They forced a mass northward migration of African-Americans. We're also told that blacks were indiscriminately rounded up and forced to build and repair levees around white neighborhoods, leaving their own houses and families unprotected. These facts make a big difference for viewers unable to shake an interest in historical events, especially when we see hundreds of blacks hauling sandbags and laboring in knee-deep water.

      Morrison aimed at a completely different film experience. His film might best be described as a meditative experience. It's at least 50% a showcase for Morrison's musical collaborator, guitarist and composer Bill Frisell. The music is identifiable as progressive jazz with a country feel. Conjuring strange moods and interesting guitar sounds, the audio track is occasionally more engaging than the repetitive images on screen.

      Image-wise The Great Flood is slow and straightforward, as if Bill Morrison's work process were to simply arrange the footage he'd found in a logical order. We see aerial views of stricken areas, where the river has spread out to cover towns and farmland. A herd of cattle stands on a roadway a few inches above water level. Other chapters concentrate on images of people navigating flooded streets. Yet more chapters see black laborers shoring up the dams, and working on docks and warehouse platforms. Morrison slows down much of the footage to get a better look at the content -- miles of flooded roads, bits of farms that stick out above the waterline.

      Of course we're reminded that 1927 was a much less technologically advanced era. But the basic problems of the disaster haven't changed. People are moving around the flooded streets by boat, and we see no indication of major relief activity except at the levees. One chapter shows the dynamiting of some levees to supposedly relieve the pressure from others. A title tells us that it didn't work.

      The film opens with a lengthy digital animation of an aerial map (from satellite photos?) survey of a couple of hundred miles of the meandering Mississippi. Samuel Clemens wasn't kidding when he wrote that the layout of the river and its sandbars was alive and constantly changing. The way the main river channel twists and turns in some locations, it resembles ink squiggles or intestines.

      A couple of chapters offer brief surprises. Footage shows President Hoover and other politicians making a visit, which amounts to little more than a photo op. That certainly hasn't changed. One smiling white gentleman poses with a short, withered black woman smoking a pipe. She must have been chosen to amuse potential newsreel audiences.

      Another chapter breaks with the format completely to give us a pixilated-animated zip through the 1927 Sears & Roebuck mail-order catalog. What are we to make of this? The variety of goods that can be ordered by mail is impressive, and of course the prices are amusing. All the women's dresses are straight and flat, as if nobody has a figure under their clothes. The corsets and harness-like undergarments resemble torture devices. I suppose the catalog survey pays off in the next chapter, when we see groups of reasonably well-dressed people crowded in front of the camera. Perhaps groups of locals drove down after church to see what the flood area looked like. The clothing and hats worn by the women look exactly like the merchandise from the catalog. When we see a similar group of black folk exiting a church service, they seem to have been clothed by 'Sears 'n' Sawbuck' as well.

      As with many avant-garde films, The Great Flood seeks a visual experience devoid of messages. Its appeal to fans of Bill Frisell and experimental music is of equal importance. The music varies quite a bit, as when Frisell employs more rock-oriented fuzz guitar sounds. The film itself ambles to a finish, with a nicely chosen visual of some black couples dancing, perhaps at a church social. One dancing woman is feeling the music just as completely (and I'd bet more purely) as might any dance interpreter of today.

      Icarus Films' DVD of The Great Flood is a good encoding of this flat 4x3 presentation. Maintaining the aspect ratio of the original B&W cinematography was probably a good choice. The stereo track on the disc is so nicely recorded that one might consider re-auditing the show without one's video monitor turned on. It becomes an uninterrupted, soothing music concert.

      Philip Horne's liner notes on the enclosed insert folder contain a wealth of information on the flood. We can also study the tall stack of art foundations and funding sources that made the film possible. Bill Morrison has received many artistic honors, including a Guggenheim fellowship.

      By Glenn Erickson

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  1. New Books

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    • Elizabeth and Michael

    • By Donald Bogle

      One of the country's leading authorities on popular entertainment presents an eye-opening and unique biography of two larger-than-life legends--Elizabeth Taylor and Michael Jackson--and their unlikely yet enduring friendship.

