MGM's bold idea to remake George Cukor's Oscar-winning upper-class romantic farce, The Philadelphia Story, into a star-studded technicolor musical with Cole Porter tunes somehow works splendidly and remains an underrated gem. Even the plot and character names--and some bits of dialogue--all remain the same as the original. Crooning Bing Crosby replaces Cary Grant as the wealthy ex-husband trying to win back his soon-to-be-remarried ex-wife, spoiled ice queen Tracy Lord (Grace Kelly, stunning and aloof in her last film role, originated in the earlier comedy by Katherine Hepburn). Unlike Grant, however, Crosby has jazz great Louis Armstrong, playing himself, in his corner for quixotic persuasion. Frank Sinatra (cocky in James Stewart's former role) and Celeste Holm add support as the nosy reporters covering, and subsequently complicating, the upcoming wedding. Sure, High Society lacks the original's witty satire, sarcasm and character complexity; but it's assuredly paced and wonderfully acted, and contains enough romantic chemistry to keep the plot engaging. And then there's the music. Unlike the grandiose production numbers of many 40s and 50s musicals, High Society's musical sequences are considerably low-key and intimate, focusing on Porter's lyrical content and the style in which it's delivered by the charismatic performers. Armstrong kicks the film off in telling style: he sings the title track, a calypso tune outlining the plot like a Greek chorus--not as an elaborately choreographed song-and-dance number, but instead stuffed claustrophobically in the back of a limousine with his jazz band. Other musical standouts include Sinatra and Crosby playfully tossing barbs during "Well, Did You Evah?"; Crosby and Armstrong teaming up for an energetic clash of styles in "Now You Has Jazz"; the two soaring, archetypal ballads by the leads--Crosby's "I Love You, Samantha" and Sinatra's superior "You're Sensational"; and, finally, the satirical Sinatra/Holm duet, "Who Wants to Be a Millionaire?", the closest High Society ever comes to social or class-commentary. --Dave McCoy, Amazon.com
General 'Chappy' Sinclair starts a school for young offenders. Whilst in training the youngsters discover a group of Air Force officers moving canisters containing toxic substances. So enraged by the potential dangers the youngsters decide to take action...
The Newport Jazz Festival was created in 1954 by Rhode Island socialites Elaine and Louis Lorillard, and it couldn't have come at a better time in history. With a few exceptions, the big band jazz scene had waned in the early 1950s and, in its place, smaller groups and solo performers took centre stage, which suited the nature of a festival perfectly, and Newport achieved immediate success. By its fifth edition, the talent lineup reflected Newport's status as one of the pre-eminent music festivals in the US. Photographer Bert Stern and director-editor Aram Avakian's film of the 1958 iteration of the festival captures many of the key performances across its four-day affair. Performers included Dinah Washington, Gerry Mulligan and Art Farmer, Chico Hamilton and Eric Dolphy, Anita O'Day, Thelonious Monk, Louis Armstrong and the extraordinary Mahalia Jackson, who would go on to give one of the most moving performances at the 1969 Harlem Cultural Festival, featured in the documentary of that event, Summer of Soul. A key element of Jazz on a Summer's Day, which would come to inspire subsequent concert films, was its focus on the audience. Through cutaways interspersed throughout the performances, the filmmakers present a time capsule of the US as it edged towards the New Frontier of the Kennedy era. It was this moment the hope of change that so many jazz artists had been pushing towards. The resulting combination of performance and observation makes Jazz on a Summer's Day one of the greatest concert documentaries ever made. Extras: Audio commentary by music journalist Natalie Weiner Archival interviews with director Bert Stern
State of the art 3D digital animation allied to exciting but simple storytelling makes for great children's entertainment! Meet Bill and Aldo two crazy friends from opposite ends of the food chain in their first collection of hilarious 'Sitting Ducks' adventures! Episode titles: Running Ducks Peeking Duck Great White Hype Midnight Snack Hic Hic Hooray All In A Days Work Ducks On Ice.
Just as he's about to get out of the game entirely, a drug dealer gets drawn back in to the doublecrossing world of the London mafia in this refreshing British thriller.
There's a new day dawning on the farm.... The animals of Manor Farm revolt and win their freedom. All seems perfect until the pigs begin to show thier true colours. Froms Jim Henson's Creature Shop.
