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    • Zulu on Blu-ray

    • The all-time favorite battle epic Zulu was one of the original late- 1980s Criterion laserdiscs formatted in the then- revolutionary "Letterbox" format. One was obliged to load several large lasers to see the movie, which was recorded in half-hour bursts. Some DVDs followed from legit and sub-legit sources, all of which were eventually eclipsed a few years back by a highly regarded Brit import Blu-ray with a razor-sharp picture and dazzling color. The new Twilight Time limited edition release is just as impressive.

      A magnificent depiction of a famous military engagement in which a couple of hundred British soldiers were stormed by thousands of Zulu warriors, the 1964 release has long been a favorite 'boys own' true adventure tale. Originally released in 70mm, Zulu it's an all-out glorification of the Queen's colonial forces and military gallantry in general. It is fairly accurate about the bare facts of the battle, which are impressive on their own.

      The movie was released just before the Vietnam War kicked into high gear, at a time when expensive epics were unlikely to be critical of a colonial war. Zulu's relative politically neutrality is interesting, considering that its makers were socially committed artists decidedly left of center. Director and co-writer Cy Endfield was a refugee from political persecution in the U.S.. The director of the savagely critical, highly recommended Try and Get Me! and The Underworld Story, Endfield lost the better part of a decade restarting his career in England. Always a practical fellow, he was considering playing along with the blacklisters when the chance came to partner with actor-producer Stanley Baker. Their 1957 Hell Drivers is a tough-minded tale of corruption in the British trucking industry, easily interpreted as a leftist indictment of free-market capitalism.

      Easily the most accomplished and successful of Baker and Endfield's efforts, Zulu does not ask why Great Britain is warring against South Africa's Zulu nation in 1879. Although the indigenous Zulus are treated with respect, the movie still regards them as tribal forces on the attack, not a righteous nation repelling an Anglo invasion. When the troops manning the isolated camp at Rorke's Drift are forced to make a stand, two ranking officers (Stanley Baker and the fresh new star Michael Caine) squabble over seniority issues to determine who will command, and then repeatedly critique each other's performance. An alcoholic doctor (Jack Hawkins) and his seriously repressed daughter (Ulla Jacobson) interfere with the defense preparations, spreading defeatism among the Drift's relatively tiny complement of soldiers. The strong, unflappable Colour-Sgt. Bourne (Nigel Green) shows how Brit Army discipline pays off, repeatedly averting panic in the ranks. Doctor Reynolds (Patrick Magee) deals with the horrendous injuries sustained in the battle. Having gone to a lot of trouble to get himself into the infirmary, the malingering Pvt. Hook (a delightful James Booth) resists taking part in the fighting until given no choice.

      Stanley Baker's idea of a righteous message is to champion the role of Welshmen in the army. This sets up a classic sequence in which the Zulus' fearsome war chants are answered with mighty Welsh choral singing. A superb director for both actors and camera, Cy Endfield seemingly sets politics aside to concentrate on making every shot a perfectly-judged marvel. So many moving master shots interweave the action and drama that we're soon caught up in the escalating jeopardy. The action is crystal clear: when the Zulu chieftain coordinates attacks from multiple directions, we have no problem keeping our bearings and understanding what's going on.

      I can imagine that Cy Endfield was more fully engaged by the far more overtly political prequel to Zulu made fifteen years later, Zulu Dawn. With its comparatively uncomplicated bravery, smaller 'scope and positive outcome, the two-day assault on Rorke's Drift is a far more commercial choice for a film subject. The battle sees fewer than two hundred men holding off thousands of enemy warriors. It's like The Alamo, except that "the Anglos win." Although we're told that the film employed only 250 Zulu tribesmen, clever filmmaking multiplied them into thousands, giving an impression of combat on a massive scale. The present-day Zulu chief played his ancestor, Cetshwayo.

