For Rosemarys Baby, his modern horror tale about Satanic worship and a pregnant womans decline into madness, Roman Polanski moves from the traditional monolithic mansions of Gothic flicks to an apartment building in New York City. Based on Ira Levins novel, the story concerns Rosemary (Mia Farrow) and Guy Woodhouse who find the apartment of their dreams in a luxurious complex in Manhattan. Soon after moving in and making friends with a group of elderly neighbours, Guys career takes off and Rosemary discovers she is pregnant. Their happiness seems complete. But gradually Rosemary begins to sense that something is wrong with this baby, and slowly and surely her life begins to unravel. Polanski uses such subtle means to build up the sense of preternatural disquiet that initially you suspect Rosemarys prenatal paranoia to be a figment of her imagination. But the guilty parties and their demonic plan to make Rosemary the receptacle of their masters child are eventually revealed and, as Rosemary looses her grip on reality, she realises that no one can be trusted. The performances are excellent throughout; Farrow as the young wife is so fragile that you wonder how she made it unscathed to adulthood and John Cassavetes is horrifyingly duplicitous as her husband Guy. But the real star is Polanskis masterful direction. The mood is at the same time oppressive and hysterical with the mounting terror coming from the situation and gradually unravelling plot rather than any schlock horror moments. On the DVD: the Dolby 5.1 soundtrack shows off Christopher Komedas eerie "lullaby" score to its haunting best. The film is presented in 1.85:1 anamorphic widescreen and is relatively free of speckle and dust, some scenes filmed in low light are slightly grainier but this adds to the oppressive tension that Polanski is building up in the film. In terms of extras there is a 20-minute "making of" feature from 1968 and retrospective interviews with Polanski, production designer Richard Sylbert and producer Robert Evans. --Kristen Bowditch
The setup is pure pulp: A former prostitute (a crackerjack Constance Towers) relocates to a buttoned-down suburb determined to fit in with mainstream society. But in the strange, hallucinatory territory of writer-director-producer Samuel Fuller (Shock Corridor, The Big Red One), perverse secrets inevitably simmer beneath a seemingly wholesome surface. Featuring radical visual touches, full throttle performances, brilliant cinematography by Stanley Cortez (The Night of the Hunter), and one bizarrely beautiful musical number, The Naked Kiss is among Fuller's greatest, boldest entertainments. Special Edition Features: New, restored high-definition digital transfer (with uncompressed monaural soundtrack) New video interview with star Constance Towers by film historian and filmmaker Charles Dennis Excerpts from a 1983 episode of the BBC's The South Bank Show dedicated to director Samuel Fuller Interview with Fuller from a 1967 episode of the French television series Cineastes de notre temps Interview with Fuller from a 1987 episode of the French television series Cinema cinemas Original theatrical trailer PLUS: Illustrations by cartoonist Daniel Clowes (Eightball, Ghost World) and a booklet featuring an essay by critic and poet Robert Polito and excerpts from Fuller's autobiography, A Third Face: My Tale of Writing, Fighting, and Filmmaking.
Raven, a 15-year-old Borstal boy, is released on probation to live with Professor Young, an archaeologist immersed in research into Arthurian legend, and his wife, an amateur ornithologist. The professor is working in deep underground caves whose carved symbols suggest that King Arthur may have used them as a hiding place, and Raven is intrigued by his belief that Arthur was not one man, but a succession of chiefs.
Its boom time in Jamestown, the 17th Century English Settlement on the very edge of the breathtaking Virginian wilderness. But success brings scrutiny and intrigue, and there are few in the settlement who have nothing to hide. Unlikely alliances have been formed; some provide friendship, some offer love, and some lead to great peril. Relations with the Native Americans offer hope of advancement for the settlers until greed for land and power corrupts those with influence in the colony. What ensues is devastating conflict; the fallout of which will shape the New World for centuries to come. This final season written by Bill Gallagher, brings the epic story to an exhilarating close and features an ensemble cast which includes Ben Batt, Naomi Battrick, Max Beesley, Patsy Ferran, Jason Flemyng, Abiola Ogunbiyi, Abubakar Salim and Niamh Walsh.
Annabel isn't herself today - neither is her mother this morning. They became each other! When a mother and her teenage daughter both wish at the same time that they could switch places for one day each has to live the life of the other on one seriously freaky Friday...
A talented musician struggles to survive the destruction of the Warsaw ghetto and the concentration camps of World War II.
War Of The Wildcats (Dir. Albert S. Rogell 1943): A cowboy battles with an oil tycoon for drilling rights on Indian lands in Oklahoma during the oil boom days. In Old California (Dir. William McGann 1942): Tom Craig (John Wayne) is a recent arrival to Sacramento California where he is trying to set up his pharmacy. He unfortunately finds out that the town is owned by political boss Britt Dawson (Albert Dekker) who is getting protection money from the townspeople. The town boss meets his match when he tries to frame Craig with poisoned medicine but Craig is ready for a fight.
The Mills & Boon Harlequin collection features twelve dramas based on the incredibly popular series of romantic novels. A high-quality cast list features such names as Tippi Hedren Oliver Tobias Stephanie Beacham Patsky Kensit and Emma Samms.
The set-up is pure pulp: A former prostitute relocates to a buttoned-down suburb determined to fit in to mainstream society. But in the strange hallucinatory territory of writer/ director/ producer Samuel Fuller perverse secrets simmer beneath a seemingly wholesome facade.
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