17 year old Pierre heads off to spend his summer holidays on the Canary Islands with his parents. However when his father is killed in a car accident the grieving Pierre is left alone with his prostitute mother (Huppert) who along with her partners in crime Rea (Preiss) and Hansi (de Caunes) inducts her son into a world of sexual transgression illicit desire and taboo-busting libertinism... Christophe Honore handles this heady philosophical blend of eroticism spiritualism and m
Gigi, Vincente Minnelli's 1958 adaptation of Colette's story about a girl (Leslie Caron) groomed as a courtesan but desired as a wife by a Parisian playboy (Louis Jordan), won a lot of Oscars, but it also has the unusual distinction of being an MGM musical shot on location in the City of Lights. What a musical it is (by Lerner and Loewe): Maurice Chevalier and Hermione Gingold crooning "Ah, Yes, I Remember It Well", plus the songs "Thank Heaven for Little Girls", "Gigi", "I'm a Bore", and "She's Not Thinking of Me". Director Minnelli makes a sumptuous, dreamy, almost laid-back affair of it all and the indispensable cast is forever etched into memory. Hollywood's long-running infatuation with continental grace and manners, the memory of a much earlier time imported to American movies through such immigrant directors as Ernst Lubitsch, may have finally come to a gentle end with this film. --Tom Keogh
August 1715. After going for a walk, Louis XIV feels a pain in his leg. The next day, the king keeps fulfilling his duties and obligations, but his sleep is troubled and he has a serious fever. He barely eats and weakens increasingly. This is the start of the slow agony of the greatest King of France death from gangrene, surrounded by his doctors and closest advisors, speaking in frantic, whispered tones about their options, in an era in which little is known of such illnesses. Albert Serra's new film, The Death of Louis XIV, is an adaptation of the Duc de Saint-Simon's memoirs, starring Jean-Pierre Léaud as the Sun-King. The cult actor, who worked with all major directors from the Nouvelle Vague after being discovered in Truffaut's The 400 Blows, plays the dying king who can barely move from his bed in the Château de Versailles. His relatives and his closest counsellors come in turns at his bedside, but he attends only a few meetings and can barely rule his kingdom. His secret wife Madame de Maintenon, and his doctor Fagon dread his last breath and try to hide it from the public, to preserve the future of France. Shot in rich colour with extraordinary lighting, Jean-Pierre Léaud, in his costume, hair and poses, fully embodies the last few days of the longest serving king of France, who, with his seventy two years in power, changed the face of the monarchy and of France.
Just as he's about to get out of the game entirely, a drug dealer gets drawn back in to the doublecrossing world of the London mafia in this refreshing British thriller.
The Driller Killer is one of the most notorious flims ever. It almost single-handedly spawned the media ""video nasty"" hysteria of 1984 and the introduction of the video recordings act. It is also the film that launched the career and reputation of critically acclaimed director Abel Ferrara. Away from the hysteria The Driller Killer is a powerful and compelling story of one man's descent into madness and violence. Reno is a struggling artist close to breaking point. The loud punk
Iron Eagles (short of Top Gun) is close to being the definitive boys' movie of the 1980s. An 18-year-old (Jason Gedrick) gets instruction from an old vet (Louis Gossett Jr) in how to fly an F-16 jet and kick butt in the Middle East, all while listening to his Walkman and--oh, yeah--saving his father from terrorist clutches. Gossett wears his tough-love face while the kids run rampant. Speaking of children, young guys must have like this comic-book movie, as its success spawned three sequels. But watch out for the Reagan-era jingoism and political reductiveness. --Tom Keogh, Amazon.com
Set in an alternate history where masked vigilantes are treated as outlaws, this epic series from executive producer Damon Lindelof (Lost; HBO's The Leftovers) embraces the nostalgia of the original groundbreaking graphic novel of the same name, while attempting to break new ground of its own. Regina King (HBO's The Leftovers) leads the cast as Angela Abar, who wears two masks; one as a lead detective in The Tulsa Police Force and another as wife and mother of three. The cast also includes Jeremy Irons, Don Johnson, Jean Smart, Tim Blake Nelson, Louis Gossett Jr., Yahya Abdul-Mateen II, Tom Mison, Frances Fisher and Sara Vickers.
Glittering stage numbers showcase a commanding Barbra Streisand as Dolly Levy a New York matchmaker who can find a mate for anyone. Anyone but herself that is. Determined to marry wealthy Walter Matthau she lures him out of Yonkers and sets about wooing him.
Hugh Dancy stars in this moving drama about the Rwandan genocide.
Regarded as one of the best adaptations of the classic Bram Stoker tale Count Dracula benefits from a critically-acclaimed performance from Louis Jourdan as the title character. A cult classic from the seventies the film faithfully recreates Stoker's characters and prose.
An obvious attempt to cash in on the success of Jaws, this 1977 thriller was also based on a best-seller by Peter Benchley, and it features a memorable performance by Robert Shaw (the doomed shark hunter in Jaws) in one of the last roles of his career. Looking very tanned and healthy, Nick Nolte and Jacqueline Bisset play a young couple enjoying a tropical vacation who discover a glass ampoule while scuba diving off the coast of Bermuda. It takes a seasoned treasure hunter (Shaw) to identify the ampoule as part of a valuable shipment of World War II morphine lost at sea, coincidentally, atop the even greater treasure of a sunken Spanish galleon. Thus begins a race for drugs and treasure pitting Nolte, Bisset and Shaw against a ruthless drug lord (Louis Gossett Jr) who will do anything--even resort to Haitian voodoo--to get what he wants. It's all rather contrived and exploitative (after all, the movie's best known for Bisset's wet T-shirt scuba-dive), but as escapist entertainment goes it's got some exciting highlights including a moray eel that attacks on cue and... well, uh, Jacqueline Bisset in a wet T-shirt. --Jeff Shannon, Amazon.com
Beautiful aloof Newport heiress Tracy Lord (Kelly) is about to marry bland businessman George Kittredge (John Lund) but matters become complicated when her ex-husband C K Dexter-Haven (Crosby) moves to her neighbourhood determined to win back her hand. Things go from bad to worse for Tracy when journalist Mike Connor (Sinatra) arrives to cover the wedding for Spy Magazine. When Tracy is forced to choose between her suitors will she realise that ""safe"" doesn't always mean the best b
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