Posts Tagged ‘Marilyn Monroe’
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This is a droll movie, especially the Fred Allen and Ginger Rogers allotment, with a sizable cast but why didn’t Fox include the deleted sequence with Walter Brennan and Hope Emerson as an extra? It’s included on the Hidden Hollywood Fox DVD and it’s been shown on AMC. It should’ve been included on this disc.
“In one week, he laid six time bombs. … He jumped the gun. The appointment was for 1 January. This clown began marrying people before he had the authority!” That’s what the attorney general tells the Governor Bush (!!!) of (I presume Louisiana), as the account opens in Gretna Green. That clown is Believe Melvin Bush (Victor Moore), a doddering but well-meaning passe man. His daughter-in-law, the governor’s wife, proposes that they write the couples of the mistake and let them grasp it from there.
The first couple, Steve and Ramona Gladwyn (Fred Allen and Ginger Rogers) have the funniest moments of all five. However, two and a half years after their marriage, they live in a totally hostile atmosphere, and they don’t need aid from that thunderstorm outside in the opening waking up segment. Avoiding each other, slamming doors, not saying a word–imagine what this couple assume about each other. They are hosts of a radio breakfast program that mentions products of their latest sponsors. As Steve puts it, we’re “having a bit of obedient, trim, nauseating fun over the bacon in eggs in the morning.” We actually come by a sample of their expose, the Overjoyed Gladwyns, and it’s funny: “I did what so many society women do these days. I went to Madame Yvonne’s Hairdo Heaven Madame Yvonne uses the Sensational Hairdresser. It contains that fresh mystery ingredient… chicken fleshy!”
The second involves Jefferson and Annabelle Norris (David Wayne and Marilyn Monroe) of Senatobia, Mississippi. Mrs. Norris has fair won the Mrs. Mississippi beauty pageant, and I would definitely have voted for her. While she’s out winning contests, her husband is stuck feeding the baby and doing the kitchenwork. However, Annabelle’s agent has bigger plans, to expand this to the national level, which means more stay-at-home for the increasingly disgruntled Jefferson. That is, until he opens the letter. It’s arresting to look the conception of house-husbands in the 1950′s compared to today.
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Couple number three are Hector and Katherine Woodruff (Paul Douglas and Eve Arden) . Despite the consider describing them as talkative, “yakkety yak yak”, it’s quite the opposite. Their location is similar to that of the Gladwins, except that they procure along slightly better. Thing is, there’s an air of boredom. There’s hardly anything to talk about and Hector seems to remember the days when he extinct to party, to the displeasure of his wife.
Frederick and Eve Melrose (Louis Calhern and Zsa Zsa Gabor) –ah yes, that couple. Mr. Melrose, an oil tycoon is pleasantly surprised when his wife suggests she meet him at his usual hotel where he retires to when conducting business in Recent Orleans, and she particularly asks, “don’t forget to register for me.” What follows is a reveal of deceit, until the letter shows up. It’s the registration invent showing 5 June 1951, which if I do the math, reveals that the first marriage by the assume was done Christmas Eve 1948.
Wilson and Patricia Fisher (Eddie Bracken and Mitzi Gaynor) have a trying time. Wilson, called up for the Asiatic-Pacific Theatre, presumably Korea, is not only stupefied to know his wife is pregnant, but he has already gotten the letter, and he is being shipped overseas. His sergeant is totally unsympathetic to the predicament, saying that he should try not to secure shot. The notion of 50′s morality of illegitimacy is engaging when seen from today’s eyes.
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There is one goof that is seen only once. When Mr. Norris gets the letter, we eye that there is unprejudiced his name, city and state–no street address. Either Senatobia is diminutive enough that the mailman knows everyone by name, or he is telepathic. And one wonders if all the letters were like that.
An fascinating collection of five stories, with all performers doing their best, but critical for a young and mild very glorious Marilyn Monroe. Victor Moore would later be a plumber in The Seven Year Itch, also with MM, and this is the second of four films David Wayne appeared in with MM. Ginger Rogers would appear with MM in Monkey Business.
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Death Becomes Her Discount.
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Death Becomes Her
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- Amazon Sales Rank: #3748 in Movie
- Released on: 2009-08-25
- Running time: 105 minutes
Devilish, Wicked Black Comedy
Directed by the amazing Robert Zemeckis, “Death Becomes Her” features a clever script, an awesome cast, and mind-blowing special effects that most Hollywood films lack nowadays. The film centers on the eternal quest for beauty and youth by an aging Hollywood starlet, Madeline Ashton, (played by the brillant Meryl Streep). Her high school rival, Helen, (Goldie Hawn), brings her latest beau to meet Ashton after a campy performance in a musical based on “Sweet Bird of Youth” (get the theme already?).
When Madeline runs off with Helen’s fiance (Bruce Willis) Helen falls into a demented state and becomes obese and determined to get even with Madeline. After discovering a secret potion sold by a Hollywood witch (Isabella Rosellini) both Helen, and later Madeline regain their youth, vitality, and beauty. However, all this comes with strings involving immortality.
The wonderful script pokes fun at many stereotypes, rumors, and realities Hollywood is well-known for. From plastic surgery to the fact that no one has never met a neighbor in Los Angeles, the script is intelligent scriptwriting at its’ best. The special effects by Industrial Light and Magic which has Helen walking with a hole through her midsection, and Madeline walking with a twisted neck are incredible to watch. One thing I adored about this film was the wicked, dark, and diabolical score by Alan Silvestri that incorporates harps and vengeful theme throughout the film.