      The battles are breathtaking, even if it's hard to understand why the Zulu commander commits only a few hundred foot soldiers to any one assault. The defenders manage to cut down wave after wave of charging warriors. Black bodies pile up like cordwood, while the tally of Redcoats shot seems too high to account for the large number still standing after the major attacks. We're given scores of scenes in which masses of Zulus are knocked down like tenpins, as well as the iconic "racist adventure" image of a gallant Anglo blasting a black warrior full in the face with his revolver. We cannot help but respond positively to impressive bits of valor, as when Private Hook abandons his cynical stance to join the fray, or when disaster is averted because a wounded, crippled soldier rushes out of sick bay to fight back using his crutch as a weapon. This kind of 'combat charisma' will appeal to any boy in the audience.

      The picture neatly contrasts the British military system with that of the Zulu army, which uses a similar command structure and follows equally rigid traditions, as depicted through the fearsome tribal chants that gear them up for their withering attacks. When the enemies trade songs across the battlefield, it is a stirring evocation of the nobility of warriors & military traditions, British and Zulu. Yet we're told that this entire 'warrior salute' idea was an invention -- it never actually happened. The scene allows us to feel good about identifying with a small number of white fighters as they annihilate many hundreds of non-white opponents, about whom we learn very little. It's the old Colonial story.

      The entire cast is terrific -- Zulu is one of the better sagas about men in violent situations, under intolerable stress. Stanley Baker is warmer and less brutal than in his other roles for Robert Aldrich (The Last Days of Sodom and Gomorrah), Cy Endfield (Sands of the Kalahari) and (another blacklisted Yank) Joseph Losey (The Criminal, Accident). Michael Caine's stunning leading performance surely won him his first million female admirers. Caine doesn't overstress his character's aristocratic superiority, which lends credibility to his competition with Baker's working class engineer. The performances and direction mesh so nicely that Zulu freshens the oldest cliché's of war movies. When all seems lost, Baker and Caine's exhausted characters become giddy. Impending annihilation will at least relieve them of the unbearable pressure.

      Like all of Twilight Time's releases, Zulu is limited to a 3000-unit run. It's a highly desirable disc and I have no doubt that it will be a quick sellout.

      The Twilight Time Blu-ray of Zulu is among the label's first titles licensed from MGM. The transfer is, well, gorgeous, the equal or better than that on the coveted UK disc. It was licensed from Paramount, which holds rights to everything but U.S. home video. MGM acquired those through the Polygram/Epic library. The HD transfer is from a 65mm IP made from the original camera neg (in Paramount's possession.

      After comparing the two transfers directly, Twilight Time's new release has a slight edge. The UK has a heavier contrast and a slightly overstated chroma -- the uniforms are a harsh scarlet that obscures detail. Twilight Time's disc is smoother without sacrificing any impact. The heightened resolution on both releases allows us to judge production details, right down to the stitching on the uniforms. The movie uses old-fashioned makeup techniques, and it's interesting to see how Michael Caine's fair eyes and eyebrows have been 'sharpened' up with added color and eyeliner.

      The new disc has a 2.0 stereo track, which may have been reprocessed from mono. According to more than one source, the 1964 Super Technirama 70 release of Zulu was in Westrex 6-track stereo.

      An Isolated Score Track billboards John Barry's powerful and bombastic themes that are in much the same vein as his 'heavier' music for some of the Bond films. The disc's commentary claims that the best scoring comes in a scene where the camp is being prepared for battle. Barry simply 'Mickey Mouses' his music to the action, making the overturning of three wagons into a major dramatic event. Just the same, the marvelous Zulu chants and unnerving battle marches 'played' by hitting spears against shields are even more memorable. The battle songs of the Welsh tenors come off as a beautiful counterpoint.

      An original trailer is also present. The major extra is the commentary track by Twilight Time principal Nick Redman and Lem Dobbs, a noted screenwriter billed as a film historian. The length of the movie allows Redman to offer reams of fascinating background material on the Anglo-Zulu War of 1879. The record number of Victoria Crosses awarded to the surviving troops was actually a political maneuver meant to draw attention away from the debacle of the previous defeat at Isandlwana. A few comments seem a bit on the flip side, as when we're told that, "Yes, maybe the movie does have Commie messages, because the preacher is portrayed as a drunk." But I was amused to be informed that several major cast members were never on location in South Africa -- Patrick Magee and James Booth are never seen outside the hospital and infirmary buildings.

