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  1. Top News Stories

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    • Caught on Blu-ray

    • The American films of German-born filmmaker Max Ophuls have never been as celebrated as his more overtly stylized and seductively romantic French films. That attitude is fed by a sense of ill-treatment by the studios. He dropped the "h" to become Max Opuls in the credits of his Hollywood movies, which can either be seen as an insult to his heritage or simply part of the American assimilation that his fellow immigrants also went through. More defining is Ophuls' miserable experience on his first American project, Vendetta (1947), a production micromanaged by Howard Hughes, who ultimately fired Ophuls. That experience colored Ophuls' entire American period to the point that he himself dismissed the films he made as compromised. I disagree with that assessment. His films haunt the space between the idealism of unconditional love and the reality of social barriers and fickle lovers. Yet his greatest films are anything but cynical; ironic certainly, but also melancholy, sad and wistful, and always respectful of the dignity of those who love well if not too wisely. There is a great dignity in his best American movies, but where his European films present obstacles in the form of social "rules" versus emotion and desire, his American films frame the same issues in terms of economics, opportunity, and the lack of social and legal power to break out of circumstances.

      Olive previously gave us the Blu-ray and DVD debut of Letter From an Unknown Woman (1948), the most continental of his American movies, a romantic tragedy set in an idealized past with a decadent, self-absorbed high society man and a dreamy poor girl briefly swept into his world. Caught shares the same elegant camerawork, evocative production design, and the meeting of high culture and working class society but imports it into contemporary (circa 1940s) United States. It's the first truly "American" film of his American era and, for all the film's over-enunciated social commentary, it is a powerful drama rooted in the dreams and anxieties and realities of American filmgoers.

      Barbara Bel Geddes is the dreamily naïve and innocent girl from Denver who comes to Los Angeles to marry her way to success. "A charm school is like a college and finishing school combined," promises her roommate, a department store model who still can't afford anything better than their tiny shared bungalow. Rebranding herself with the name Leonora, she is reluctantly talked in to attending a yacht party thrown by millionaire industrialist Smith Ohlrig (Robert Ryan) and, through sheer luck (whether it's good or bad luck is your call) ends up spending the evening with him: the nervous, naïve good girl playing at being available and the hard, controlling businessman who looks for the profit in every social transaction. He marries her for the same reason he does anything and makes her a prisoner to his whims, a social prop and hostess expected to jump at every command.

      In this jaundiced look at the American dream, money is power for the sake of money and power. Smith Ohlrig is a cruel, angry Charles Foster Kane, born to wealth but determined to prove to the world that he's as self-made as they come by building it into a fortune and a legacy. The character of Ohlrig was supposedly based on Howard Hughes in the original novel. No fan of Hughes himself, Ophuls pushed the portrait into satire, encouraging Ryan to take on Hughes' mannerisms and play up the controlling nature and emotional coldness of the character whose defining motivations are competitiveness and vengeance. It's all about winning, whether it's a business deal or a marriage. Bel Geddes comes off weak-willed and meek next to the stony, confident Ryan, unsure and tentative and thus easily overwhelmed by him, but what looks to be an unsure actress is actually a perfectly evocation of the character.

      James Mason, who gets top billing, doesn't appear until the second act. He's Dr. Larry Quinada, an overworked pediatrician in New York's East Side, and Leonora gets a job as his receptionist when she finally screws up the courage to leave Smith. The rest of the film is a struggle between the two men over Leonora (Smith, of course, doesn't like to lose) and Leonora's struggle over what is most important: the aspiration to wealth and social position that she has grown up adoring, thanks to the fashion magazines and gossip columns that she devours, or the personal growth and satisfaction of doing good and doing a good job, both of which Larry encourages. Mason delivers all the explanations, the psychological analyses of Leonora (the psychiatrist, played by the great, underappreciated Art Smith, delivers Smith's diagnosis), and the social commentary. The script by Arthur Laurents puts it all in dialogue form, unnecessarily so given the script's structure and Ophuls' imagery. It's a weakness in the film but a forgivable one given the film's strengths.