      From the moment Elizabeth Taylor and Michael Jackson met, they were hooked on each other. He peered into her violet eyes and was transfixed; she, in turn, was dazzled by his talent, intrigued by his sweet-tempered childlike personality, and moved by the stories she had already heard about his troubled early life. Soon a deep friendship blossomed, unexpectedly unlike anything either had ever experienced. Through thick and thin, through their various emotional upheavals, through the peaks and valleys of their careers, through their personal traumas and heartaches, through the unending health issues and extreme physical pain that each experienced, and through the glare of the often merciless public spotlight, their bond held them together, and their love for each other endured.


      Donald Bogle skillfully recreates the moving narrative of Taylor and Jackson's experiences together and their intense emotional connection, without shying away from the controversies that swirled around them. Through interviews with friends and acquaintances of the two stars, as well as anonymous but credible sources, Elizabeth and Michael emerges as a tender, intimate look at this famous "odd couple" and a treasure to their millions of fans.

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    • Robert Wagner's I LOVED HER IN THE MOVIES: Memories of Hollywood's Legendary Actresses

    • By Robert Wagner and Scott Eyman

      In a career that has spanned over sixty years, Robert Wagner has witnessed the twilight of the Golden Age of Hollywood and the rise of television, becoming a beloved star in both film and TV. During this time, he became acquainted, both professionally and socially, with many of the greatest female screen personalities of all time. I LOVED HER IN THE MOVIES: Memories of Hollywood's Legendary Actresses (On-sale: 11/15/16) by Robert Wagner, with co-author Scott Eyman, provides an intimate and revealing account of the charisma of these women on film, why they became stars, and how their specific emotional and dramatic chemistries affected the choices they made both as actresses and as women.

      I LOVED HER IN THE MOVIES offers a privileged look behind the scenes at some of the most well-known women in show business. Among Wagner's subjects are Joan Crawford, Bette Davis, Marilyn Monroe, Gloria Swanson, Norma Shearer, Loretta Young, Joan Blondell, Irene Dunne, Rosalind Russell, Dorothy Lamour, Debra Paget, Jean Peters, Linda Darnell, Betty Hutton, Raquel Welch, Glenn Close, and the two actresses whom he ultimately married, Natalie Wood and Jill St. John. In addition to offering perceptive commentary on these women, Wagner examines topics like the strange alchemy of the camera--how it can transform the attractive into the stunning, and vice-versa--and how the introduction of color brought a new erotic charge to movies--one that enabled these actresses to become aggressively sexual beings in a way that that black and white films had only hinted at.


      Robert Wagner is the star of such films as A Kiss Before Dying, The Longest Day, The Pink Panther, and most recently, the Austin Powers franchise. On television, he starred in It Takes a Thief (with Fred Astaire), Switch (with Eddie Albert and Sharon Gless), and Hart to Hart (with Stefanie Powers). He has recently appeared on Two and a Half Men and NCIS. He is married to actress Jill St. John.

      Scott Eyman is the author of eleven books about the movies, including Lion of Hollywood: The Life of Louis B. Mayer (which the Wall Street Journal called one of the five best books ever written about Hollywood), Empire of Dreams: The Epic Life of Cecil B. DeMille, and more recently, John Wayne: The Life and Legend.

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    • King of Jazz: Paul Whiteman's Technicolor Revue

    • King of Jazz: Paul Whiteman's Technicolor Revue tells the story of the making, release, and restoration of Universal's 1930 Technicolor extravaganza King of Jazz. Authors James Layton and David Pierce have uncovered original artwork, studio production files, behind-the-scenes photographs, personal papers, unpublished interviews, and a host of other previously unseen documentation. The book offers a richly illustrated narrative with broader context on the film's diverse musical and theatrical influences. The story concludes with an in-depth look at the challenges Universal overcame in restoring the film in 2016. Additionally, the book's appendix provides a comprehensive guide to all of the film's performers, music, alternate versions, and deleted scenes.