The film’s ending featuring a legion of Hollywood’s undead (including Marilyn Monroe, Elvis, and James Dean)is hysterical and even the names of the two main characters, Madeline (“Mad” as in crazy) and Helen (“Hell” as in hellish) is genius. Personally along with “She-Devil,” “Heathers,” and “Scenes from the Class Struggle in Beverly Hills,” this film ranks as one of the best black comedies to come out in recent years. A must-see for everyone!
A TERRIFIC MOVIE THAT WARRANTS A WIDESCREEN RELEASE ASAP!
This movie is a real hoot, with Meryl Streep and Goldie Hawn embroiled in a Bette Davis/Joan Crawford-type feud… the plot was pure genius and the special effects were ahead of their time. With terrific performances by all the leads, this one is an “essential video” for your collection.
Siempre Viva!
The passage of time weighs upon us all: the loss of youth’s energy, agility, beauty. But let us say there is a potion, an elixir, “a touch of magic in a world obsessed with science.” Drink it and you will be forever young. Do not drink it and watch yourself rot away with old age. Just such a potion falls into the hands of two women who are not only consumed with vanity but fierce rivals, determined to best each other no matter the cost. Siempre Viva: Live Forever! Whether you like it or not!
With excellent performances, an invective-laced script, and remarkable special effects, DEATH BECOMES HER takes on several great philosophical and literary concepts–and subverts them into one of the most wickedly funny black comedies in recent memory, dishy, bitchy, mean spirited, and a tremendous amount of fun. Film buffs will particularly relish this film, which references everything from THE ROCKY HORROR PICTURE SHOW to THE WIZARD OF OZ and a host of classic horror films such as FRANKENSTEIN, THE MUMMY, and CAT PEOPLE–and also tacks in everything from Tennessee Williams plays to rock legend Jim Morrison for good measure.
Unfortunately, the DVD release is commonplace, offering the film in pan-and-scan only. To give the release its due, the shift from widescreen to pan-and-scan is expertly done and not in the least distracting–but still, a widescreen option for such a special effects heavy film would be preferred. And while this would seem to be an ideal film for a making-of documentary, the DVD offers only a handful of production notes as bonus. Even so, the film is so extremely well done that I wouldn’t miss it on that account! Recommended.
GFT, Amazon Reviewer
The Audrey Hepburn DVD Collection Movie Streaming
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The Audrey Hepburn DVD Collection Movie Streaming.
Movie Title: The Audrey Hepburn DVD Collection The Audrey Hepburn DVD Collection is available for streaming or downloading. Click Here to Stream or Download The Audrey Hepburn DVD Collection |
Audrey Hepburn was — and remains — the perfect illustration of elegance and sophistication in Hollywood. A lot of actresses have tried to imitate her view, but they couldn’t manage the same grace and skill, both onscreen and off.
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And the “Audrey Hepburn Five Pac” brings together five of the films that helped shape that image, including her three top starmaking roles. Okay, they’re not her most impressive. But even when they’re uneven (“Paris When It Sizzles”), her movies are charming, sweet and impartial a limited bit quirky.
Bored young Princess Ann (Hepburn) goes on a “Roman Holiday,” when she has a poor reaction to a sedative. She wanders straight into struggling American journalist Joe Bradley (Gregory Peck) . When he realizes she’s the missing princess, he takes her on a fun vacation in Rome, with his pal taking photos for a hit article. Yet he’s also falling in adore with Ann… and she’s torn between savor and duty.
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“Sabrina” (Hepburn) is the daughter of the chauffeur at the palatial Larabee estate, and is in care for with the ne’er-do-well second son, David (William Holden) . After a stint at a cooking school, where she gains sophistication and confidence, she returns to enthrall David. But since his brother Linus (Humphrey Bogart) has arranged a business marriage for David, Linus starts to woo Sabrina instead… and falls for her as well.
“Breakfast at Tiffany’s” is a daily ritual for Holly Golightly, a social butterfly. When kept man Paul Varjak (George Peppard) moves into a nearby apartment, he is instantly enchanted by the ditzy, sweet-natured Holly. But for all Holly’s fun, Paul starts to realize that all is not well with her. As Holly’s life starts to deteriorate, Paul sets out to exhibit her what her life will be like without accurate like.
“Laughable Face” becomes a pain for a fashion photographer Dick Avery (Fred Astaire) who is assisting a fashion queen with the unusual “pink” witness and the gleaming model explore. After a disastrous shoot at a boho bookstore, Avery is struck by the owner Jo’s (Hepburn) perceive, and convinces her to become their newest model — and she only agrees to accept to Paris so she can meet her well-liked philosopher. But she’s also falling in worship with Dick and her modelling career.
“Paris When It Sizzles” features Richard Benson (William Holden), a laconic playboy screenwriter, who procrastinated on his forthcoming script until unbiased a few days before the deadline. So he hurriedly hires a secretary, Gabrielle (Hepburn) to support him approach up with an concept and write it — except that all they can reach up with, as they plunge in admire, are all sorts of completely bizarre scenarios.
Yes, they are all romantic comedies, completely unrelated except that all of them have Audrey Hepburn. But all three are fun, well-written (“You can’t live here! I live here!” “Hi, neighbor!”), and taking station in chic apartments, palatial mansions, Parisian runways, and the streets of Rome. And each has a theme: cherish that doesn’t reach easy, whether the jam is one of the people eager, parents or impartial different personalities.
There’s also slapstick comedy (David injuring his butt on champagne glasses), and more sophisticated comedy (like when Anna and Joe pretend that they were speeding on their map to secure married) . And Hepburn provides plenty of it, such as her crazy club dance or her encounter with a vampire.
Unlike many actresses, Hepburn’s best-known roles were NOT all alike, nor were they all carbon copies of her — we have wistful bohemians, party girls, insecure teens, and chained-back princesses. Even when we shouldn’t really like the characters, she gave them warmth, sensitivity and likability that can’t be faked. And she could be very comic too — it’s hard not to laugh when Holly yells “Timber!”, as a drunken guest keels over.
