"Actor: Edward G. ROBINSON"

• Scarlet Street | DVD | (06/11/2006) from £15.13   |  Saving you £-10.14 (N/A%)   |  RRP £4.99

• Ten Commandments 65th Anniversary - Limited Edition Steelbook | Blu Ray | (23/11/2021) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £N/A

• MacKenna's Gold | DVD | (01/10/2001) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £5.99

• Stranger | Blu Ray | (15/10/2013) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £N/A

• A Dispatch From Reuters | DVD | (12/07/2016) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £N/A

• Scarlet Street | DVD | (18/03/2002) from £14.98   |  Saving you £1.01 (6.74%)   |  RRP £15.99

  In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. But this time around, all three characters have moved several notches down the ethical scale. Robinson, who in the earlier film played a college professor who kills by accident, here becomes a downtrodden clerk with a nagging, shrewish wife and unfilled ambitions as an artist, a man who murders in a jealous rage. Bennett is a mercenary vamp, none too bright, and Duryea brutal and heartless. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold. When it was made the film hit censorship problems, since at the time it was unacceptable to show a murder going unpunished. Lang went out of his way to show the killer plunged into the mental hell of his own guilt, but for some authorities this still wasn't enough, and the film was banned in New York State for being "immoral, indecent and corrupt". Not that this did its box-office returns any harm at all. On the DVD: sparse pickings. There's an interactive menu that zips past too fast to be of much use. The full-length commentary by Russell Cawthorne adds the occasional insight, but it's repetitive and not always reliable. (He gets actors' names wrong, for a start.) The box claims the print's been "fully restored and digitally remastered", but you'd never guess. --Philip Kemp

• The Stan And Ollie Collection - Lucky Dog / The Stolen Jools | DVD | (19/06/2003) from £6.15   |  Saving you £4.84 (78.70%)   |  RRP £10.99

  Lucky Dog: Stan befriends a stray dog and Oliver Hardy takes a liking to Stan's wallet. After causing so much chaos Stan's only option is to get rid of the dog. Just in time the dog comes up trumps saves the day and teaches the villain Hardy a lesson too. The Stolen Jools: A famous actress has her jewels stolen. Everyone from the police to the mob want to know the identity of the theif and almost everyone is under suspicion. A star studded cast of the most promi

• The Widow From Chicago | DVD | (09/08/2016) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £N/A

• My Geisha | DVD | (04/12/2006) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £9.99

  Paul Robaix (Yves Montand) is a well known director married to Lucy Dell (Shirley MacLaine) a famous movie star. Robaix wants to make a movie of the classic play Madame Butterfly but he doesn't want his wife to play the leading part as in his previous pictures. Producer Sam Lewis (Edward G. Robinson) and Lucy Dell think up a scheme to get her in the picture after all. Lucy disguises as a Geisha and gets the leading part in the picture. When Robaix finds out he gets so mad he wants to divorce Lucy...

• The Stranger | DVD | (07/04/2008) from £7.09   |  Saving you £-1.10 (N/A%)   |  RRP £5.99

  Orson Welles stars and directs in this classic 1946 movie. Welles portrays Charles Rankin a respected academic at a Connecticut college. He seems to have the perfect American life - A beautiful new wife (Loretta Young) and a charming home in a small town that holds him in high esteem. Enter Mr. Wilson (Edward G. Robinson) a detective who is on the hunt for Nazi war criminal Franz Kindler. The appearance of Mr. Wilson threatens to reveal that beneath Charles Rankin's idyllic veneer is a very disturbing secret.

• The Edward G Robinson Collection | DVD | (15/10/2007) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £7.99

  In a career that spanned fifty years and some ninety films Edward G Robinson became best known for his 'tough guy' image being cast in many similar roles following the success of his 1931 film Little Caesar. The three DVD collection highlights other aspects of his career. He was just as comfortable playing more dramatic roles such as Scarlet Street and both he and Orson Welles give exceptional performances in The Stranger. The collection is completed with The Red House a suspense thriller.

