Jan (Mathieu Carriere, Police Python 357), a sailor newly arrived onshore is unsure about returning to land but makes the journey to visit his childhood home only to find it no longer there. He goes to Bar Venus and joins his friends but an altercation leaves him knocked out cold. He wakes up in Malpertuis, a gothic mansion presided over by his uncle, Cassavius (Orson Welles). All the inhabitants of Malpertuis are waiting for Cassavius to die and the opportunity to inherit his vast fortune. But Cassavius wishes anyone who inherits to stay there forever. Jan investigates as those who leave meet with mysterious deaths. Harry Kümel's (Daughters of Darkness) phantasmagoria is a Matryoshka doll of fantastic ideas, realised with stunning photography by Gerry Fisher (The Exorcist III) and scored by Georges Delerue (Contempt). Newly restored and overseen by Kümel, it is released on Blu-ray for the first time in the world.BLU-RAY LIMITED EDITION SPECIAL FEATURESNew 4K restoration of the film overseen by director Harry KümelAudio commentary by Harry Kümel and assistant director Françoise Levie (2005)New interview with Harry Kümel (2025)New interview with author and gothic horror expert Jonathan Rigby (2025)Malpertuis Archive - an archival documentary on the making of the film featuring Kümel, actor Mathieu Carrière and director of photography Gerry Fisher among others (2005)Orson Welles Uncut - a featurette on the casting of Welles, including rare outtakes of the actor (2005)Susan Hampshire: one actress, three parts - an archival interview with the actress, including screen tests and contributions from cast and crew (2005)Archival interview with Michel Bouquet and Harry Kümel from Belgian television (1971)Jean Ray, John Flanders 1887 - 1964 - an archival interview with the source novelist and co-writer of Malpertuis (2005)Malpertuis Revisited - Harry Kümel revisits locations from the film (2005)Malpertuis: The Cannes cut - the rejected version of the film which premiered in Cannes (100 mins, SD)The Warden of the Tomb - Kümel's early film based on Franz Kafka's play (1965)TrailerReversible sleeve featuring original and newly commissioned artwork by Time TomorrowLimited edition 80-page perfect bound booklet featuring new writing by Lucas Balbo, Maria J. Pérez Cuervo, David Flint, Willow Catelyn Maclay, Jonathan OwenLimited edition of 3000 copies, presented in rigid box and full-height Scanavo packaging with removable OBI strip leaving packaging free of certificates and markings
Carol Reed's celebrated British noir THE THIRD MAN is widely regarded as 'The greatest British film of all time'. Brilliantly scripted by Graham Greene and set to Anton Karas' evocative zither score, this justly celebrated classic is further enhanced by Robert Krasker's Academy Award® winning cinematography and Orson Welles in one of his most iconic screen roles.Holly Martins (Joseph Cotten, Citizen Kane), a naive writer of pulp westerns, arrives in Vienna to meet his old friend Harry Lime (the incomparable Orson Welles) but finds that Lime has apparently been killed in a suspicious accident. Martins, too curious for his own good, hears contradictory stories about the circumstances of Lime's death and as witnesses disappear he finds himself chased by unknown assailants. Complicating matters are the sardonic Major Calloway (Trevor Howard, Brief Encounter), head of the British forces, and Lime's stage actress mistress, Anna Schmidt (Alida Valli). Will Martins' curiosity lead him to discover things about his old friend that he'd rather not know?NEW Noreen Ackland on Saving The Third Man (Excerpt from BEHP audio interview)The Third Man - A Filmmaker's InfluenceRestoring The Third ManAudio Commentary With Guy Hamilton, Simon Callow & Angela AllenJoseph Cotten's Alternate Opening Voiceover NarrationThe Third Man Interactive Vienna TourThe Third Man On The RadioInterview & Zither Performance By Cornelia MayerShadowing The Third ManGuardian NFT Interview - Joseph Cotten (Audio Only)Guardian NFT Interview - Graham Greene (Audio Only)Behind The Scenes Stills GalleryTrailer
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
Sergei Bondarchuk directs this 1970s drama starring Rod Steiger and Christopher Plummer. After his abdication Napoleon Bonaparte (Steiger) is exiled to the island of Elba. However, he escapes to be reunited with his generals and troops and mounts a last desperate bid for power at the Battle of Waterloo. He has, however, reckoned without the British forces led by Arthur Welsley the Duke of Wellington (Plummer), who has just returned from a successful campaign in Spain.