The Audrey Hepburn Five Pack clusters five of Hepburn’s most chic, charming movies, for those are unprejudiced falling in cherish, or who bask in a edifying romantic comedy. Charming, cute and sweet.
Only Audrey Hepburn retains the level of cache that would elaborate the constant repackaging of her films, and here are five films – three of which have already been presented as a spot, the Audrey Hepburn Collection – presented in yet another DVD package. Her natural charm and grace are pervasive throughout – even when the vehicles themselves sometimes fail to pick – but all provide proof definite that she was among the most consistently affecting of actresses.
In a beautifully restored print, 1953′s Roman Holiday (*****) provides a most appealing introduction to the then-24 year aged actress thanks mainly to director William Wyler’s expert direction and Dalton Trumbo’s sweetly observant script. In hindsight, it is a modest performance compared to Hepburn’s later work, but Wyler knew enough to let her natural breeding abet its purpose in conveying the carriage of a princess who experiences her first eye into the world outside her hermetically sealed world. The revelation here is really Gregory Peck, comely and stalwart as always but in this movie quite relaxed with a surprising light comedy touch. It is actually his Joe Bradley that goes through the dramatic character arc that makes the ending so bittersweet. Wyler’s humanistic touch is everywhere – from the funny haircutting scene with the smitten barber to the noted Mouth of Truth scene where Peck pretends to lose his hand to the concluding press conference, which turns into a dance of acting nuance and unspoken feelings. The 2002 DVD has a robust dwelling of extras, including an righteous documentary on the production itself (glimpse for Hepburn’s first Hollywood cloak test) and other short films on the film’s restoration process and Edith Head’s contribution to Hollywood costuming.
With its cynical humor and the European-based sensibilities around different classes, 1954′s Sabrina (*****) is most definitely a Billy Wilder represent. The film is not quite in the same league of other Wilder classics like Sunset Boulevard, Some Like It Hot or The Apartment, but on its occupy, it’s an airy soufflé of a comedy served on a perfectly attractive warming dish. What I like most about this movie is that Wilder keeps the fairy myth trappings of the chronicle grounded in mordant wit and shrewd observations about business mergers, bribery and class snobbery. This is what keeps this movie surprisingly original. Torn between the characters played by her leading men, Humphrey Bogart and William Holden, Hepburn as a chauffeur’s daughter is charming. This was her first introduction to Givenchy fashion onscreen, and the disagreement in her appearance between “Roman Holiday” and “Sabrina” is actually more startling than the one in the movie itself. It is no wonder she became such a style icon from that point forward. While Bogart is too dour in his role of older brother Linus (a role pegged for Cary Grant who canceled at the last limited, damn the luck), Holden is hilarious as shallow, ne’er-do-well younger brother David. The ending is inevitable, but leave it to Wilder to mix sweet and sour better than a Cantonese restaurant. There is a brief making-of documentary on the 2001 DVD.
Presented in a modern 50th Anniversary Edition DVD, 1957′s Amusing Face (****) is a Hollywood confection teaming Hepburn with an effortlessly debonair Fred Astaire status to George and Ira Gershwin’s memorable music. The elegantly mounted numbers provide the ideal complement to the featherweight situation centered on Dick Avery, a world-renowned, Richard Avedon-like fashion photographer who discovers his next superstar model in Jo Stockton, a bookshop clerk and aspiring philosopher, in time for a major runway event in Paris. Starting with the photography provided by Avedon himself, the film is stylish to the nth degree with a fearless color palette that director Stanley Donen and cinematographer Ray June bring to vibrant life. This level of device will not sit well with some contemporary film viewers, and the opposites-attract storyline seems particularly forced here by the thirty years that separate the co-stars’ ages. Regardless, several individual elements work well beginning with Astaire who epitomizes class and artistic drive as Avery, and his dancing and singing remain undiminished by the years. Hepburn is certainly picture-perfect as Jo, looking particularly spectacular in the fashion shoot sequence. With her ballet training, Hepburn moves well in the dance numbers, though she is not a natural and seems oddly flat-footed when paired with the lithe Astaire. A couple of shorts are offered on the 2007 DVD, as well as a photo gallery and a disposable extra about Paramount movies in the 1950′s.
1961′s Breakfast at Tiffany’s (****) aloof tells a interesting narrative, yet the film has a dated feel perhaps because director Blake Edwards tries so hard to catch the upscale bohemian atmosphere of early sixties Novel York. In a role that author Truman Capote wanted to cast Marilyn Monroe, Hepburn is savory as the aptly named Holly Golightly and somehow dances around the fact that her character is a high-priced call girl through her sense of style, fun and vulnerability. Holly’s apprehension of commitment is the crux of this anecdote, even though she is hopelessly drawn to a failed writer played by George Peppard, who is kept in glorious style by a wealthy matron played with conniving sophistication by Patricia Neal. Peppard is the musty link here as he doesn’t have the light touch required to sustain up with Holly’s shenanigans. The rest of the cast can be best described as eccentric, in particular, Buddy Ebsen as Holly’s backwoods first husband and an inappropriately cast Mickey Rooney as the Japanese neighbor upstairs. Henry Mancini’s romantic music provides the perfect accompaniment, and Hepburn’s plaintive, ukulele-strummed version of “Moon River” is composed the most definitive. The rain-soaked kiss in the alley is objective about as glowing a scene as you are likely to examine in movies. One improvement over the Audrey Hepburn Collection is the inclusion of the 45th Anniversary DVD package released in 2006, which includes commentary from producer Richard Shepherd, a making-of retrospective featurette, a short about Hepburn’s fashion sense and two other shorts focused on Tiffany’s the store.