• Humphrey Bogart Crime Collection | DVD | (06/11/2000) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £34.99

  THE BIG SLEEP: L.A. private eye Philip Marlowe takes on a blackmail case...and follows a trail peopled with murderers pornographers nightclub rogues the spoiled rich and more. Humphrey Bogart plays Raymond Chandler's legendary gumshoe and director Howard Hawks serves up snappy character encounters (particularly involving Lauren Bacall) a brisk pace and atmosphere galore in this certified classic. KEY LARGO: A hurricane swells outside but it's nothing compared to the storm within the hotel at Key Largo. There sadistic mobster Johnny Rocco (Edward G. Robinson) holes up and holds at gunpoint hotel owner Nora Temple (Lionel Barrymore) and ex-GI Frank McCloud (Humphrey Bogart). McCloud's the one man capable of standing up against the belligerent Rocco. But the postwar world's realities may have taken all the fight out of him. John Huston co-wrote and compellingly directs this film of Maxwell Anderson's 1939 play with a searing Academy Awardwinning performance by Claire Trevor as Rocco's gold-hearted boozy moll. In Huston's hands it becomes a powerful sweltering classic. THE MALTESE FALCON: A gallery of high-living lowlifes will stop at nothing to get their sweaty hands on a jewel-encrusted falcon. Detective Sam Spade (Humphrey Bogart) wants to find out why - and who's gonna take the fall. This third screen version of Dashiell Hammett's novel is a film of firsts: John Huston's directorial debut rotund 62-year-old Sydney Greenstreet's screen debut film history's first film noir and Bogart's breakthrough role after years as a Warner contract player. When George Raft refused to work with a first-time director Bogart took on the role of Spade - and launched the most acclaimed period of his career.

• The Stranger | DVD | (18/03/2002) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £4.99

  The Stranger, according to Orson Welles, "is the worst of my films. There is nothing of me in that picture. I did it to prove that I could put out a movie as well as anyone else." True, set beside Citizen Kane, Touch of Evil, or even The Trial, The Stranger is as close to production-line stuff as the great Orson ever came. But even on autopilot Welles still leaves most filmmakers standing. The shadow of the Second World War hangs heavy over the plot. A war crimes investigator, played by Edward G Robinson, tracks down a senior Nazi, Franz Kindler, to a sleepy New England town where he's living in concealment as a respected college professor. The script, credited to Anthony Veiller but with uncredited input from Welles and John Huston, is riddled with implausibilities: we're asked to believe, for a start, that there'd be no extant photos of a top Nazi leader. The casting's badly skewed, too. Welles wanted Agnes Moorehead as the investigator and Robinson as Kindler, but his producer, Sam Spiegel, wouldn't wear it. So Welles himself plays the supposedly cautious and self-effacing fugitive--and if there was one thing Welles could never play, it was unobtrusive. What's more, Spiegel chopped out most of the two opening reels set in South America, in Welles' view, "the best stuff in the picture". Still, the film's far from a write-off. Welles' eye for stunning visuals rarely deserted him and, aided by Russell Metty's skewed, shadowy photography, The Stranger builds to a doomy grand guignol climax in a clock tower that Hitchcock must surely have recalled when he made Vertigo. And Robinson, dogged in pursuit, is as quietly excellent as ever. On the DVD: not much in the way of extras, except a waffly full-length commentary from Russell Cawthorne that tells us about the history of clock-making and where Edward G was buried, but precious little about the making of the film. Print and sound are acceptable, but though remastering is claimed, there's little evidence of it. --Philip Kemp

• Scarlet Street | DVD | (17/11/2003) from £11.80   |  Saving you £-6.81 (N/A%)   |  RRP £4.99