In the May of 1941 RKO radio Pictures released a controversial film by a 25 year-old first-time director. That premiere of Orson Welles' Citizen Kane was to have a profound and lasting effect on the art of motion pictures. It has been hailed as the best American film ever made and it's as powerful film today as it was fifty years ago. It earned eight Academy Award nominations and won the Oscar for Best Screenplay. Through its unique jigsaw-puzzle story-line inventive cinematograp
Robert Bolt's successful play was not considered a hot commercial property by Columbia Pictures--a period piece about a moral issue without a star, without even a love story. Perhaps that's why Columbia left director Fred Zinnemann alone to make A Man for All Seasons, as long as he stuck to a relatively small budget. The results took everyone by surprise, as the talky morality play became a box-office hit and collected the top Oscars for 1966. At the play's heart is the standoff between King Henry VIII (Robert Shaw, in young lion form) and Sir Thomas More (Paul Scofield, in an Oscar-winning performance). Henry wants More's official approval of divorce, but More's strict ethical and religious code will not let him waffle. More's rectitude is a source of exasperation to Cardinal Wolsey (Orson Welles in a cameo), who chides, "If you could just see facts flat on without that horrible moral squint." Zinnemann's approach is all simplicity, and indeed the somewhat prosaic staging doesn't create a great deal of cinematic excitement. But the language is worth savoring, and the ethical politics are debated with all the calm and majesty of an absorbing chess game. --Robert Horton
THE THIRD MAN has been beautifully restored in 4K for the first time showcasing the genius of this celebrated British noir voted the ‘The greatest British film of all time’ by a British Film Institute poll. Holly Martins (Joseph Cotton Citizen Kane ) a naïve writer of pulp westerns arrives in Vienna to meet his old friend Harry Lime (the incomparable Orson Welles) nut finds that Lime has apparently been killed in a suspicious accident. Martins too curious for his own good hears contradictory stories about the circumstances of Limes death and as witnesses disappear he finds himself chased by unknown assailants. Complicating matters are the sardonic Major Calloway (Trevor Howard Brief Encounter) head of the British forces and Lime’s stage actress mistress Anna Schmidt (Alida Valli). Will Martin’s curiosity lead him to discover things about his old friend that he’d rather not know? Brilliantly scripted by Graham Greene and set to Anton Karas’ evocative zither score this justly celebrated classic is further enhanced by Robert Karasker’s Academy Award winning cinematography and Orson Welles in one of his most iconic screen roles. Extras: Feature Audio Commentary Famous Fan Featurette Restoring the Third Man Interview & Zither Performance by Cornelia Mayer Guardian Interview Cotton (audio) Guardian Interview Greene (audio) Joseph Cotton’s Alternative Opening (Audio) Shadowing The Third Man Dangerous Edge Third Man on Radio (Audio) Trailer
A visionary adaptation of Shakespeare's tragedy, one of Orson Welles's greatest films, presented in two versions. Gloriously cinematic despite its tiny budget, Othello, directed by Orson Welles (Citizen Kane), is a testament to the filmmaker's stubborn willingness to pursue his vision to the ends of the earth. Unmatched in his passionate identification with Shakespeare's imagination, Welles brings his inventive visual approach to this enduring tragedy of jealousy, bigotry, and rage, and also gives a towering performance as the Moor of Venice, alongside Suzanne Cloutier (Juliette, or Key of Dreams) as the innocent Desdemona, and Micháel Macliammóir (Tom Jones) as the scheming Iago. Shot over the course of three years in Italy and Morocco and plagued by many logistical problems, this fiercely independent film joins Macbeth and Chimes at Midnight in making the case for Welles as the cinema's most audacious interpreter of the Bard. SPECIAL EDITION FEATURES New, restored 4K digital transfers of two versions of the film, the 1952 European one and the 1955 U.S. and UK one, with uncompressed monaural soundtracks Audio commentary from 1995 featuring filmmaker Peter Bogdanovich and Orson Welles scholar Myron Meisel Filming Othello, Welles's last completed film, a 1979 essay-documentary Return to Glennascaul, a 1953 short film made by actors Micheál MacLiammóir and Hilton Edwards during a hiatus from shooting Othello New interview with Welles biographer Simon Callow Souvenirs d' Othello, a 1995 documentary about actor Suzanne Cloutier by François Girard New interview with Welles scholar François Thomas on the two versions New interview with Ayanna Thompson, author of Passing Strange: Shakespeare, Race and Contemporary America Interview from 2014 with scholar Joseph McBride PLUS: An essay by film critic Geoffrey O'Brien
