JEROME KERN and OSCAR HAMMERSTEIN II's immortal musical adaptation of EDNA FERBER's sprawling novel receives its most faithful and enduring cinematic adaptation under the elegant direction of JAMES WHALE (Bride of Frankenstein). A rich portrait of changing American entertainment traditions and race relations, Show Boat spans four decades and three generations as it follows the fortunes of the stage-struck Magnolia (The Awful Truth's IRENE DUNNE), an aspiring actor whose journey takes her from her family's humble floating playhouse in the 1880s South to the height of fame in the 1930s North. The cast of show-business legends includes HELEN MORGAN (Applause), HATTIE McDANIEL (Gone with the Wind), CHARLES WINNINGER (Beyond Tomorrow), and the great PAUL ROBESON (The Emperor Jones), whose iconic, soul-shaking rendition of Ol' Man River is one of the crowning glories of the American stage and screen. Special Features: New, restored 4K digital transfer, with uncompressed monaural soundtrack Audio commentary from 1989 featuring American musical historian Miles Kreuger New interview with James Whale biographer James Curtis Recognizing Race in Show Boat, a new interview program featuring professor and author Shana L. Redmond Paul Robeson: Tribute to an Artist (1979), an Academy Awardwinning short documentary by Saul J. Turell, newly restored Two performances from the sound prologue of the 1929 film version of Show Boat, plus twenty minutes of silent excerpts from the film, with audio commentary by Kreuger Two radio adaptations of Show Boat, featuring stage and screen cast members Allan Jones, Helen Morgan, and Charles Winninger; actor Orson Welles; and novelist Edna Ferber PLUS: An essay by critic Gary Giddins
One of the most revered film noir hits of the 1940s, This Gun for Hire was also the debut teaming of Veronica Lake, in one of her sultriest and most iconic roles, and Alan Ladd. Following the success of the film, the duo would go on to team up in several more features, although This Gun for Hire remains their most fondly remembered pairing. Ladd as a frightening yet oddly sympathetic hit man was only fourth-billed in this defining early noir, yet it became the breakout role that turned him into a star. As The New York Times said of Ladd upon the film's 1942 release, He is really an actor to watch. After this stinging performance, he has something to live up to or live down. Lake is nightclub chanteuse Ellen, and her police detective boyfriend Michael (Robert Preston) is on the hunt for assassin-for-hire Philip Raven (Ladd), after Raven performed a hit on a chemist with a secret formula and a taste for blackmail. When Raven's employer Gates (Laird Cregar) double crosses him after the job is done, Raven seeks revenge, and his path crosses with Ellen after she is hired to perform at Gates' club. Raven learns that the stolen formula is for a poison gas that is to be sold to the Japanese, and his pangs of conscience and revelations of his tortured past turn Ellen's fear into compassion, just as dangerous forces close in on Raven. But Ellen is still unsure if Raven can be trusted... Adapted from Graham Greene's novel, This Gun for Hire is a stylish wartime espionage noir that was actually in the middle of shooting when the Japanese bombed Pearl Harbor and the U.S. entered the war. Lake and Ladd were such a dynamic pairing that Paramount already teamed them again for the same year's adaptation of Dashiell Hammett's The Glass Key before this was even released. In a touch of cinematic irony, The Glass Key had previously been filmed in 1935...by This Gun for Hire director Frank Tuttle (who did not return for the '42 version). Special Features: 1080p presentation on Blu-ray from a 4K scan of the original film elements Uncompressed LPCM 2.0 audio Audio commentary by film scholar Adrian Martin This Gun for Hire episode of Lux Radio Theater with the voices of Alan Ladd and Joan Blondell This Gun for Hire episode of The Screen Guild Theater with the voices of Alan Ladd and Veronica Lake Theatrical trailer A collector's booklet featuring new writing by film writer and journalist Barry Forshaw, and film writer Craig Ian Mann
The story focuses on the Holy Grail War and explores the relationship between Shirou Emiya and Sakura Matou, two teenagers participating in this conflict. The story continues immediately from Fate/stay night: Heaven's Feel I. presage flower, following Shirou as he continues to participate in the Holy Grail War even after being eliminated as a master.
Starlight is a song and dance revue troupe loved throughout the world. Karen and Hikari make a promise with each other when they're young that one day they'll stand on that stage together. Time passes, and now the girls are 16 years old. Karen is very enthusiastic about the lessons she takes every day, holding her promise close to her heart. Hikari has transferred schools and is now away from Karen. But the cogs of fate turn, and the two are destined to meet again. The girls and other Stage Girls will compete in a mysterious audition process to gain acceptance into the revue.