      Julie Kirgo's insert liner notes are as well written as always. She defends the factual liberties in this movie and Raoul Walsh's vintage Errol Flynn epic They Died With Their Boots On with the observation that they "never meant to be historically accurate." Well, all movies are skewed by the prevailing attitudes of their time, whether the bias is intentional or not. Zulu fudges some facts about Rorke's Drift to generate its feel-good finale, but it must be admitted that its overall mindset is quite advanced. In 1964 most movies about African tribes hadn't progressed past the Tarzan stage. It was a big step for Zuluto depict native troops as worthy opponents and not mindless savages.

      By Glenn Erickson

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  1. New Books

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    • Mabel And Me: A Novel About The Movies

    • By John Boorstin

      Mabel Normand became a star known as much for her beauty as her comedic timing. In a series of shorts she made with Roscoe Arbuckle, Normand perfected that timing and became known as the Queen of Comedy.

      But Normand was also known for her hard-living ways, her attempts at sobriety and her love affair with legendary producer Mack Sennett .

      John Boorstein's novel is set in the early days of silent filmmaking, before the movies became an industry known as the Dream Factory. It is a coming-of-age story about a young man who finds himself as obsessed with the new art form--as much as he is with the woman at the center of it all, Mabel Normand. John Boorstein is a writer and filmmaker who works in a broad range of media. He made the OscarĀ®-nominated documentary Exploratorium; created Time Mobile, a pioneer prototype video game; was Associate Producer on All The President's Men; and with director Alan J. Pakula, wrote and produced the thriller Dream Lover. He is a member of the Writers Guild of America, the Los Angeles Institute for the Humanities at USC, and the Academy of Motion Pictures Arts and Sciences. He lives in Los Angeles.

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    • Charlie Chaplin by Peter Ackroyd

    • By Peter Ackroyd

      The Little Tramp--a down-on-his-luck, plucky imp in a dark suit and bowler--became one of the most beloved characters in the history of movies thanks to Charlie Chaplin. Chaplin's story spans from the early days of silent films, when filmmaking was often governed by a seat-of your-pants creativity, to the more controlled studio-era films of the Golden Age and into the 1960s, when the studios were on the brink of changing forever.

      With The Little Tramp, Chaplin became one of the first icons of the silver screen, but that persona masked the story of the hard life he lived before fame and fortune came his way. From his humble theatrical beginnings in music halls to playing the violin in a New York hotel room to drown out the sound of Stan Laurel frying pork chops, to his long lunches with Mary Pickford and Douglas Fairbanks, Chaplin's story is one of heartbreak, scandal, and glamour.

      This new biography turns the spotlight on Chaplin's life as well as his work. Ackroyd recounts Chaplin's early career successes and his constant fight for creative control, but also the peace and stability he found in his marriage to Eugene O'Neill's daughter, Oona. The book also explores in depth the events leading up to Chaplin's exile to Switzerland in 1953, and his triumphant return to Hollywood almost twenty years later to receive an honorary Academy Award.

      Peter Ackroyd is an award-winning author whose books include London: The Biography, Albion: The Origins of the English Imagination and Shakespeare: The Biography. He has won the Whitbread Book Award for Biography, the Royal Society of Literature's William Heinemann Award, and the James Tait Black Memorial Prize among others.

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    • The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney's Movie Magic

    • By John Canemaker

      In this handsomely illustrated book, author John Canemaker brings to life the covert scrapbook of special effects wizardry compiled by Disney artist Herman Shultheis, who used it to detail how many animated effects were created over seventy years ago.

      Schlutheis not only worked on effects photography but also documented, sometimes painstakingly, how famous sequences in Disney animated classics were conceived and achieved--from the elaborate opening shot of Pinnochio to the snowflakes in Fantasia. Schultheis was in the perfect position to create such a chronicle: his work at the Disney studios was focused on effects photography, but he also shot the reference photographs that animators would often use when creating their drawings.