In Transformers: The Movie it's the year 2005, and the universe is going right down the toilet. Not only have the heroic Autobots lost their homeworld of Cybertron to the evil Decepticons, a giant metallic planet named Unicron is on the prowl, treating solar systems like a gigantic buffet and gunning for the Autobots' matrix of leadership. Fortunately, struggling against the odds is what heroes do best, and it is indeed hard to keep a good robot down. As the battle rages from space to earth and back into space again, characters die, others are reborn and, ultimately, good must face evil in a climactic battle for the fate of the universe. When this animated film arrived in American cinemas in the mid-1980s, the Transformers--both the robot toys and the television show--were at the height of their popularity. Transformers The Movie took these battling 'bots and, er, transformed them into film stars, albeit of the cult variety. The animation is a bit touch-and-go: at its best, it's up there with classic Japanese manga; at it's worst, it reeks of horrible 80s assembly-line productions. And the plot is little more than an advert for the (then) new toys, many of which show up as main characters in the film (Hot Rod, Kup, Ultra Magnus, Galvatron, etc). However, some of the action sequences are indeed spectacular--especially the battle for Autobot City--and the violence is a bit intense for what is, basically, a kid's film (they may just be robots, but they still die, apparently). What really makes this film more than meets the eye, though, is the names who show up as voices in the credits: Leonard Nimoy, Judd Nelson, Robert Stack, Eric Idle and even Orson Welles, in one of his last roles, as Unicron.--Robert Burrow
Mike Nichols' superbly directed cinematic adaptation of Joseph Heller's scathing black comedy. 'Catch 22' is the tale of a small group of flyers in the Mediterranean in 1944. There are winners and losers opportunists and survivors. Separately and together they are frightened nervous often profane and sometimes pathetic. Almost all are a little crazy. 'Catch 22' is an anti-war satire of epic proportions!
Arguably the greatest of American films, Orson Welles' 1941 masterpiece, made when he was only 25, still unfurls like a dream and carries the viewer along the mysterious currents of time and memory to reach a mature (if ambiguous) conclusion: people are the sum of their contradictions and can't be known easily. Welles plays newspaper magnate Charles Foster Kane, taken from his mother as a boy and made the ward of a rich industrialist. The result is that every well-meaning or tyrannical or self-destructive move he makes for the rest of his life appears in some way to be a reaction to that deeply wounding event. Written by Welles and Herman J. Mankiewicz, and photographed by Gregg Toland, the film is the sum of Welles's awesome ambitions as an artist in Hollywood. He pushes the limits of then-available technology to create a true magic show, a visual and aural feast that almost seems to be rising up from a viewer's subconscious. As Kane, Welles even ushers in the influence of Bertolt Brechton film acting. This is truly a one-of-a-kind work, and in many ways is still the most modern of modern films this century. --Tom Keogh
The TRANSFORMERS THE MOVIE 30th Anniversary Edition featuring the newly remastered movie from a new 4K transfer of original film elements. The AUTOBOTS, led by the heroic OPTIMUS PRIME, prepare to make a daring attempt to retake their planet from the evil forces of MEGATRON and the DECEPTICONS. Unknown to both sides, a menacing force is heading their way UNICRON. The only hope of stopping UNICRON lies within the Matrix of Leadership and the AUTOBOT who can rise up and use its power to light their darkest hour. Will the AUTOBOTS be able to save their native planet from destruction or will the DECEPTICONS reign supreme? Bonus Content: Til All Are One A brand-new, comprehensive documentary looking back at TRANSFORMERS: The Movie with members of the cast and crew, including story consultant Flint Dille, cast members Gregg Berger, Neil Ross, Dan Gilvezan, singer/songwriter Stan Bush, composer Vince Dicola and others! Audio Commentary with Director Nelson Shin, story consultant Flint Dille and star Susan Blu Featurettes Animated Storyboards Trailers and TV Spots
This classic noir mystery from the team of Carol Reed and Graham Greene is regarded to be the best filmwork of both of these extreme talents. The Third Man features Joseph Cotten as Holly Martins a pulp novelist who has come to post-WWII Vienna with the promise of work from his friend Harry Lime (Orson Welles). When he finds that Lime has just been killed in a questionable car accident he decides to remain in the city to investigate his friend's mysterious death. The Third Man is a masterpiece of melancholia featuring extraordinary writing acting and directing as well as a classic zither score by Anton Karas.