      A dark Cinderella melodrama, Caught belongs as much to the murky world of American film noir as to the polished European dramas of high society social appearances and power games, and it takes on class in America head on. Like many a European in Hollywood, Ophuls takes up the issue with a slightly different perspective, one that you don't see in his European films. While Leonora is the center of the story, she doesn't even have a real identity as far as society is concerned. The headlines of the marriage proclaim a Cinderella story of a car-hop who marries into wealth and stature, as if this was the definition of the American success story, and never gives her an identity outside of her marriage. She is referred to not by her own name, as an autonomous individual, but as an accessory--"Smith Ohlrig's car-hop wife"--in gossip column pieces. Never mentioned but far too present to be healthy are the bottles of pills that Leonora reaches for when she's under stress or unhappy, bottles that are nowhere to be seen when she's outside of Smith's control. These touches are far more resonant than the psychological commentary of the dialogue.

      Though distributed by MGM, Caught was an independent production without the standing resources of a major studio. Ophuls, with the help of the cinematographer Lee Garmes (who helped Josef von Sternberg create his gorgeously gauzy imagery) and art director Frank Paul Sylos (who created wonders on low budgets on many an indie feature), makes the most of his resources. This world is created entirely in the studio, even the first meeting between Leonora and Smith on a foggy dock (you can see the seams in the cyclorama backdrop serving as the night sky obscured by mist on the Blu-ray). That artificiality works well in the high society world, where everything is about appearances, and Garmes delivers a deep focus depth less showy but just as striking as Orson Welles' work in Citizen Kane. Ophuls contrasts the cavernous, tastefully austere empty spaces of the Ohlrig manors (reminiscent of Citizen Kane's Xanadu), where Leonora and Smith are separated by a vast gulf with Smith invariably dominating the foreground in close-up dwarfing Leonora in the background, with Leonora's tiny, cluttered apartments and the cramped, bustling doctor's office. That visual contrast continues throughout, becoming knowingly comical in a scene when Leonora and Larry go dancing in a crowded East Side bar, practically fighting their way through the dancers packed into the tiny space. Ophuls' camera is remarkably mobile in this scene, elegantly yet unobtrusively tracking them through the entire sequence in an unbroken shot. This isn't the intricate choreography of The Earrings of Madame de... but its simplicity is perfectly matched to the subject.

      Along the way Bel Geddes' Leonora transforms from callow, naïve kid to woman of strength and moral fortitude while Mason tempers the saintliness of Larry with moments of doubt and Ryan reveals Smith a chillingly cruel manipulator whose only goal is to "win" at all costs. Ophuls beautifully twists the American dream into a nightmare, where even the happy ending feels just a bit tarnished.

      The film debuts on Blu-ray and DVD in a very good edition. Like most of the films released on Olive from the Paramount vaults, it is a well-mastered edition of archival elements. It has not been restored and minor abrasions, scuffs, and speckles are visible through the film, but the clarity is good and the image is strong, with vivid contrasts and deep, inky blacks. The mono soundtrack is perfectly fine and there are no supplements.

      By Sean Axmaker

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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 & Eddie Muller Explore THE ASPHALT JUNGLE!

    • DICK DINMAN & EDDIE MULLER EXPLORE "THE ASPHALT JUNGLE": Producer/host Dick Dinman welcomes back the "Czar of Noir" himself Eddie Muller as both celebrate the Criterion Collection's pristine release on Blu-ray of John Huston's THE ASPHALT JUNGLE which remains conceivably the greatest "heist/noir" masterwork ever committed to celluloid. (It's early in the year but its difficult to conceive that any home video outfit in the ensuing year will be able to top the astonishing "special features" included on this sensational disc.)

      PLUS: Show opener "Dick's Picks" salutes the Criterion Collection's recent Blu-ray releases of Robert Altman's McCABE & MRS. MILLER, Marlon Brando's ONE EYED JACKS and Howard Hawks' HIS GIRL FRIDAY.

      COMING SOON: DICK DINMAN & EDDIE MULLER ARE "ON DANGEROUS GROUND"!

      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 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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  1. Press Release

Alan Ladd: The 1940s Collection DVD
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The Ghost and Mrs. Muir DVD
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Hard-boiled detective Sam Spade gets caught up in the murderous...
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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