      King of Jazz was one of the most ambitious films ever to emerge from Hollywood. Just as movie musicals were being invented in 1929, Universal Pictures brought together Paul Whiteman, leader of the country's top dance orchestra; John Murray Anderson, director of spectacular Broadway revues; a top ensemble of dancers and singers; early Technicolor; and a near unlimited budget. The film's highlights include a dazzling interpretation of George Gershwin's "Rhapsody in Blue," which Whiteman had introduced to the public in 1924; Walter Lantz's "A Fable in Jazz," the first cartoon in Technicolor; and Anderson's grand finale "The Melting Pot of Music," a visualization of popular music's many influences and styles. The film is not only a unique document of Anderson's theatrical vision and Whiteman's band at its peak, but also of several of America's leading performers of the late 1920s, including Bing Crosby in his first screen appearance, and the Russell Markert Dancers, who would soon become Radio City Music Hall's famous Rockettes.


      James Layton is Manager of the Museum of Modern Art's Celeste Bartos Film Preservation Center. Prior to this he worked at George Eastman House in Rochester, NY, where he curated two gallery exhibitions and the website Technicolor 100. Layton has also acted as Cataloguer and Workflow Coordinator at the East Anglian Film Archive in Norwich, UK, and is co-author of the Image Permanence Institute's informational poster Knowing and Protecting Motion Picture Film (2009).

      David Pierce is an independent film historian and archivist. He was formerly the Head of Preservation and Curator of the National Film and Television Archive at the British Film Institute. His articles have appeared in numerous journals, and his report on the survival of American silent feature films was published by the Library of Congress in 2013. He founded the Media History Digital Library, providing free online access to millions of pages of motion picture magazines and books.

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    • THE ESSENTIALS: 52 Must-See Movies and Why They Matter

    • By Jeremy Arnold
      Forward by Robert Osborne

      Since its inception on Turner Classic Movies in 2001, The Essentials has become the ultimate for movie lovers to expand their knowledge of must-see cinema and discover or revisit landmark films that have had a lasting impact on audiences everywhere.

      Based on the hit series, THE ESSENTIALS by Jeremy Arnold showcases 52 must-see movies from the silent era to modern times. Readers can enjoy one film per week, like on the show, for a year of great viewing, or indulge in a movie-watching binge-fest. Each film is profiled with entertaining discourse on why it's an Essential, and running commentary is provided by TCM's Robert Osborne and Essentials guest hosts past and present: Sally Field, Drew Barrymore, Alec Baldwin, Rose McGowan, Carrie Fisher, Molly Haskell, Peter Bogdanovich, Sydney Pollack, and Rob Reiner.

      Featuring full-color and black-and-white photography of the greatest stars in movie history throughout, THE ESSENTIALS is the ultimate curated guide to 52 films that define the meaning of the word "classic."


      Jeremy Arnold, a writer and film historian, is the author of Lawrence of Arabia: The 50th Anniversary, a coffee-table book companion to that film's Blu-ray release. In addition to his work for numerous film trade publications, he has written over five hundred programming articles for the Turner Classic Movies website and contributed audio commentaries and historical essays to the DVD and Blu-ray releases of classic films.

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  1. DVD Reviews

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    • Dick Dinman Salutes Air Hero Jimmy Stewart!

    • DICK DINMAN SALUTES WW2 AIR HERO JIMMY STEWART: The dual releases of Olive Films stunning Blu-ray incarnation of the James Stewart air power classic STRATEGIC AIR COMMAND as well as author Robert Matzen's awe inspiring book MISSION: JIMMY STEWART AND THE FIGHT FOR EUROPE, which for the first time ever reveals the truth about Stewart's dangerous bombing missions over Germany, give producer/host Dick Dinman ample motivation to salute the spectacular military career of screen icon Stewart and Dick is joined by returning guest Robert Matzen as they marvel at the courage, skill and fortitude of this certifiable American hero.