The least of the movies here, 1964′s Paris When It Sizzles (***) is a heavy-handed concoction that reunites Hepburn and Holden under the direction of Richard Quine. Working with an overly contrived, intermittently droll screenplay by George Axelrod, the overlong result feels like the old-style French farce upon which it is based but with the artificial veneer of 1960′s Hollywood studio product. The frothy set centers on aging Hollywood screenwriter Richard Benson, who is holed up in Paris attempting to beat the deadline position forth by big-time producer Alexander Meyerheim to attain his latest screenplay. Benson has to hand in the completed script in two days, but the predicament is that he hasn’t even started since he has been busy boozing and womanizing in typical alpha-male fashion. He hires impressionable Gabrielle Simpson as his live-in secretary and becomes inspired to write the aptly named “The Girl Who Stole the Eiffel Tower”. The rest of the movie goes encourage and forth between the reality of the impending deadline at Richard’s apartment and the fantasy scenes of the screenplay coming to life. It does have its charms with some funny spy-caper turns and cameo appearances by Marlene Dietrich in a walk-on, Noel Coward as Meyerheim, and a particularly droll Tony Curtis as Gabrielle’s Method-style actor boyfriend. Hepburn is never less than charming here, while Holden keeps his innate hamminess in check. However, neither seems especially challenged by the silly proceedings. The only extra on the 2001 DVD is the novel theatrical trailer.
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The Big Sleep Discount.
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The Big Sleep Discount.
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The Big Sleep Description:
- Amazon Sales Rank: #1278 in Movie
- Released on: 2009-12-17
- Rating: NR (Not Rated)
- Running time: 114 minutes
Customer Reviews:
A fine box set that does not obsolete the previous snap-case DVDs
The 1940s Hollywood power couple of Humphrey Bogart (1899-1957) and Lauren Bacall (1924-) made four excellent films together:
(1) To have and have not (1944)–11/03 snap-case DVD UPC 012569584327, 7/06 keep-case DVD UPC 012569676862
(2) The big sleep (1946)–2/00 snap-case DVD UPC 012569502628, 7/06 keep-case DVD UPC 012569676817
(3) Dark passage (1947)–11/03 snap-case DVD UPC 012569584228, 7/06 keep-case DVD UPC 012569676824
(4) Key Largo (1948)–2/00 snap-case DVD UPC 012569501027, 7/06 keep-case DVD UPC 012569676848
The 1944 movie is a World-War-II film whereas the others are film-noir flicks. [Incidentally, Bacall played opposite Betty Grable and Marilyn Monroe in How to marry a millionaire (1953). The film has an in-joke: the Bacall character says: "I've always liked older men. Look at Roosevelt, look at Churchill, look at that old fella what's his name in The African Queen. Absolutely crazy about him." Bacall is referring to her real-life husband, Humphrey Bogart.]
The box set “Bogie & Bacall: The signature collection” (DVD 7/06) collects the four Bogart-Bacall movies in a convenient slip case to house appropriately four plastic keep cases but awkwardly four cardboard snap cases. The four films in the box set come in plastic keep cases and are
also available separately. The previous releases were in cardboard snap cases but are still available. The exteriors of the respective snap and keep cases are virtually identical, those of The big sleep DVD varying the most, but only for the “special features” note. The earlier snap cases each have inside a chapter index and additional photo. The newer keep cases lack scene indices. I compared the four DVDs in the snap-case editions with the four DVDs in the keep-case editions. The DVDs for each movie are identical. It is important to note that the DVD for The big sleep is two-sided:
Side A (114 min) = 1946 theatrical-release version
Side B (116 min) = 1944 pre-release version with 18 minutes that were either reshot or deleted from the theatrical release
Side B of the keep-case DVD is not clearly labeled as such.
Warner was remiss in not issuing with the box set a brief booklet on Bogart and Bacall.
In conclusion, if you have the four snap-case editions, they are not outdated, and with reasonable care the cardboard snap cases wear well. However, if you are a Bogart collector lusting for the nice slip case for the quartet of films, get the box set with the plastic keep-case editions and give your snap-case editions to a friend or relative.
If You Want Them, This Is It
“Bogie and Bacall — The Signature Collection,” brings us the four movies the near-legendary Hollywood stars, Humphrey Bogart and Lauren Bacall, made together, from first, Howard Hawks’s 1944 “To Have and Have Not,” in which the couple, just meeting, literally fall in love on screen, through probably their best together, 1946′s “The Big Sleep,” again directed by Hawks; their strangest, 1947′s “Dark Passage,” written and directed by Delmar Daves; and their last, the 1948 “Key Largo,” directed by John Huston.
All four films are made by Warner Brothers, in black and white; all but “Dark Passage” made entirely on studio back lots, despite the ostensible tropical settings of “To Have and Have Not,” and “Key Largo.” In most, Bogie plays a character that will be familiar to his fans from his previous work, particularly the great wartime hit “Casablanca” that directly preceded “To Have.” We see some of the familiar Warner Brothers company of supporting players in these films, and some well-known, highly-esteemed actors, but the pictures belong to Bogie and Bacall, as they fire up the screen, as lovers and then newly-marrieds.
“To Have and Have Not,” supposedly resulted from a bet between Hawks and Ernest Hemingway, famed American author of the book on which it’s based. Hawks said he could get a good movie from Hemingway’s worst book, which this was. Hawks did so, with a screenplay by another famed American novelist, William Faulkner, and Jules Furthman. The picture, however, is an effort to remake “Casablanca,” without Ingrid Bergman, or the earlier movie’s sterling supporting cast. Set on a French-speaking Caribbean island, with Vichy French and Free French at war. Almost-heroic Free French fighter, and his wife. Bogie as Henry (Steve) Morgan, hardboiled antihero who sticks his neck out for nobody. Hugely talented American singer-songwriter Hoagy Carmichael as Cricket, singing piano player. Despite his many beautiful compositions, he just doesn’t hold the screen as did Dooley Wilson, playing Sam, singer of “As Time Goes By,” in the earlier film. Walter Brennan thrown in playing his stellar drunk, Eddie, asking people “Was you ever stung by a dead bee?” He’s treated with romanticizing kid gloves by all concerned. And the breathtaking 19-year old Bacall, as Marie (Slim) Browning, who’s just landed on the island because she’s run out of money. She’s given a snazzy check suit, and some snappy dialogue. Remember “You know how to whistle, don’t you?” She even sings; legend says she was dubbed by Andy Williams, but that’s not necessarily true. They say her part was beefed up when the studio execs saw what was happening onscreen. Sid Hickox’s noirish cinematography also contributes greatly to a sexy, old-fashioned, rather routinely plotted, World War II thriller, combining romance, faraway adventure, and a macho Hemingway hero.
“The Big Sleep,” 1944, was the second film made by the golden trio, Bogart, Bacall and Hawks. The screenplay, again, was by novelist Faukner, based, this time, on a detective novel of the same name by the Californian author Raymond Chandler. This noir mystery thriller also casts a backwards eye at “Casablanca.” Here, Bogie plays Philip Marlowe, Chandler’s existential, street-smart, courageous private eye, called to investigate efforts to blackmail the aging, incapacitated, wealthy General Sternwood about one of his daughters. Both the General’s daughters, the old man admits, are wild, and have the vices of their class, but Carmen, played by Martha Vickers, is most troublesome; Vivian, played by Bacall, gambles, and seems, carelessly enough, to have recently misplaced her husband, of whom the General was fond. Still, in this picture, Vivian has great rooms and clothes, and a nifty white coupe convertible. Supporting players include Dorothy Malone, Peggy Knudsen, Bob Steele, Lash Canino, and Elisha Cook. Max Steiner contributed the atmospheric score. The notoriously complicated, difficult to follow plot is frequently interrupted by girls admiring Bogie, and stopped dead so Bacall can sing. The screenplay cleans up its source material considerably, still, it was considered an unusually violent and amoral movie for its time. Treatment of Los Angeles is moody; night scenes are shadow and fog, daylight scenes slightly, menacingly overblown. Nobody played harried and world-weary better than Bogart.
1947′s “Dark Passage,” noir thriller, was written and directed by Delmar Daves, based on a novel by David Goodis, who wrote the novel on which “Shoot The Piano Player” is based. It’s set in San Francisco of the 40′s, and may be the best screen treatment of that city at that time. Once again, Sidney Hickox’s noirish cinematography takes full advantage of its flavorful setting, hills, bay, staircase streets. The building in which Bacall’s character, Irene Jansen, supposedly lives, and its glass elevator, and her duplex apartment, are masterpieces of the “moderne” style then highly popular. Bogart plays Vincent Parry, a doctor unjustly convicted of killing his wife; at the film’s opening, he’s just escaped from San Quentin, coming home to clear himself. For the first hour, we never see him, only see everything through his eyes, then a new filmic technique. The gimmick is, he has plastic surgery so as to no longer be recognizable; he then becomes the Bogart we know. Housely Stevenson plays the plastic surgeon Dr. Walter Coley: his scenes are treated in a most Frankensteinian way. The plot takes some truly odd turns: we’re to believe that Agnes Moorhead, who is surely riveting, could give Bacall a run for her money in the Bogart stakes. As if. Bacall doesn’t sing, but she looks sensational, and has, in addition to that apartment, some stylish clothes and jewelry — note the Mexican opals. She’s also got an eye-catching, memorable “woody” station wagon.
“Key Largo,” 1948, directed by John Huston, was the last screen pairing of our two leads. It’s based on a stage play by Maxwell Anderson, nominally set in the tropical Florida Keys. A wheelchair-bound Lionel Barrymore plays James Temple, owner of the island hotel; Bacall plays Nora, his widowed daughter in law. Bogart plays Frank Mc Cloud, who fought the Italian campaign alongside the Temple boy until he was killed. Mc Cloud goes to visit the Temples off-season, and discovers that a powerful hurricane’s coming. And that they are being terrorized by Edward G. Robinson, one of the great movie villains, playing gangster Johnny Rocco. Clair Trevor, playing Gaye Downs, Rocco’s moll, former nightclub entertainer, gets to sing this time. She does an acapella “Moanin’ Low,” a song popularized by Libby Holman in the early 30′s, and won a Best Supporting Actress Oscar for it. Bogart plays an unusually quiet version of his “I stick my neck out for nobody character.” But, such are the burdens of marriage, Bacall is uncharacteristically demure. She doesn’t appear to be wearing makeup, her eyes are downcast, and her wardrobe seems to consist of one –dowdy– outfit. She doesn’t have those lines, either: Barrymore and Robinson get them this time.
These four films are the components of this collection. There will be no more by our two great leads, and they were certainly among the screen’s most incendiary lovers. If you want them, this is it.
You know how to whistle, don’t you Steve?
This long overdue collection of the four films Bogie and Betty made together is an absolute must have for fans of both Forties flicks and of course the greatest romantic screen-team in Hollywood history. Starting with ‘To Have and Have Not’, which was Lauren Bacall’s debut film, as has been said many times before one can literally watch the pair fall in love on-screen a la Garbo and Gilbert in ‘Flesh and the Devil’. The story is pure Hemingway with wonderful support from Walter Brennan and Hoagy Carmichael among others.
