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  1. Top News Stories

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    • Paul Schrader's Cat People on Blu-ray

    • Ostensibly a remake of the 1942 classic by the same name, Paul Schrader's 1982 Cat People is a cat of a different species entirely. At the time, it was accused of being garish and gory and literal in its exploration of sexuality as an animal impulse, in contrast to the shadowy psychological suggestions of the Jacques Tourneur-directed original. Schrader, who was a brilliant film critic before he turned to writing scripts and then directing films, had written Taxi Driver and Obsession and Raging Bull and came to Cat People after American Gigolo, his third film as a director but his first big success. Cat People was the first project he had not written himself, a script that had been developed by other directors, and while he had screenwriter Alan Ormsby significantly rework the script with his own ideas, Schrader took no screen credit for it. Yet Schrader himself remarked years later that "when I look back on it, I see Cat People as being almost the most personal film I've done." He reunited much of the creative team from American Gigolo--director of photography John Bailey, composer Giorgio Moroder, and most importantly visual consultant Ferdinando Scarfiotti--and transformed a sleek, sexy horror remake into a Paul Schrader film.

      The film opens on a dream-like scene in a desert of blowing amber sand where young women are sacrificed to leopards. It plays more like myth or metaphor than literal flashback, a beguiling, beautiful, terrible fantasy of sex and magic and flesh and fur in what could be the most magnificent cinematic snow globe ever shaken on screen. The dissolve to a sublime close-up of Nastassja Kinski, arriving at the New Orleans airport, immediately connect her to that out-of-time, supernatural imagery. Kinski is Irena Gallier, an orphan reuniting with her brother Paul (Malcolm McDowell), a minister with an unseen congregation, after years apart. As she wanders the city by day, she drifts to the zoo and is mesmerized by the leopards, which is what brings her together with Oliver Yates (John Heard), the curator of the zoo with an affinity for the large cats. Which doesn't sit well with Paul, who finally shares the family secret with her: they are of a race that transforms into leopards when they have sex with humans. "We are an incestuous race," he informs her. Irena, who is still a virgin, is appalled. Paul, who still feeds his sexual desires despite the consequences (not only does he transform after sex but he must kill to return to human form), targets his rival.

      Calling this a remake isn't really accurate, even with a couple of notable homages to the original film. Alan Ormsby's screenplay doesn't just update the story, it reimagines it with a mythology that is both more literal and more dreamlike than the original. It still equates sex with the animal inside, but along with the fear of unleashing that force is the exhilaration and freedom it brings. Irena is instinctively afraid of sex even as her desire for Oliver grows. Oliver is a classic Schrader hero, the loner and intellectual who goes on an odyssey to be with the woman he loves (he recites Dante at one point in the film), and he stands in for Schrader himself in many ways. Schrader fell in love and had an affair with Kinski during the making of the film and that passion and obsession surely drove the intensity of his filmmaking. Is Schrader channeling some of his own fears of losing the young Kinski (she was 20 when production began, he was 34) when Irena transforms into a wild panther after making love for the first time?

      Cat People was Kinski's second American film and she makes a stunning impression: young, fresh, at once androgynous (with her short haircut and slim, boyish figure) and alluring, her saucer eyes and full lips suggesting both innocent and experience. And there is something feline in the way she inhabits the frame, something that McDowell also brings to the role. Where he exudes in his cat-swagger and his prowling performance, Kinski suggests it in her eyes and her sleek Siamese presence.

      The design of the film is entrancing. The zoo is not real but a grand set, with oppressively small cages that would be decried in the real world but have a beautiful vintage feel to them on screen, like a holdover from the 19th century. Behind the cages are the atrium-style offices and labs and workrooms of the staff in a warren of room and walkways, a two-story space that allows Schrader's camera to prowl the human space and take in the animal habitats at the same time. The worlds are constantly brought together, most memorably when Oliver takes Irena to his cabin in the bayou. The atmosphere of the swamp, with its aural backdrop of insect noises rising to a thunderous jungle of wild sounds, is like the call of the wild to Irena, who follows overwhelming instinct and embarks on a nocturnal hunt.

      Schrader paints the film with a palette of old world atmosphere and modern, unreal colors (designed by Scarfiotti in the art direction as well as in the lighting). Tom Burman's transformation effects are sometimes garish and often beautiful, making literal what was implied (and possibly only in Irena's mind) in the original, but the live cats (actually cougars dyed black) bring a primal charge to the film. The film slips back and forth between the visual elegance of Schrader's choreographed camerawork and intimate direction and the slashes of sex and violence of its Jungian themes turned into horror movie spectacle. And the quintessentially eighties electronic drum beat aside, Giorgio Moroder's electronic score is moody and entrancing.

      While Schrader doesn't take any screenplay credit, the ending is all his and it is a fascinating contradiction of romantic tragedy and sexual imprisonment. It's not just the most explicit (consensual) bondage scene in a mainstream American film, which is still as transgressive and powerful more than thirty years after it was shot. There's a complicated mix of willing sacrifice, sexual surrender, domination and submission, and control over the wild nature that man cannot tame. Schrader directs it as a tragic moment with mythic resonance, a roar of impossible love in the only compromise that nature will allow, but it also carries an uncomfortable edge of fear of and domination over one woman's sexual autonomy. That Schrader manages to have it both ways is testament to the primal resonance of the themes and Schrader's commitment to the conflict of animal instinct and human intellect, sex and love, desire and denial. There really is nothing else like this in American movies.

      The disc is beautifully mastered; the color seeps into every image and becomes more saturated as the film goes on. The soundtrack has good surround separation and a dynamic range wider than most discs I view; much of it is quiet and hushed and there's a temptation to turn it up, only to get blasted by dramatic bursts of sound.

      The Blu-ray debut doesn't carry over any of the supplements from Universal's earlier DVD (which features Paul Schrader commentary and interview and a couple of vintage featurettes). Instead it offers seven new video interviews, five of them with key members of the cast: a fidgety Nastassja Kinski (5 mins), thoughtful talks with John Heard (6 mins) and Annette O'Toole (8 ½ mins) on their characters, Lynn Lowry detailing the physical challenges of her single scene (just short of 6 mins), and Malcolm McDowell discussing the casting and preparing for the role, and remarking on the qualities that Kinski brought to her role (7 ½ mins).

      Giorgio Moroder talks about scoring the film but doesn't offer much insight to the process (5 ½ mins) but Paul Schrader (no surprise) offers the most articulate and introspective of the interviews (9 mins). He discusses the origins of the project, the style, and the themes that attracted him, the contributions of Ferdinando Scarfiotti as the film's "visual consultant," and the changes he made to the script, specifically the ending, which still is still startlingly erotic and kinky. His final line offers a fine summation of how the film was received by mainstream audiences at the time: "What I though was cool about the film, the admixture of sex and fear, was not something that seemed to excite the American audiences in the way that it excited me."

      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 Salutes Air Hero Jimmy Stewart!

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

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

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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

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

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

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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

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

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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    • Dick Dinman & Eddie Muller's Bogart Bonanza!

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

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

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

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  1. Press Release

Alan Ladd: The 1940s Collection DVD
$35.95
was $44.95
The Ghost and Mrs. Muir DVD
$10.47
was $14.98
Hard-boiled detective Sam Spade gets caught up in the murderous...
$14.96
was $19.98
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  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca