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“Macbeth” (1948) This film comes in two different flavors, one in fake lowland Scots accents (or Scottish burrs) and one in more or less standard English accents. Both versions are included here in this DVD. I must say that I prefer the version in the Scots accents. Orson Welles does a magnificent job and the supporting players are excellent. But purists please note that many changes have been to Shakespeare’s text: speeches cut, others added, whole scenes deleted, the sequence or entire scenes changed, new characters added.
Roger Vadim's And God Created Woman comes to DVD with a widescreen anamorphic transfer that preserves the original theatrical aspect ratio of 2.35:1. The French soundtrack is rendered in Dolby Digital Mono. English subtitles are accessible. Supplemental materials include a demonstration of the restoration process that helped save the film, and the original theatrical trailer. Although there are few extras, the quality of the sound and picture on this release continue to show why Criterion is one of the best names in DVD.
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“And God Created Woman” (1956) Brigitte Bardot looks great in this sexy movie. It might have a plot, but who cares when Brigitte Bardot wonders around the seaside French town wearing next-to-nothing! She has beautiful legs and is an underrated actress.
Legendary French filmmaker Fran~ois Truffaut made his English-language debut with this adaptation of Ray Bradbury's celebrated novel, which has been given a solid presentation on DVD. Fahrenheit 451 has been transferred to disc in letterboxed format at the widescreen aspect ratio of 1.85:1, which has also been enhanced for anamorphic playback on 16 x 9 monitors. The audio has been mastered in Dolby Digital Mono; the dialogue is in English, with optional subtitles in Spanish and French. Bonus materials include a commentary track featuring actress Julie Christie, an interview with Ray Bradbury, a short documentary on the making of the film, the picture's original opening sequence, a gallery of promotional artwork, and the movie's original trailer.
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“Fahrenheit 451” (1966) Very scary concept from Ray Bradbury, probably inspired by the infamous public book-burnings orchestrated by Paul Joseph Goebbels on the eve of WWII. The film differs somewhat from Bradbury’s original book in that it deletes some things, while adding others. It is a shame that German character actor Anton Diffring’s voice had to be dubbed. One wonders, though, how the Captain of the book-burning firemen (Cyril Cusack) knew so much about the books he was burning, when all books were banned and reading any of them was forbidden. Fine performances are delivered by Julie Christie (as Linda Montag and Clarisse) and Oskar Werner (as Guy Montag).
The Complete Sherlock Holmes Collection stars Basil Rathbone as the legendary Sherlock Holmes and Nigel Bruce as the venerable Dr. John H. Watson. The Complete Sherlock Holmes Collection is comprised of all 14 classic films on 5 discs.
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“The Complete Sherlock Holmes” Overpriced? yes. But we have here the entire corpus of the pairing of Nigel Bruce (as Doctor Watson) and Basil Rathbone (as Sherlock Holmes), including even the first two films with Holmes & Watson in period costume. I will not mention here (by way of praeteritio) all of the negative criticism Nigel Bruce received for his bumbling, country-squire interpretation of Watson; nor will I point out the unfortunate plots involving political propaganda and World War II. These films were made during the war-years and I have no idea what people might expect from movies made in the 1940s. Of course many excellent period costume films were made in the 1940s. But someone at Universal decided it would a good idea to update Sherlock Holmes and bring him out of the London fog and hansom cabs of the Victorian/Edwardian eras. But not all of the plots of these films concern World War II or WWII political propaganda and some even have very good stories, plots and scripts, e.g., “S.H. and the Scarlet Claw”, which is supposed to take place in Canada. Rathbone’s hairdo in a couple of films is rather wild (especially in “S.H. in Washington”)—with a rather startling comb-over or, more accurately, comb-forward. But it is worth pointing out that Basil Rathbone (one of my favorite actors) should be remembered as a highly educated actor (he had studied Latin & Greek), versatile and with a wonderful sense of humor, quite unlike some of his screen villains, like the Marquis St Evremonde in “A Tale of Two Cities” (1935) or Mr Murdstone in “David Copperfield” (1933). As far as his sense of humor goes, one anecdote should suffice. Mr Rathbone—in the manner of Leslie Nielsen—had acquired a very realistic-looking pile of fake dog-poo at a local joke-shop. He strategically placed the poo right in the path of the only door to a soundstage and he waited for the inevitable results. Some visiting schoolchildren were in on the conspiracy. Humphrey Bogart stepped in the fake poo and, in typical Bogey fashion, cussed a blue-streak and exhibited absolutely no sense of humor at all. Rathbone was also skilled in swordplay, as a viewing of “Robin Hood” with Errol Flynn attests. Another thing worth mentioning is the diction of actors appearing in films before, say, the 1960s. Actors like Rathbone and Bruce had classical training and elocution lessons. As a result, the audience can hear and, what’s more important, understand each and every word. In those days there was no room for mumbling, slurred speech or method acting. That came later with Marlon Brando, who sounds as if he learned English from a Korean record album played at the wrong speed (to paraphrase Clive James). Back to this DVD collection: Yes, it is rather expensive. But, because the entire collection of the Rathbone–Bruce teaming is here presented, I would say that it is definitely worth the steep price, especially if you, like me, are a die-hard Sherlock Holmes fan.