      Schulteis' story reads a bit like a Hollywood tale: he was a German immigrant and a part-time nudist, a suspected German sympathizer, and a technical whiz with a camera who worked at the Disney studios from 1938 to 1941. After World War II, he worked at Twentieth Century-Fox and Telefilms before going to Guatamela, camera in hand, in 1955. He never came back--disappearing while on a trip into the jungle.

      Thirty-five years later, after his widow's death in 1990, his notebooks were discovered in a cabinet drawer. The originals are on display at The Walt Disney Family Museum in San Francisco and are reproduced for this book. A forward by Pixar's Pete Docter, the Academy Award-winning animation director, puts the importance of the notebooks into context, helping us to understand what they represent in terms of the history of animation and why they are so valued by technicians and film buffs today.

      John Canemaker is an Academy Award-, Emmy Award-, and Peabody Award-winning animation director and designer. His twenty-eight minute film, The Moon and the Son: An Imagined Conversation, won the 2005 Academy Award for Best Animated Short, and his more than twenty films (and their original art) are in the permanent collection of the Museum of Modern Art in New York. He is also a tenured professor and director of the animation program at New York University's Tisch School of the Arts.

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    • The Making of Gone With the Wind

    • By Steve Wilson

      Seventy-five years ago, moviegoers watched a young heroine stand on a hillside in the early morning hours and swear she would never go hungry again. By that point in the movie, Scarlett O'Hara had already encountered love, loss and an invading army. Audiences were swept up in the epic story and the film has become an enduring classic.

      To commemorate the milestone anniversary of this beloved film, author Steve Wilson scoured the archives of the David O. Selznick collection at the Harry Ransom Center at the University of Texas at Austin for this new book chronicling the making of the film.

      This rarely-seen material offers fans and film historians a fascinating behind-the-scenes view of the challenges, trials, and successes related to the production of this timeless classic.

      Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. And while Clark Gable was almost everyone's choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara which, stymied the legendary producer Selznick for some time.

      There was also the huge challenge of turning Margaret Mitchell's Pulitzer Prize-winning epic into a manageable screenplay and producing it at a reasonable cost. Various screenwriters tried to tame the story and Selznick himself kept the pressure up with his own notoriously detailed memos. George Cukor was hired and then fired before Selznick finally settled on Victor Fleming as the man most able to handle the scale of both the story and the production.

      With a foreword by film historian and TCM Host Robert Osborne, the book includes on-set photographs, storyboards, correspondence, fan mail, production records, costumes and, of course, Selznick's own lengthy memos. The author writes effectively about how creative choices helped produce one of the most loved films of all time and why it remains so influential all these years later.

      Steve Wilson is the curator of the film collection at the Harry Ransom Center at the University of Texas at Austin. He has curated several exhibitions at the Ransom Center, including Shooting Stars, a display of Hollywood glamour photography, and Making Movies, a major exhibition on film production.

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  1. DVD Reviews

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    • 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.

      by Sean Axmaker

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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.

      by Sean Axmaker

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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

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    • 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

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    • 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

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  1. Press Release

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    • Joslyn Art Museum in Omaha Screens THE BIRDS on 11/7!

    • On Friday, November 7 Omaha Film Historian Bruce Crawford will host his 35th tribute to classic films with a screening of Alfred Hitchcock's The Birds, with special guest Tippi Hedren. The screening will also include an unveiling of the commemorative U.S. Postal Envelope honoring the film, created by artist Nicolosi. Both Miss Hedren and Nicolosi will sign autographs at the event.

      Tickets are $23 and go on sale October 15 at all Omaha Hy Vee food store customer service counters. The event will take place Friday, November 7, 7pm at the Joslyn Art Museum, 2200 Dodge St., Omaha NE. 68102, and will benefit the Nebraska Kidney Association. For more information please call 402-932-7200 or visit www.omahafilmevent.com

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    • NOIRCON: October 30-November 2

    • SOCIETY HILL PLAYHOUSE, 507 SOUTH 8TH STREET, PHILADELPHIA, PA 19147

      NOIRCON 2014: This biennial tribute to all things noir--from literature to film, art and poetry--will take place from October 30 through November 2, 2014. The conference is produced and headquartered at Society Hill Playhouse in Philadelphia, PA.

