The story of Calamity Jane, her saloon, and her romance with Wild Bill Hickok.
Titles Comprise: Billy Rose's Jumbo (Dir. Charles Walters 1962): Pop and Kitty Wonder are the owners of the Wonder Circus and because of Pop's addiction to gambling they are constantly in debt and the creditors are very close to foreclosing on them. Their main attraction is Jumbo the elephant and it seems that their competitor John Noble wants Jumbo and is luring away all of their acts leaving them with virtually nothing. Then all of a sudden a mysterious man named Sam Rawlins joins them as a wire walker and Kitty is taken with him what they don't know is that he's Noble's son. The Glass Bottom Boat (Dir. Frank Tashlin 1966): Jennifer Nelson and Bruce Templeton meet when Bruce reels in her mermaid suit leaving Jennifer bottomless in the waters of Catalina Island. She later discovers that Bruce is the big boss at her work (a research lab). Bruce hires Jennifer to be his biographer only to try and win her affections. There's a problem Bruce's friend General Wallace Bleeker believes she's a Russian spy and has her surveillanced. But when Jennifer catches on...Watch out! Love Me Or Leave Me (Dir. Charles Vidor 1955): Story of torch singer Ruth Etting's rise from 1920s taxi dancer to movie star simultaneously aided and frustrated by Chicago mobster Marty Sydney's headstrong ways and pressure tactics. Please Don't Eat The Daisies (Dir. Charles Walters 1960): Drama critic Larry McKay his wife Kay and their four sons move from their crowded Manhattan apartment to an old house in the country. While housewife Kay settles into suburban life Larry continues to enjoy the theater and party scene of New York. Kay soon begins to question Larry's fidelity when he mentions a flirtatious encounter with Broadway star Deborah Vaughn. Young Man With A Horn (Dir. Michael Curtiz 1950): Aimless youth Rick Martin learns he has a gift for music and falls in love with the trumpet. Legendary trumpeter Art Hazzard takes Rick under his wing and teaches him all he knows about playing. To the exclusion of anything else in life Rick becomes a star trumpeter but his volatile personality and desire to play jazz rather than the restricted tunes of the bands he works for lands him in trouble. Calamity Jane (Dir. David Butler 1953): Deadwood Dakota Territory is largely the abode of men where Indian scout Calamity Jane is as hard-riding boastful and handy with a gun as any; quite an overpowering personality. But the army lieutenant she favors doesn't really appreciate her finer qualities. One of Jane's boasts brings her to Chicago to recruit an actress for the Golden Garter stage. Arrived the lady in question appears (at first) to be a more feminine rival for the favors of Jane's male friends...including her friendly enemy Wild Bill Hickock.
It was originally called 'You'll Never Get Rich' but later had it's title changed to 'The Phil Silvers Show' but to it's fans' across the globe it's known simply as 'Bilko', the memorable name of one of the greatest comedy characters ever to grace the small screen. Woefully under-appreciated in it's home country, the series has always been feted in the UK and has regularly made the top tens of 'Best Sitcom' lists and is even recognised as the greatest ever sitcom from either side of the Atla.
It's Christmas Eve, and Arnold needs to find a Turbo Man action figure, the craze of the season. Only they're sold out, of course. So the race is on, and the Austrian Oak must do fierce battle with other shoppers and merchants alike, all for the prize toy with which to purchase his son's affections. All of which is unwittingly very sad, on the content level. But the film supposes itself to be amiable enough, on its own shabby terms, even when it climbs out of the screen and starts gnawing at your furniture. If the humour were to get broader it would make HDTV obsolete. The tone can only be termed good-naturedly mean-spirited. Goofy carnival music runs continuously in the background so we never forget that what we're seeing is, er, um, funny. All the action is composed of comic violence, like an unhip Warner Bros. cartoon. Do the filmmakers actually consider this cynical foray to be indicative of the Christmas spirit? Apparently so, because the resolution has Arnold winning quite inadvertently, and offers no clear alternative to the competitive commercialism that drives the film's attempts at humour. In a key scene that's meant to be touching, Arnold and his chief rival Sinbad sit down for a heart-to-heart in which we learn that receiving much-wanted Christmas presents in our formative years is responsible for our success in adulthood. You get that Turbo Man, you'll be a billionaire; don't get it, you'll be a loser. Such is the formidable challenge of parenthood, to cater to the child's whims while it can still make a difference. This is what's wrong with America. --Jim Gay, Amazon.com
High Society: 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 a
This 1953 musical is very much a vehicle for Doris Day, in the title role, as a wild cowgal who can out-shoot and out-sing any boy on the range. When an actress arrives in Deadwood and uses her feminine charms on Jane's secret love, Wild Bill Hickock (Howard Keel), Jane tries to mend her tomboy ways. Not exactly up to the feminist code of honour, this is still energetic and Day is very perky. Of course, one could almost detect a homosexual undercurrent with the cross-dressing Jane, but this was Hollywood in the 1950s, so we best not. Calamity Jane won an Oscar for Best Song--"Secret Love", by Sammy Fain and Paul Francis Webster. --Rochelle O'Gorman
In a desperate race against time and nature, a geologist and scientist must join forces to in order to discover a way to stop killer rocks from outer space that are causing people to turn to stone with fright! An American sci-fi movie from the golden decade of 1950's Sci-Fi movies, starring Grant Williams, Lola Albright, Les Tremayne and Phil Harvey.