The TRANSFORMERS THE MOVIE 30th Anniversary Edition featuring the newly remastered movie from a new 4K transfer of original film elements. The AUTOBOTS, led by the heroic OPTIMUS PRIME, prepare to make a daring attempt to retake their planet from the evil forces of MEGATRON and the DECEPTICONS. Unknown to both sides, a menacing force is heading their way UNICRON. The only hope of stopping UNICRON lies within the Matrix of Leadership and the AUTOBOT who can rise up and use its power to light their darkest hour. Will the AUTOBOTS be able to save their native planet from destruction or will the DECEPTICONS reign supreme? Bonus Content: Til All Are One A brand-new, comprehensive documentary looking back at TRANSFORMERS: The Movie with members of the cast and crew, including story consultant Flint Dille, cast members Gregg Berger, Neil Ross, Dan Gilvezan, singer/songwriter Stan Bush, composer Vince Dicola and others!
Considered by many to be the greatest B movie ever made, the original-release version of Orson Welles's film noir masterpiece Touch of Evil was, ironically, never intended as a B movie at all--it merely suffered that fate after it was taken away from writer-director Welles, then reedited and released in 1958 as the second half of a double feature. Time and critical acclaim would eventually elevate the film to classic status (and Welles's original vision was meticulously followed for the film's 1998 restoration), but for four decades this original version stood as a testament to Welles's directorial genius. From its astonishing, miraculously choreographed opening shot (lasting over three minutes) to Marlene Dietrich's classic final line of dialogue, this sordid tale of murder and police corruption is like a valentine for the cinematic medium, with Welles as its love-struck suitor. As the corpulent cop who may be involved in a border-town murder, Welles faces opposition from a narcotics officer (Charlton Heston) whose wife (Janet Leigh) is abducted and held as the pawn in a struggle between Heston's quest for truth and Welles's control of carefully hidden secrets. The twisting plot is wildly entertaining (even though it's harder to follow in this original version), but even greater pleasure is found in the pulpy dialogue and the sheer exuberance of the dazzling directorial style. --Jeff Shannon
THE THIRD MAN has been beautifully restored in 4K for the first time showcasing the genius of this celebrated British noir voted the ‘The greatest British film of all time’ by a British Film Institute poll. Holly Martins (Joseph Cotton Citizen Kane ) a naïve writer of pulp westerns arrives in Vienna to meet his old friend Harry Lime (the incomparable Orson Welles) nut finds that Lime has apparently been killed in a suspicious accident. Martins too curious for his own good hears contradictory stories about the circumstances of Limes death and as witnesses disappear he finds himself chased by unknown assailants. Complicating matters are the sardonic Major Calloway (Trevor Howard Brief Encounter) head of the British forces and Lime’s stage actress mistress Anna Schmidt (Alida Valli). Will Martin’s curiosity lead him to discover things about his old friend that he’d rather not know? Brilliantly scripted by Graham Greene and set to Anton Karas’ evocative zither score this justly celebrated classic is further enhanced by Robert Karasker’s Academy Award winning cinematography and Orson Welles in one of his most iconic screen roles. Extras: Feature Audio Commentary Famous Fan Featurette Restoring the Third Man Interview & Zither Performance by Cornelia Mayer Guardian Interview Cotton (audio) Guardian Interview Greene (audio) Joseph Cotton’s Alternative Opening (Audio) Shadowing The Third Man Dangerous Edge Third Man on Radio (Audio) Trailer
Filmed as a classical tragedy, Orson Welles' Othello is a tale of passion, jealousy and murder. Welles used his earnings from several performances (including Carol Reed's classic The Third Man) to finance the production, which was shot over several years across multiple locations including Italy and Morocco. The footage was well matched photographically, resulting in an artistically brave compression of a great play. In the title role, Welles shows us a man who has fought many wars but still maintains a princely disposition. As Desdemona, Suzanne Cloutier is guileless but strong enough to have wanted and pursued the Moor. She alone is accused of pretending to be what she is not, and her openness makes her suspect in a world