  In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. But this time around, all three characters have moved several notches down the ethical scale. Robinson, who in the earlier film played a college professor who kills by accident, here becomes a downtrodden clerk with a nagging, shrewish wife and unfilled ambitions as an artist, a man who murders in a jealous rage. Bennett is a mercenary vamp, none too bright, and Duryea brutal and heartless. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold. When it was made the film hit censorship problems, since at the time it was unacceptable to show a murder going unpunished. Lang went out of his way to show the killer plunged into the mental hell of his own guilt, but for some authorities this still wasn't enough, and the film was banned in New York State for being "immoral, indecent and corrupt". Not that this did its box-office returns any harm at all. On the DVD: sparse pickings. There's an interactive menu that zips past too fast to be of much use. The full-length commentary by Russell Cawthorne adds the occasional insight, but it's repetitive and not always reliable. (He gets actors' names wrong, for a start.) The box claims the print's been "fully restored and digitally remastered", but you'd never guess. --Philip Kemp

• Edward G. Robinson - Scarlet Street / The Stranger | DVD | (18/03/2002) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £12.99

  In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold. The Stranger, according to Orson Welles, "is the worst of my films. There is nothing of me in that picture". But even on autopilot Welles still leaves most filmmakers standing. A war crimes investigator, played by Edward G Robinson, tracks down a senior Nazi to a sleepy New England town where he's living in concealment as a respected college professor. Welles wanted Agnes Moorehead as the investigator and Robinson as the Nazi Franz Kindler, but his producer, Sam Spiegel, wouldn't wear it. So Welles himself plays the supposedly cautious and self-effacing fugitive--and if there was one thing Welles could never play, it was unobtrusive. Still, the film's far from a write-off. Welles' eye for stunning visuals rarely deserted him and, aided by Russell Metty's skewed, shadowy photography, The Stranger builds to a doomy grand guignol climax in a clocktower that Hitchcock must surely have recalled when he made Vertigo. And Robinson, dogged in pursuit, is as quietly excellent as ever. On the DVD: sparse pickings. Both films have a full-length commentary by Russell Cawthorne which adds the occasional insight, but is repetitive and not always reliable. The box claims both print have been "fully restored and digitally remastered", but you'd never guess. --Philip Kemp

• The Tough Guys Collection - Bullets Or Ballots/San Quentin/A Slight Case Of Murder | DVD | (28/08/2006) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £20.99

  Bullets Or Ballots: After Police Captain Dan McLaren becomes police commissioner former detective Johnny Blake knocks him down convincing rackets boss Al Kruger that Blake is sincere in his effort to join the mob. ""Buggs"" Fenner thinks Blake is a police agent. San Quentin: Do the crime do the time. But what happens during the long years spent behind the walls of San Quentin? The penitentiary's new yard captain wants to make those years a time of rehabilitation rather than punishment. But not everyone's buying it. Humphrey Bogart portrays Red continuing his climb to stardom in this brisk film that's one of a string of Depression-era works combining gangster-movie elements with a Big House setting. Studio mainstay Pat O'Brien plays Steve Jameson whose carrot-and-stick reforms begin to change Red's thinking. An inmates' strike and a scripture-quoting con who swipes a rifle are among the troubles Jameson faces- and Red is another as he reverts to his old ways and makes a violent break for freedom. A Slight Case Of Murder: A breakneck-paced comedy starring Edward G. Robinson as a tough but good-hearted bootlegger. When Prohibition is repealed Robinson faces a financial crisis: His beer tastes so awful that no one wants to drink it legally. As an additional headache Robinson is under scrutiny from the Law which is waiting to slip the cuffs on him for the slightest infraction. He arrives at his rented Saratoga mansion with his wife (Ruth Donnelly) daughter (Jane Bryan) and adopted son (Bobby Jordan) only to discover that a killer has left four corpses in his bedroom. Robinson and his stooges are forced to hide the bodies before his future son-in-law (Willard Parker) who happens to be a cop tumbles to the dilemma. Based on a stage play by Howard Lindsay and Damon Runyon.