Next came ‘The Big Sleep’, a wonderful (if not baffling!) film noir adapted from the popular novel by Raymond Chandler. Betty never looked more glamourous and sexy than she does in this one.
Their third film togather was the highly underrated ‘Dark Passage’, another noir gem expertly directed by the equally underrated Delmer Daves with superb support from Agnes Moorehead and Bruce Bennet. Bogie plays a framed innocent man just escaped from San Quentin who is aided and abetted by Bacall after winning her trust.
The fourth and unfortunately last film with the pair is ‘Key Largo’, more in the vein of ‘To Have and Have Not’ than the previous two. The best supporting cast of all four films includes Claire Trevor (who won Best Supporting Actress), Lionel Barrymore and Edward G. Robinson in one of his last tough-guy gangster roles. In her book, Bacall describes the experience of making this film as one of the happiest memories of her career with daily afternoon tea served in her dressing room!
The price of this set considering the high-quality of the prints and the marvellous and relevant extras included by Warner’s makes this set excellent value for money. Don’t think twice, get it!
Stream Gentlemen Prefer Blondes Online
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While it will never compete with the likes of SINGIN’ IN THE RAIN, GIGI, or MEET ME IN ST. LOUIS, this 1953 confection is nonetheless a loyal charmer. Based on a favorite Broadway demonstrate which was itself based on the illustrious unique by Anita Loos, GENTLEMEN Choose BLONDES tells the myth of two cabaret performers–blonde bombshell Loreli Lee, who is positive to marry for money, and brunette beauty Dorothy Shaw, who prefers to marry for cherish. When Loreli’s engagement to a millionaire’s son goes awry, the two place cruise for Europe, and amusing complications ensue. The memoir is old-fashioned fluff, pure and simple, and there is nothing in the least innovative or unexpected about the film as a whole–but it is all extremely, extremely well done.
The get is intelligent, including such tunes as the well-known “Diamonds Are A Girl’s Best Friend”–and all the musical numbers are cleverly staged and filmed. The overall glance of the film is also peek popping: the ladies are dressed to perfection and the color cinematography is truly joyous. The script is pudgy of comfortable wit, director Hawks keeps it inviting at a nice clip, and the cast includes such delectable performers as Charles Coburn, Tommy Noonan, Norma Varden, and George Winslow. But what really makes the film memorable are Marilyn Monroe and Jane Russell, who simply sparkle with star quality and play their with roles in a twinkle-in-the-eye style.
Monroe and Russell have grand chemistry on mask, and although neither were really singers they each had delicious and very distinctive singing voices; their performances are so pleasantly funny that you can’t aid but smile. Both also had a plot with comedy, with Monroe offering her quintessential ‘not so insensible blonde’ and Russell matching her all the plan as the wise-to-you brunette definite to maintain Monroe out of distress. And so well do they work together it is hard to capture a common between the two. Call it fluff, froth, foolish–but even jeweler Harry Winston couldn’t refuse this worthy time, even at the risk of a diamond or two. Thoroughly delicious for any one level-headed gracious of a smile.
A kiss on the hand
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May be quite continental,
But diamonds are a girl’s best friend.
A kiss may be grand
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But it won’t pay the rental
On your humble flat
Or back you at the automat.
Men grow frigid
As girls grow conventional,
And we all lose our charms in the demolish.
But square-cut or pear-shaped,
These rocks don’t loose their shape.
Diamonds are a girl’s best friend.
Tiffany’s!
Cartier!
Black Starr!
Frost Gorham!
Talk to me Harry Winston.
Tell me all about it!
There may arrive a time
When a lass needs a lawyer,
But diamonds are a girl’s best friend.
There may approach a time
When a hard-boiled employer
Thinks you’re poor nice,
But find that ice or else no dice.
He’s your guy
When stocks are high,
But beware when they originate to drop.
It’s then that those louses
Go abet to their spouses.
Diamonds are a girl’s best friend.
Gentlemen Engage Blondes gave Marilyn Monroe and Jane Russell the perfect opportunity to showcase their numerous talents. They shriek aesthetic numbers including “(We’re Fair) Two Limited Girls From Limited Rock;” “Bye Bye Baby;” “Ain’t There Anyone Here For Appreciate” and “Diamonds Are A Girl’s Best Friend.” When Marilyn and Jane dance to some of these numbers their beauty and talent strike the viewer as amazing. Tommy Noonan turns in a strong and convincing performance as Gus Esmond, the American man who wants to marry Lorelei, who is played by Marilyn Monroe. Charles Coburn and Norma Varden invent as Sir Francis ‘Piggy’ Beekman and Lady Beekman, well-kept rich people who got their wealth from diamond mining in South Africa. The crisp, definite color reflects the hard work to restore this movie and the sound is valid, too! Jule Styne and Leo Robin provide unbelievable music and lyrics for the classic songs in this record.
The film starts as Lorelei and her girlfriend Dorothy Shaw embark on a ship for France. Although Dorothy plans to chaperone Lorelei, Lorelei has different plans and soon Dorothy’s quest for a man distracts her from overseeing Lorelei anyway. The ship carries a male Olympic relay team and they certainly attract Dorothy’s attention. A cast of characters are also on board, the most distinguished of which are Sir Beekman, who longs for an affair with a younger woman. His wife, Lady Beekman, travels with him. These characters all together on the same ship indicate to be the ultimate formula for high jinks on both the high seas and overseas! Lorelei and Dorothy go to sink their claws into rich men for their money. However, unbeknownst to Lorelei, her fiancé’s father, Mr. Esmond, Sr., employs a detective onboard. The detective, Ernie Malone, must follow Lorelei and accept evidence that she will be unfaithful to her fiancé Gus Esmond. Mr. Esmond, Sr. can then slay all plans for the wedding of Lorelei and Gus. Gus’s father believes that such a marriage would be sinful for his son.