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“Young Winston” (1972) This film tells the fascinating story of young Winston Churchill’s rise from an ambitious, horseback-riding war-correspondent to soldier and then escaped prisoner-of-war (during the Boer War) to his early forays into British politics. Simon Ward’s final speech—he sounds exactly as one would expect a youthful Winston Churchill to sound—is a tour-de-force. The entire speech is well-memorized and well-acted; and, as mentioned, Ward’s delivery of it is exemplary. In fact Simon Ward’s Churchill-impersonation throughout the film is uncanny. The cast is stellar, especially Robert Shaw as Lord Randolph Churchill, as he slowly succumbs to the ravages of syphilis and then descends into debilitating madness. As one might expect, Anne Bancroft (as Churchill’s American-born mother. Jennie Jerome) looks stunningly beautiful. My only quibble about the film is that no one, not even in a 19th-century Latin school, would have stupidly and literally addressed a table as “O Table”. Unless he were completely bonkers (talking to tables, rocks and trees &c.) or did so for humorous effect or poetic reasons, ancient Romans (as well as 19th-century Victorians) were just as unlikely to have addressed inanimate objects as we would be today. It would have been just as silly and ridiculous then as it is now. The vocative case of an inanimate object (like a table &c.) is only included in standard Latin grammars for the sake of completeness and, since mensa is an easy first declension noun to learn, all of its possible cases are laid out in an array for students to memorize by heart. But the authors of Latin grammars could just as easily have picked agricola ‘farmer’ as a first declension noun to learn, in which case ‘O farmer’ does not sound quite so ludicrous as ‘O table’. (By the way, the traditional Latin grammar in those days would have been the famous one by Kennedy. In fact the famous green cover of this grammar can be seen in the film.) Maybe Churchill was simply a bad Latin scholar. But then it must be remembered that Churchill is quoted as saying “…and then I would let the clever ones learn Latin as an honour and Greek as a treat”. I think the film simply wanted to make the point that unthinking, mechanical rote memorization is sometimes robotic and silly and doubly so to a bright student like Churchill, who would have (rightly) questioned the need for addressing an inanimate object.
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“The Story of Adèle H.” (1975) The madness of Victor Hugo’s daughter Adèle is maybe one of least known chapters of 19th-century history, but it is also one of the most tragic and most poignant. Adèle’s inexorable descent from infatuation to obsession to stalking the object of her love (a British soldier named Pinson who was not the slightest bit interested in her) to her insanity, destitution and eventually living in rags on the street is vividly portrayed here in this very captivating film. As usual, Isabelle Adjani looks strikingly gorgeous. The story has all of the elements of Madame Butterfly. The real Adèle Hugo died in Paris in 1915. She spent 40 years in an asylum.
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“The Cabinet of Dr. Caligari” (1920) is a wonderful and highly influential German expressionist film dating from 1920. In it a somnambulist named Cesare (Conrd Veidt), controlled by Dr Caligari (Werner Krauss), goes about murdering people. But there is a framing-story which makes the whole tale the ravings of a lunatic in an asylum. Some have interpreted the film as a premonition for the rise of Hitler in pre-war Germany. But like a dream itself, the film is open to almost any interpretation. The film is 97 years old in 2017 and it sill has a powerful impact on audiences.
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I saw William Blatty’s “The Exorcist” (1973) when it was newly released and I must say that it still carries a punch. It must be one of the creepiest movies ever made. I love the subtle nuances, often missed by those watching it for the first time, e.g., Regan’s walking backwards down a flight of stairs or the subliminal split-second images of demonic statues. But regarding the alleged subliminal images Blatty himself says that, if you can see it, it’s not subliminal. And I love the throaty, Satanic voice of Mercedes McCambridge.