Sakuta Azusagawa's life takes a turn for the unexpected when he meets teenage actress Mai Sakurajima, dressed as a bunny girl, wandering through a library and not being noticed by anyone else there. Mai is intrigued that Sakuta is the only one who can see her, as other people are unable to see her, even when she is dressing normally or attempting to stay away from celebrity life. Calling this phenomenon Adolescence Syndrome , Sakuta decides to solve this mystery, while continuing to get closer to Mai and meeting other girls who suffer from Adolescence Syndrome as well.
The girls in a high school literature club do a little icebreaker to get to know each other: answering the question, What's one thing you want to do before you die? One of the girls blurts out, Sex. Little do they know, the whirlwind unleashed by that word pushes each of these girls, with different backgrounds and personalities, onto their own clumsy, funny, painful, and emotional paths toward adulthood.
Jeanne d'Arc and Leonardo da Vinci seek Nobunaga Oda's help in preserving their futures.
Robert Siodmak / Fritz Lang / Abraham Polonksy / Dark urban locales, sultry femme fatales, doomed protagonists and a brooding atmosphere of danger, cynicism and anxiety. These quintessential aspects of film noir are strikingly demonstrated by the four consummate examples of the genre presented in this collection. In The Dark Mirror (1946), directed by Robert Siodmak (The Killers), a man is murdered and there's an obvious suspect, but she has an identical twin sister (both played by Olivia de Havilland, Gone with the Wind), and one of them has a cast-iron alibi. The perfect crime? A psychologist with a specialist interest in twin psychology delves into the heart of the mystery, at considerable risk to himself. In Secret Beyond the Door (1947), Fritz Lang (The Big Heat) adapts the Bluebeard legend with a dash of Daphne du Maurier's Rebecca. Shortly after their marriage, Celia (Joan Bennett, Suspiria) begins to suspect her architect husband Mark (Michael Redgrave, Dead of Night) of having a secret past, and wonders about the reason behind multiple rooms in his self-designed home, one of which is kept permanently locked. In Abraham Polonsky's Force of Evil (1948), an unscrupulous lawyer (John Garfield, The Postman Always Rings Twice) scents a personal fortune when he concocts a plan to merge New York City's numbers rackets into a single powerful and unbreakable operation, but reckons without his brother, who'd rather stay independent. And in Joseph H. Lewis's ultra-stylish The Big Combo (1955), Lieutenant Diamond (Cornel Wilde, The Naked Prey) is determined to bring down mob boss Mr Brown (Richard Conte, Thieves' Highway), even if it means jeopardising his own career. But the feeling is mutual and the unscrupulous gangster is more than willing to operate outside the law to get his man, leading to some wince-inducing set-pieces (some involving a pre-stardom Lee Van Cleef). This collection showcases many of the genre's major names on both sides of the camera. In addition to the directing and acting talent there are cinematographers Stanley Cortez (The Night of the Hunter) and John Alton (An American in Paris), composers Dimitri Tiomkin (High Noon) and MiklÃ³s RÃ³sza (The Killers), and writers Nunnally Johnson (The Woman in the Window) and Philip Yordan (Johnny Guitar). It's little wonder that directors such as Martin Scorsese and Quentin Tarantino were so struck by them. SPECIAL EDITION CONTENTS High Definition Blu-rayTM (1080p) presentations of four film noir classics: The Dark Mirror, Secret Beyond the Door, Force of Evil and The Big Combo Original uncompressed PCM soundtracks on all films Optional English subtitles for the deaf and hard of hearing for all films Commentaries on all films by leading scholars and critics Adrian Martin (The Dark Mirror), Alan K. Rode (Secret Beyond the Door), Glenn Kenny and Farran Smith Nehme (Force of Evil), and Eddie Muller (The Big Combo) Noah Isenberg on The Dark Mirror, the author and scholar provides a detailed analysis of the film Barry Keith Grant on Secret Beyond the Door, the author and scholar introduces the film The House of Lang, a visual essay on Fritz Lang's style by filmmaker David Cairns with a focus on his noir work Introduction to Force of Evil by Martin Scorsese An Autopsy on Capitalism, a visual essay on the production and reception of Force of Evil by Frank Krutnik, author of In a Lonely Street: Film noir, genre, masculinity Commentary on selected Force of Evil themes by Krutnik Geoff Andrew on The Big Combo, the critic and programmer offers an introduction to and analysis of the film Wagon Wheel Joe, a visual essay on director Joseph H. Lewis by filmmaker David Cairns The Big Combo original screenplay (BD-ROM content) Four radio plays, starring Olivia de Havilland and John Garfield among others International poster galleries for all films Trailers Reversible sleeves featuring newly commissioned artwork by Scott Saslow for all films
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