where few appear to be as they are. In a rare filmed role, Micheál MacLiammór excels as the diabolical Iago, a master of manipulating appearances and devoid of any motive save pure evil. MacLiammór shows how a hint can be greater than a howl, executing a series of deceptions (whose victims include Roderigo, Brabantio, and Cassio) that culminate in the symbolic destruction of Desdemona. The financial constraints appear to have ignited an even higher level of creativity within Welles, who never takes the expected angle and directs the film with a vertiginous, exhibitionist energy. Though Roderigo's death scene was filmed in a Moroccan steam bath because the costumes had not arrived, it is refreshing to see a Shakespeare film in which the cast doesn't look like it's on its way to a Beverly Hills costume party with an Elizabethan theme. The allegorical journey between heaven and hell concludes with the exposure of both Iago's scheme and the tragedy of Othello, who ultimately could not believe in the purity of his wife. This Othello won the prestigious Palme d'Or at Cannes in April 1952. --Kevin Mulhall
This wacky send-up of James Bond films stars David Niven as the iconic debonair spy, now retired and living a peaceful existence. Bond is called back into duty when the mysterious organization SMERSH begins assassinating British secret agents.Circumstances lead to the involvement of a colourful cast of characters, including the villainous Le Chiffre (Orson Welles), seasoned gambler Evelyn Tremble (Peter Sellers) and Bond's bumbling nephew, Jimmy Bond (Woody Allen).
The most acclaimed film in cinema history, Citizen Kane receives extra bolstering each time it tops a "greatest films ever" list. As a piece of filmmaking it ticks all the right boxes: a precociously talented director and lead actor in Orson Welles, Gregg Toland's innovative cinematography, a strong screenplay by Welles and Herman J Mankiewicz, rich scoring from Bernard Herrmann, and so on. For its time, it was technically groundbreaking, and laid out a blueprint for Hollywood filmmaking that's still influential. But, most importantly, as a viewing experience it's still one of the most mesmerising and beautiful films in existence. From its opening scenes--Kane's eerie Gothic mansion, his lone figure muttering the word "Rosebud" as he dies, journalists discussing the newsreel footage of his obituary--Kane lays out an enigma: who exactly was this man? Looping flashbacks build up a portrait of a contradictory figure who, despite living in the public eye, remained a mystery at heart. A testament to the corrupting influence of money, fame and the media and at its centre the tale of a man in search of love, Citizen Kane is a personal tragedy on an epic scale. Technically, it's a lesson in filmmaking in itself whose daring aesthetics nonetheless remain unobtrusive. It's doubtful that a debut director will ever be given such free reign by a studio again and even if this happened, it's doubtful that such a masterpiece would be created. On the DVD: Citizen Kane in this DVD special edition is beautifully remastered and comes with a feature illustrating the before and after of the restoration process. A 50-minute documentary, "Anatomy of a Classic", hosted by Barry Norman, delves into the making of the film as well as trying to deal with some of the myths that surround it, like the (untrue) rumour that Welles ran over both time and budget. Film historian Ken Barnes takes over for a commentary and Welles himself is featured in his controversial 1938 radio broadcast of The War of the Worlds and 1945 broadcast of The Happy Prince. A photo gallery, extensive cast and crew profiles, breakdown of all the films expenses and trailer round off this admirable package.--Laura Bushell
Hailed by critics and fans alike as one of the greatest films ever made, Citizen Kane continues to influence filmmakers and astound viewers 80 years later. Nominated for nine 1941 Academy Awards, with a win for Best Original Screenplay. Orson Welles' controversial masterpiece uses innovative flashbacks and ground-breaking cinematography to follow the epic rise and fall of wealthy newspaper magnate. For any fan of films, this is an essential viewing experience. Special Features on Blu-ray: Separate Commentaries by Roger Ebert and Peter Bogdanovich Interviews with Ruth Warrick and Robert Wise Opening: World Premiere of Citizen Kane Still Photography with Commentary by Roger Ebert and More
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