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  1. Top News Stories

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    • The Freshman on Criterion DVD and Blu-ray

    • Harold Lloyd was the collegiate kid to Chaplin's underdog tramp and Keaton's earnest social misfit, the young, modern guy full of energy and spunk taking on the world with the ambition of a go-getter and the smart-aleck attitude of a city boy. Yet for a young man who epitomized the up-and-comer in the modern urban world, he only made one film where he played a college kid: The Freshman, which became his biggest box-office hit of all time and the definitive college comedy of the 1920s.

      Lloyd had tried out a number of personae over his career but when he put on those round glasses and flashed that smile, he created the incarnation that made him one of the biggest stars of the twenties. He referred to that creation as "the glasses character" but in the movies he was invariably called Harold. In The Freshman he's Harold Lamb, a small town boy preparing to go to college by watching movies and practicing his elaborate greeting, a little jig of a dance step followed by an extended hand and a slogan of an introduction: "I'm just a regular fellow - step right up and call me 'Speedy'." (Fans of Yasujiro Ozu may recognize that bit from his Japanese college comedies like I Flunked, But... , an example of life imitating art; where Harold copies it from a fake movie, Ozu's students pick it up from their love of Harold Lloyd comedies.) He's convinced himself that the movies and the dime novels about campus heroes are an accurate portrait of college life and he studies them like textbooks. In fact, he studies them instead of textbooks. The Freshman is a college film where no one attends a class, goes to the library, or crams for a test. "Tate University - A large football stadium, with a college attached," reads the title card for Harold's arrival on campus, and the film makes good on the joke.

      This is your basic underdog triumph tale. Harold is the energetic naïf who arrives at school in duds years out of date and a gee-whiz attitude that immediately puts him in the crosshairs of the practical jokers on campus. What would be a humiliating ordeal to anyone else becomes a challenge for Harold to put everything he thinks he understands about college social customs into practice. That mix of spunky resilience and wide-eyed obliviousness inspires the pranksters to keep it up for the full term, convincing Harold that he's in the running for "Most Popular Student" while the entire student body snickers behind his back.

      Lloyd could be quite the wise guy in films like Safety Last (1923) and Hot Water (1924) but he's all eager-to-please rube here. In fact, his need for acceptance and popularity is so great that he blows his college money treating fellow students to ice cream (clearly this is no campus that Clara Bow would attend) and takes a beating as a human tackling dummy at football practice and comes back for more, just so to get on the team. Because, as those same mean-spirited pranksters remind him, you won't win "Most Popular" if you're not on a football player. It would kind of sad if Harold wasn't so darned plucky. Faced with potentially demoralizing mistakes and public disasters along the way, he simply picks himself up and tries again. You can't help but root for a kid with this much college spirit, even if he wastes it all on simply being the most popular guy on campus. But the bubble inevitably pops, of course, and his last chance to redeem his image is to play in the big game and become a football hero. This is your basic tale of underdog triumphant so it's no spoiler to say that there's a happy ending in it for our aspiring college hero, or that he will make all sorts of comic gaffs on his way victory. What's unexpected is that Lloyd and his team of gag artists don't parody the success story clichés along the way, they affirm them. Becoming "Most Popular" isn't a distraction from college, it's the point of, as far as this film is concerned.

      The Freshman lacks the high stakes of Keaton's comedies and the pathos of Chaplin's struggles but it doesn't lack for comic invention or filmmaking polish. Longtime Lloyd collaborators Sam Taylor and Fred C. Newmeyer direct and his regular writing team (Taylor, Ted Wilde, John Grey, and Tim Whelan) provide the story, gags and titles, but this is Lloyd's production down the line and he lavishes all the time and money necessary to perfect every gag. The campus backgrounds are filled with students, the big dance has Lloyd maneuvering through throngs of couples while quite literally tearing his suit apart (a hilarious sequence that builds to a predictable yet comically perfect gag finale), and the big game looks like it was shot at a real championship match. Throughout it all, every last extra seems to hit their marks and react on cue.