The scenes in Paris offer magnificent backdrops and a extraordinary belief of what Paris looked like in the early 1950s. After a few ups and downs Lorelei and Dorothy unexpectedly appear to be in a lot of financial anguish and they collect jobs in a reveal to originate money. Lorelei performs the unforgettable song and dance number “Diamond’s Are A Girl’s Best Friend” with male attend up dancers. However, things become even more complicated when Lorelei stands accused of stealing a tiara that belonged to Lady Beekman. Actually, Sir Beekman gave the tiara to Lorelei in a frail moment because he found her to be beautiful–too abominable he never told Lady Beekman! Lorelei and Dorothy tell the sparkling number “When Like Goes Depraved (Nothing Goes Fair) .” The cops commence to nip at their heels and Lorelei–or someone quite like her–appears in court because Lady Beekman wants her tiara returned to her. The ensuing court scene boasts a comedic, campy quality to it. Awesome!
Do things work themselves out at the slay of this recount? Well, folks, there are no spoilers here–watch this movie and look for yourselves!
Marilyn Monroe fans will thrill to this stout record and Jane Russell fans will luxuriate in it fair as distinguished. People who appreciate musical comedies will also like this record.
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Breakfast at Tiffany’s
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- Amazon Sales Rank: #3944 in Movie
- Released on: 2009-09-05
- Rating: Unrated
- Running time: 115 minutes
The Centennial Collection of Breakfast at Tiffany’s” is the definitive version to own on DVD!
Excellent!
A word that can describe the Centennial Collection release of the 1961 film “Breakfast at Tiffany’s”, the classic romantic comedy starring Audrey Hepburn and George Peppard.
Having reviewed previous versions of “Breakfast at Tiffany’s” before on DVD, I’m sure many Audrey Hepburn fans are probably wondering how else can Paramount improve from the 2006 45th Anniversary Edition on DVD? Well, I can tell you right now… plenty! Please read on.
A film that stars quite a bit of talent, “Breakfast at Tiffany’s” remains not just one of the most memorable romantic films of all time but a film that exemplifies the beauty of Audrey Hepburn, the chic style of the times and more (which I will discuss more in the special features portion of my review).
VIDEO & AUDIO:
The film is presented in widescreen format, enhanced for 16:9 TV’s. A lot of the Centennial Collection releases have been remastered for high definition and having the previous DVD’s, I can tell you that the DVD looks great. But I can only imagine how this film would look in 1080P if released in Blu-ray.
Audio is featured in Dolby Digital English 5.1 Surround/English, Restored Mono, French Mono and Spanish Mono. The film of course is dialogue-driven but sure enough, the music of Harry Mancini is alive and well when blaring through your speakers.
SPECIAL FEATURES:
As mentioned before, there have been several releases of “Breakfast at Tiffany’s” prior to this Centennial Collection, the older DVD’s really hardly came with anything but the trailer until the 2006 “Special 45th Anniversary Collector’s Edition” which came with a good number of special features and a commentary by producer Richard Shepherd.
Well, what I can tell you is that the Centennial Collection contains all of the special features from the Anniversary DVD release but also adds quite a few new lengthy featurettes as well. On the first disc, the first disc contains the movie and the same commentary from the Anniversary disc by Producer Richard Shepherd. You can tell that Shepherd gets drawn in to the film and doesn’t speak in the commentary until he feels necessary.
So, for those wanting a verbose commentary, Shepherd doesn’t do that. But it’s actually quite fine because when he does speak, you learn a lot of things from him about the filming. For example, the opening shot featuring Audrey Hepburn in front of Tiffany’s in Fifth Avenue. Where the place is typically packed with cars and people, for that time… there was hardly any traffic and no people. So, a very lucky time in filmmaking for the crew.
Also, Shepherd is quite apologetic about casting Rooney as Mr. Funiyoshi and he does that quite a bit in the commentary. You realized he didn’t want the yellow face routine (Caucasian actor looking like an Asian stereotypical character) but it was kept in. Also, commenting of how certain scenes worked then but would never fly now. But most of all, his continued feeling of Audrey Hepburn as a class act. Overall, a very good commentary that you learn a lot from.
The special features on disc 2 are as follows:
* A Golightly Gathering – A 20-minute featurette that reunites the talents who were in the cocktail party scene from “Breakfast at Tiffany’s”. One of the coolest parties ever on film, it’s great to see the talent from the film reunite and discuss their experiences of filming that part scene 40-years later. I had no idea the party-scene took 8-days to film but it was great to hear everyone talk about their scene, working with Audrey Hepburn, George Peppard and Blake Edwards. But what a great featurette and so happy of it’s inclusion.
* Henry Mancini: More Than Music – This nearly 21-minute featurette is a wonderful featurette that features interviews with Henry Mancini’s wife, daughter and son. Seeing private photos and even videos of Henry and having their family talk about him and what they remember about him, winning the two Academy Awards for “Moon River” and working on other films is just wonderful.
* Mr. Yunioshi: An Asian Perspective – A 17-minute featurette. Despite the popularity of the film, the black cloud that has lingered on this film was the casting of Mickey Rooney as “Mr. Yunioshi”. A talented actor, the “yellow face” role was just wrong and acknowledge by the director, producer and a cast member was just terribly wrong in casting Rooney for that role. This feature has interviews with representatives of the Media Action Network of Asian Americans. I’m glad that Paramount did include this featurette on this collection.
* The Making of a Classic – Originally from the Anniversary release, this segment features interviews with Producer Richard Shepherd and Director Blake Edwards. A 16-minute featurette and you definitely learn a lot about the film, especially from Blake Edwards. One could image how his director’s commentary would have been if included, especially with what he had to say on this featurette.