      The opening DICK'S PICKS segment salutes Olive Films and their latest Blu-ray releases of not only STRATEGIC AIR COMMAND but Orson Welles' MACBETH (two versions!), HOUDINI, THE PRIVATE AFFAIRS OF BEL AMI, VILLA RIDES. ONE OF OUR AIRCRAFT IS MISSING and two new 4k releases of THE QUIET MAN and JOHNNY GUITAR (first time in original widescreen format on home video!).

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman & Eddie Muller Salute Ultra-Rare Noir Classics!

    • DICK DINMAN & EDDIE MULLER SALUTE ULTRA-RARE NOIR CLASSICS: Producer/host Dick Dinman and Film Noir Foundation's Czar of Noir Eddie Muller wax poetic about the first-rate Blu-ray releases of three rarely seen film noir gems: Flicker Alley's dark and deadly duo of two heretofore thought virtually lost noir thrillers TOO LATE FOR TEARS and WOMAN ON THE RUN and KL Studio Classics 99 RIVER STREET about which Dick and Eddie have a rare major disagreement regarding the validity of what some consider the most memorable two scenes in the film.

      PLUS: A preview of KL Studio Classics upcoming noir Blu-ray release CRY OF THE CITY.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman & Kathleen Hughes Return to 3-D "Outer Space!"

    • DICK DINMAN & KATHLEEN HUGHES RETURN TO 3-D "OUTER SPACE": Kathleen Hughes, whose breakout appearance in Universal-International's first 3-D blockbuster inspired the media to dub her the "first feminine sensation created by 3-D" rejoins producer/host Dick Dinman to salute Universal Pictures Home Entertainment's wonderfully immersive 3-D Blu-ray release of IT CAME FROM OUTER SPACE (immaculately restored by the 3-D Archive) and shares priceless memories about her career from her very first film ROAD HOUSE (just released on Blu-ray by Kino's KL Studio Classics) to her time as a contract star at Universal and 3-D Archive's Robert Furmanek chats about the challenges inherent in restoring this certifiable sci-fi classic to its current eye-poppingly spectacular 3-D grandeur.
      PLUS: OPENING "DICK PICKS" SEGMENT SALUTES UNIVERSAL'S "THE MARX BROTHERS SILVER SCREEN BLU-RAY COLLECTION." AND A PREVIEW OF THE UPCOMING KINO RELEASE OF THE 3-D ARCHIVE'S "THOSE REDHEADS FROM SEATTLE".

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman & Eddie Muller's Bogart Bonanza!

    • DICK DINMAN & EDDIE MULLER'S BOGART BONANZA (PART ONE): Producer/host Dick Dinman welcomes back distinguished Film Noir Foundation head honcho Eddie Muller as both dedicated Humphrey Bogart fans rejoice about the fact that no less than four revered Bogart classics have hit the streets recently on Blu-ray. In this first of two shows Dick and Eddie trade thoughts about the amazing cult favorite IN A LONELY PLACE (Eddie's single favorite film!) which has been released by the Criterion Collection in typically outstanding Criterion fashion and no slouch in the Blu-ray visual perfection department is the Warner Archive's release of Bogart and Bacall's most unusual thriller DARK PASSAGE which reunites them in a tale of so many unexpected twists and turns that fortunate viewers will be on the edge of their seats.

      DICK DINMAN & EDDIE MULLER'S BOGART BONANZA (PART TWO): On this second Bogart Bonanza show acclaimed Czar of Noir Eddie Muller and producer/host Dick Dinman marvel at the omnipresent degree of authenticity displayed in the rare Bogart newspaper drama DEADLINE U.S.A. which has just hit the streets (with a sublime Eddie Muller commentary) on Blu-ray courtesy of Kino's KL Studio Classics and rabid fans who've been pleading for the Blu-ray release of TO HAVE AND HAVE NOT (which is Bogart and Bacall's first and most scorchingly incendiary pairing) can now revel in the white hot perfection of this latest exemplary Warner Archive release.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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  1. Press Release

Alan Ladd: The 1940s Collection DVD
$35.95
was $44.95
The Ghost and Mrs. Muir DVD
$10.47
was $14.98
Hard-boiled detective Sam Spade gets caught up in the murderous...
$14.96
was $19.98
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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