      Programming includes panels on Friday, Saturday and Sunday; parties; movie screenings; an awards banquet at MOCA (the Philadelphia Mausoleum of Contemporary Art) on the banks of the Delaware, on Thursday evening; and a Sunday visit to Philadelphia's Port Richmond Books.

      Farley Books of New Hope will be on site at the Playhouse throughout the weekend as the official bookseller for NOIRCON.

      Featured Guests:
      Fuminori Nakamura of Tokyo, Japan, who will receive the David Goodis Award for excellence in writing. Nakamura has won many prizes for his novels including Japan's most prestigious literary award, the Akutagawa Prize . Two of his books have been translated into English, The Thief and Evil and the Mask, both published by Soho Press. Tom Nolan, of The Wall Street Journal will do a one on one interview with this outstanding young writer on Saturday.

      Bronwen Hruska, Soho Publishing, is being recognized as an outstanding publisher in crime fiction with the Jay and Deen Kogan award, last given to Otto Penzler of Mysterious Books. She has led the way in translation publishing and opened many doors for women in the field.

      Eddie Muller, better knows as the Czar of Noir, will accept the Anne Friedberg Award for contribution to Noir Education and Preservation, and will also introduce a special screening of the film The Prowler (written by Dalton Trumbo and first released in 1951), at 1pm Thursday, October 30 at The International House. A novelist from San Francisco, many of his books relate to and examine Film Noir.

      Scheduled panels include: The Black Dahlia, Jewish Noir, Existential Noir, The Politics of Noir, A Ross MacDonald Examination, Veering Off the Highway: How Springsteen's Music Shapes Crime Fiction, and Three Minutes of Terror, when every attending writer gets three minutes to share his work or ideas.

      Among the program participants are: Joseph Samuel Starnes, William Lashner, Joan Schenker, Stuart Neville, Jean Cash, Jonathan Woods, Robert Polito, Vicki Hendricks, Steve Hodel, Carole Mallory, Sigrid Sarda, Buffy Hastings, Jeff Wong, Duane Swierczynski, Tom Nolan, Alan Gordon, Megan Abbott and keynote speaker Eric Miles Williamson.

      Dr. Louis Boxer and Deen Kogan, director of Society Hill Playhouse, co-chair NOIRCON 2014. For further information call 215-923-0210 or check the website: www.noircon.com

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    • DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PARTS THREE AND FOUR)

    • DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART THREE): Iconic vocalist Vic Damone shares some fascinating stories about his years as an MGM star with producer/host Dick Dinman and also reveals why he ultimately turned down an important role in THE GODFATHER. Among the songs included in this show are Vic's rarely heard outtake number that was not used in ATHENA as well as an exclusive presentation of Jane Powell and Vic's never before heard musical audition (with piano accompaniment only) for THE STUDENT PRINCE/DEEP IN MY HEART.

      DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART FOUR): Vic Damone candidly reveals to producer/host Dick Dinman how the callous behavior of acclaimed director Vincente Minnelli made his experience costarring in MGM's mega-budget musical extravaganza KISMET so relentlessly unpleasant. Among the songs included in this show are Vic's rarely heard duet of "This Is My Beloved" with Judy Garland.

      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.

      NEXT MONTH! DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PART FIVE AND SIX).

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    • "The Making of GONE WITH THE WIND" Exhibition

    • The exhibition "The Making of 'Gone With The Wind'" commemorates the 75th anniversary of one of the most popular films ever created by exploring its history and legacy. The exhibition runs from Sept. 9 to Jan. 4, 2015, at the Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin.

      Featuring more than 300 items, the exhibition is drawn entirely from the Ransom Center's collections and includes on-set photographs, storyboards, makeup stills, costume sketches, concept art, correspondence and fan mail, production records, audition footage and producer David O. Selznick's own extensive memos. Three original gowns worn by Vivien Leigh as Scarlett O'Hara, including the iconic green curtain dress, will be exhibited together for the first time in more than 25 years. In 2010 donors from around the world contributed more than $30,000 to support conservation work for these costumes. Replicas of two gowns will also be on view.