      The Freshman is as big and complicated a production as any silent comedy but it's so smoothly directed and centered around Lloyd in every scene that it doesn't feel sprawling. The focus remains on Harold and, to a lesser extent, on Peggy (Jobyna Ralston), the daughter of his boarding house matron and the girl Harold really likes, if only he'd stop trying to impress the cool kids long enough to realize it. Ralston is Lloyd's regular screen partner and while she leaves the funny stuff to Lloyd here, playing the good-hearted girl with the same small-town integrity that defines Harold, she has proven to be a fine comic match as a savvy urban young woman in Hot Water and the worldly professional to Lloyd's pompous rube in Girl Shy. The sweetest scenes in The Freshman are between Lloyd and Ralston, meeting cute over a crossword puzzle on the train and falling into such natural rhythm as she sews up a ripped shirt and he nods his head back with every tug of the needle.

      Harold Lloyd preserved all of his pictures and his estate continued the practice after his death, so when UCLA restored The Freshman in 1998 they had fine materials to work with. Criterion's release is mastered in 4k from the 1998 restoration and it is a stunning-looking disc, far more crisp and clean and sharp than we expect to see from silent movies. The bright, snappy new score is composed and conducted by Carl Davis and performed by the Chamber Orchestra of London. It has jazz-age energy and collegiate rah-rah feel and matches the era and Lloyd's energy marvelously. The recording is brassy and bright.

      The three accompanying shorts, all newly restored, are a reminder of how much Lloyd evolved by the time he turned to features. In these three shorts--The Marathon (1919), An Eastern Westerner (1920) and High and Dizzy (1920), the latter two directed by slapstick legend Hal Roach--he's a real smart-aleck, arrogant and rude and at times a complete jerk. High and Dizzy (1920), Lloyd's second "thrill" comedy short, is the most famous of the three and it offers up the urban wise-guy version of "the glasses character." It casts Lloyd as a young doctor fresh out of medical school with no patients, but that set-up gives way to an extended drunk act (thanks to a still in a nearby office) for the most of the 27-minute comedy, a series of stand-alone gags that ultimately sends him stumbling along the ledge of a high rise apartment building behind a sleepwalking girl. There's nothing organic in the construction of the short, just an anything-for-a-laugh aesthetic that defined the early slapstick era and the professional polish Roach and Lloyd brought to their films. The Marathon features a new piano score by Gabriel Thibaudeau and An Eastern Westerner and High and Dizzy feature new orchestral scores by Carl Davis.

      The film features commentary by director and Harold Lloyd archivist Richard Correll, film historian Richard Bann, and film critic Leonard Maltin, and you can see an on-camera introduction to The Freshman that Lloyd filmed for the 1966 compilation film Harold Lloyd's Funny Side of Life, followed by a clip-reel from the film. The disc also features Harold Lloyd: Big Man on Campus (a new visual essay on the film's locations by Lloyd author John Bengtson), a conversation between Lloyd archivist Richard Correll and film historian Kevin Brownlow, footage from a 1963 Delta Kappa Alpha tribute to Lloyd featuring comedian Steve Allen, director Delmer Daves, and actor Jack Lemmon, and Lloyd's 1953 appearance on the television show What's My Line?, plus a booklet featuring an essay by critic Stephen Winer.

      by Sean Axmaker

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  1. New Books

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    • Elizabeth and Michael

    • By Donald Bogle

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

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


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

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

    • By Robert Wagner and Scott Eyman

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

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


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

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

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    • King of Jazz: Paul Whiteman's Technicolor Revue

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

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


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

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

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

    • By Jeremy Arnold
      Forward by Robert Osborne

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

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

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


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

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  1. DVD Reviews

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    • Dick Dinman & Eddie Muller Explore THE ASPHALT JUNGLE!

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

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

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

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

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    • Dick Dinman Salutes Air Hero Jimmy Stewart!

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

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

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

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

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

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

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

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

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

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

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  1. Press Release

Alan Ladd: The 1940s Collection DVD
$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