• Stranger, The / Orson Welles On Film | DVD | (01/11/2000) from £7.54   |  Saving you £-3.55 (N/A%)   |  RRP £3.99

  The Stranger, according to Orson Welles, "is the worst of my films. There is nothing of me in that picture. I did it to prove that I could put out a movie as well as anyone else." True, set beside Citizen Kane, Touch of Evil, or even The Trial, The Stranger is as close to production-line stuff as the great Orson ever came. But even on autopilot Welles still leaves most filmmakers standing. The shadow of the Second World War hangs heavy over the plot. A war crimes investigator, played by Edward G Robinson, tracks down a senior Nazi, Franz Kindler, to a sleepy New England town where he's living in concealment as a respected college professor. The script, credited to Anthony Veiller but with uncredited input from Welles and John Huston, is riddled with implausibilities: we're asked to believe, for a start, that there'd be no extant photos of a top Nazi leader. The casting's badly skewed, too. Welles wanted Agnes Moorehead as the investigator and Robinson as Kindler, but his producer, Sam Spiegel, wouldn't wear it. So Welles himself plays the supposedly cautious and self-effacing fugitive--and if there was one thing Welles could never play, it was unobtrusive. What's more, Spiegel chopped out most of the two opening reels set in South America, in Welles' view, "the best stuff in the picture". Still, the film's far from a write-off. Welles' eye for stunning visuals rarely deserted him and, aided by Russell Metty's skewed, shadowy photography, The Stranger builds to a doomy grand guignol climax in a clock tower that Hitchcock must surely have recalled when he made Vertigo. And Robinson, dogged in pursuit, is as quietly excellent as ever. On the DVD: not much in the way of extras, except a waffly full-length commentary from Russell Cawthorne that tells us about the history of clock-making and where Edward G was buried, but precious little about the making of the film. Print and sound are acceptable, but though remastering is claimed, there's little evidence of it. --Philip Kemp

• The Stranger | DVD | (19/05/2008) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £4.99

  The Most Deceitful Man A Woman Ever Loved! Welles stars as college professor Charles Rankin who is living a quiet life in a small Connecticut town with his lovely wife Mary. The arrival of jumpy German fellow Meineke leaves Rankin disturbed and his quiet life is destroyed as he must go to deadly measures to stop Meineke revealing his dark secret.

• The Stranger | DVD | (18/10/1999) from £4.99   |  Saving you £8.00 (160.32%)   |  RRP £12.99

  The legendary story that hovers over Orson Welles' The Stranger is that he wanted Agnes Moorehead to star as the dogged Nazi hunter who trails a war criminal to a sleepy New England town. The part went to Edward G. Robinson, who is marvellous, but it points out how many compromises Welles made on the film in an attempt to show Hollywood he could make a film on time, on budget and on their own terms. He accomplished all three, turning out a stylish if unambitious film noir thriller, his only Hollywood film to turn a profit on its original release. Welles stars as unreformed fascist Franz Kindler, hiding as a schoolteacher in a New England prep school for boys and newly married to the headmaster's lovely if naive daughter (Loretta Young). Welles, the director, is in fine form for the opening sequences, casting a moody tension as agents shadow a twitchy low-level Nazi official skulking through South American ports and building up to dramatic crescendo as Kindler murders this little man, the lovely woods becoming a maelstrom of swirling leaves that expose the body he furiously tries to bury. The rest of the film is a well designed but conventional cat-and-mouse game featuring an eye-rolling performance by Welles and a thrilling conclusion played out in the dark clock tower that looms over the little village. --Sean Axmaker

• Ten Commandments Gift Set | Blu Ray | (29/03/2011) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £30.78

  Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that. While graced with such 1950s niceties as VistaVision and Technicolor, The Ten Commandments (DeMille had already filmed an earlier version in 1923) has an anachronistic, impassioned style that finds lead actors Charlton Heston and Yul Brynner expressively posing while hundreds of extras writhe either in the presence of God's power or from orgiastic heat. DeMille, as always, plays both sides of the fence as far as sin goes, surrounding Heston's Moses with worshipful music and heavenly special effects while also making the sexy action around the cult of the Golden Calf look like fun. You have to see The Ten Commandments to understand its peculiar resonance as an old-new movie, complete with several still-impressive effects such as the parting of the Red Sea. --Tom Keogh, Amazon.com