* It’s So Audrey: A Style Icon – An eight minute featurette with interviews with designers, Hepburn’s son and companion. How Audrey Hepburn made simple things quite sexy. How Audrey never thought of her body proportions that sexy but she did have a good eye for style and how she became a fashion and style icon.
* Behind the Gates: The Tour – This 4 minute featurette gives people a look behind the gates of the Paramount lot. A good promotional for those who would like to tour the Paramount lot.
* Brilliance in a Blue Box – A six minute featurette about the history of Tiffany’s. Originally featured on the Anniversary DVD.
* Audrey’s Letter to Tiffany – A two minute featurette about the letter Audrey wrote for the preface of the 150th Anniversary book for Tiffany’s.
* Original Theatrical Trailer – The original two minute trailer with its dust, scratches and all.
* Galleries – Featuring production stills, movie stills and publicity shots for the film.
The Centennial Collection also comes with a booklet that features information of facts of the film, from how Capote wanted Marilyn Monroe for this film, information on Orangey the cat and how the “New York Site” that was filmed at the Paramount lot is now forever lost due to the big Paramount fire back in 1983 that destroyed historical sets.
And the DVD is just classy with it’s black and gold packaging (which most of the Centennial Collection are packaged) and ditching the pink and white packaging.
I absolutely love this film. From the memorable dialogue, that first scene with Holly standing in front of Tiffany’s, the cocktail party, Holly Golightly singing “Moon River” on her guitar, the cat and of course the final scene between Holly and Paul.
“Breakfast at Tiffany’s” is a classic Audrey Hepburn film that is a must-own. I know that the film has been re-released many times on DVD and the 45th Anniversary was just a pleasure when it first came out and at the time, it was a definitive release. But now, with this “Centennial Collection” featuring a remastered version of the film and the new (and quite lengthy) featurettes that is included on this collection, this is the definitive version on DVD.
Personally, I can only imagine how this would look once it becomes available on Blu-ray but for now, these Centennial Collections from Paramount are just wonderful. Especially “Breakfast at Tiffany’s”, I’m really amazed how far Paramount went in order to make this release much more special.
The addition of “A Golightly Gathering” featuring the actors who took part in that cocktail party was awesome, the Henry Mancini featurette for those who just love his musical work will love this featurette and of course, for those who have felt the pain of the “yellow face” segment in the film, Paramount going the extra step by including a featurette dedicate to that on this DVD.
But in the end, this DVD is indeed a special tribute to Audrey Hepburn. Hepburn is just an icon of style and elegance and this DVD does a great job of giving special attention to such an incredible film. And after seeing this film so many time times, I still have not grown tired of it. It’s one special film that I highly recommend
“I’m just CRAZY about Tiffany’s!”
“Breakfast at Tiffany’s” is flawless blend of a crowd-pleasing star-vehicle for the effortlessly charming Audrey Hepburn and a bittersweet, painfully beautiful look at love, life, and happiness. Director Blake Edwards, the man behind “The Pink Panther” series, “The Party”, “Operation Petticoat”, “Victor/Victoria”, etc., has crafted a truly timeless film based on the novella by Truman Capote. Though numerous elements of Capote’s story were altered, the film still has a strong core and message that urges audiences to examine their own lives, loves, and happiness.
Everything about this film is classic. You have the timeless Hepburn and her defining performance as Holly Golightly, a sophisticated, sassy call-girl with a secret past who is ultimately one of the most vulnerable characters Hepburn ever played. Then there’s George Peppard, a vastly under-appreciated actor who manages to hold his own next to Hepburn while playing a struggling writer living off an older married woman. Peppard’s boyish good looks and surprising depth make him the ideal match for Hepburn’s Golightly.
Then of course there’s Henry Mancini’s wistfully romantic score and the tremendously popular theme-song, “Moon River”, a true gem of a song that capture’s the film’s essence perfectly. In addition, you have Hepburn’s fabulous, style-setting wardrobe courtesy of her lifelong friend Hubert de Givenchy. In this one film alone, Hepburn and Givenchy practically invented the “little black dress”, popularized ballet flats, and introduced capris as a stylish alternative to regular pants.
My favorite quote:
Holly Golightly: You know those days when you get the mean reds?
Paul Varjak: The mean reds, you mean like the blues?
Holly Golightly: No. The blues are because you’re getting fat and maybe it’s been raining too long, you’re just sad that’s all. The mean reds are horrible. Suddenly you’re afraid and you don’t know what you’re afraid of. Do you ever get that feeling?
Paul Varjak: Sure.
Holly Golightly: Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany’s. Calms me down right away.
OLD-FASHIONED ROMANTIC CRY MOVIE…
I love this film despite two major flaws. 1.) they toned down the fact that Holly Golightly is a call girl (probably to maintain Audrey Hepburn’s sweet image) and 2.) the awful inclusion of Mickey Rooney as an Asian. Both blunders make me mad. However, they didn’t hide the fact that George Peppard’s character was a kept man by the icy Patricia Neal. Nonetheless, the film succeeds as one of the most romantic stories ever filmed. Hepburn is utterly charming and her performance would have had a more interesting shade had Holly’s true means of support not been practically erased. But when we learn she’s run away from a very sad family situation—we see a glimpse of the true Holly. It’s also an interesting note that two people living off of others for different reasons should find each other and fall ROMANTICALLY in love. The theme “Moon River” pulls every drop of poignancy from the tear ducts as does the scene with the kitten in the rain. I’m as jaded as they come and that scene gets me every time. I always choke up. This is a great film but could have been greater if the more adult aspects of the story had just been played out. Still I recommend this for lovers of shamelessly romantic movies. You really can’t go wrong with this charmer.