      From the time Selznick purchased the rights to the book, it took more than three years to bring the film to the screen. The materials in the exhibition document the challenges of turning Margaret Mitchell's Pulitzer Prize-winning book into a manageable screenplay and producing it at a reasonable cost.

      Before a single frame was shot, "Gone With The Wind" was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the South during the Civil War and Reconstruction. While Clark Gable was a popular choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara, and there was a nationwide search before British actress Leigh was cast in the role.

      "'The Making of 'Gone With The Wind'" is the largest and most comprehensive exhibition on this film," said Steve Wilson, exhibition curator and the Ransom Center's curator of film. "The David O. Selznick archive, which is the Center's largest collection, forms the backbone of the exhibition, placing the Ransom Center in a unique position to tell the story of the making of this epic film."

      The chronologically organized exhibition will reveal the challenges involved in the making of this quintessential film from Hollywood's Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Visitors will get an insider's perspective on the search for an actress to play Scarlett, the film's iconic scenes, the influence of the African-American press on filmmakers' decisions and the enthusiastic reception of the film by fans.

      A fully illustrated exhibition catalog of the same title will be co-published by the Harry Ransom Center and University of Texas Press in September with a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne. Generous support for the exhibition has been provided by TCM.

      The David O. Selznick holdings comprise the core of the Ransom Center's film collection, which also includes the archives of silent film star Gloria Swanson, screenwriters Ernest Lehman and Paul Schrader, director Nicholas Ray and actor, director and producer Robert DeNiro.

      "The Making of 'Gone With The Wind'" can be seen starting Sept. 9 in the Ransom Center Galleries on Monday through Friday from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. Member-only hours are offered on Saturday and Sunday from 10 a.m. to noon.

      Public tours are offered every day at noon, as well as Thursdays at 6 p.m. and Saturdays and Sundays at 2 p.m. "Gone With The Wind" screentests will be shown in the Ransom Center's first-floor theater at 1:30 p.m. and 3:30 p.m. on weekends, immediately following the public tour.

      In conjunction with the exhibition, the Ransom Center will host the 2014 Flair Symposium, "Cultural Life During Wartime, 1861-1865," from Sept. 18 to 20. The symposium will look back to the 19th century to examine the cultural world of Union and Confederate painters, photographers, musicians, theater companies and writers. The songs, images, poems, books and plays that appeared between 1861 and 1865 offer a nuanced perspective on the Civil War that challenges later narratives, both fictional and historical.

      Complementing the physical exhibition is the web exhibition "Producing Gone With The Wind," which explores producing the film, including rarely seen fan mail from individuals who sought auditions, solicited employment and protested the production. Visitors can also see teletypes from Selznick's production company that detail the casting of Leigh as Scarlett O'Hara and explore the costumes, hair and makeup that contributed to the film's vibrant imagery. The web exhibition launches Sept. 9 at www.hrc.utexas.edu/webgwtw.

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    • DICK DINMAN PRESENTS "THE VIC DAMONE STORY"

    • DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART ONE): Producer/host Dick Dinman commences his six-show tribute to iconic vocalist Vic Damone as guest Vic Damone shares his reminiscences of his upbringing in a rough section of Brooklyn, the early influence of his idol Frank Sinatra, his first break and first of many hit recordings, and the generous help and encouragement of stars Perry Como and Milton Berle.

      DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART TWO): Producer/host Dick Dinman continues his tribute to ever-popular song stylist Vic Damone as Vic chats about his first screen test courtesy of MGM producer Joe Pasternak and reveals the identity of the silver screen superstar who saved the day by guiding him through it, his stint in the Army that temporarily interrupted his rise to screen stardom, and his marriage ceremony to the troubled MGM star Pier Angeli as Angeli's ex-beau James Dean looks on mournfully.

      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.

      NEXT MONTH! DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PART THREE AND FOUR).

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Frank Capra: The Early Collection DVD
Frank Capra: The Early Collection DVD
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Columbia Pictures Pre-Code Collection (DVD)
Turner Classic Movies and Sony Pictures Home Entertainment...
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Hollywood Movie Stills: Art and Technique in the Golden Age of...
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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