This fantastic box set brings together six of Doris Day's finest efforts. Billy Rose's Jumbo (Dir. Charles Walters 1962): Pop and Kitty Wonder are the owners of the Wonder Circus and because of Pop's addiction to gambling they are constantly in debt and the creditors are very close to foreclosing on them. Their main attraction is Jumbo the elephant and it seems that their competitor John Noble wants Jumbo and is luring away all of their acts leaving them with virtually nothing. Then all of a sudden a mysterious man named Sam Rawlins joins them as a wire walker and Kitty is taken with him what they don't know is that he's Noble's son. The Glass Bottom Boat (Dir. Frank Tashlin 1966): Jennifer Nelson and Bruce Templeton meet when Bruce reels in her mermaid suit leaving Jennifer bottomless in the waters of Catalina Island. She later discovers that Bruce is the big boss at her work (a research lab). Bruce hires Jennifer to be his biographer only to try and win her affections. There's a problem Bruce's friend General Wallace Bleeker believes she's a Russian spy and has her surveillanced. But when Jennifer catches on...Watch out! Love Me Or Leave Me (Dir. Charles Vidor 1955): Story of torch singer Ruth Etting's rise from 1920s taxi dancer to movie star simultaneously aided and frustrated by Chicago mobster Marty Sydney's headstrong ways and pressure tactics. Please Don't Eat The Daisies (Dir. Charles Walters 1960): Drama critic Larry McKay his wife Kay and their four sons move from their crowded Manhattan apartment to an old house in the country. While housewife Kay settles into suburban life Larry continues to enjoy the theater and party scene of New York. Kay soon begins to question Larry's fidelity when he mentions a flirtatious encounter with Broadway star Deborah Vaughn. Young Man With A Horn (Dir. Michael Curtiz 1950): Aimless youth Rick Martin learns he has a gift for music and falls in love with the trumpet. Legendary trumpeter Art Hazzard takes Rick under his wing and teaches him all he knows about playing. To the exclusion of anything else in life Rick becomes a star trumpeter but his volatile personality and desire to play jazz rather than the restricted tunes of the bands he works for lands him in trouble. Calamity Jane (Dir. David Butler 1953): Deadwood Dakota Territory is largely the abode of men where Indian scout Calamity Jane is as hard-riding boastful and handy with a gun as any; quite an overpowering personality. But the army lieutenant she favors doesn't really appreciate her finer qualities. One of Jane's boasts brings her to Chicago to recruit an actress for the Golden Garter stage. Arrived the lady in question appears (at first) to be a more feminine rival for the favors of Jane's male friends...including her friendly enemy Wild Bill Hickock.
Cracker Start with some silly sideways Boohbah steps and then do the Push and Pull dance. In Storyworld Brother & Sister come across a cracker. But will they be able to pull together and crack what's inside? Piggy Bank Shape up with some Boohbah swingy twirls and do a Flay Away and Back dance. In Storyworld Mr Man Auntie and Grandmamma find a Piggy Bank. Can they shake rattle and roll out what's inside? Bells Swing your arms with the busy dizzy Boohbahs and scru
The Deadwood Stage is comin' to town bringing Doris Day and Howard Keel to fuss feud and fall in love as Calamity Jane and Wild Bill Hickok in this entertainment from the golden age of movie musicals. At first curvaceous Calamity is too durned busy fighting Indians and cracking a bullwhip to pay much mind to such girlie what-alls as dresses and perfume. And Wild Bill is too danged busy wooing a dainty chanteuse to give a hoot about a hotheaded tomboy. But things change in a rootin'
""Go East Young Man "" sings show-biz star and martial arts wiz Johnny Tyronne. To hear is to obey. A clandestine group called the Assassins kidnaps Johnny and whisks him to a remote Arabian realm isolated from the world for 2 000 years. Sheik meets desert chic when Elvis Presley plays Johnny and teams with former Miss America Mary Ann Mobley (Presley's Girl Happy co-star) in this tuneful frolic shot on the original 1925 Cecil B. DeMille set from King of Kings and directed by movie musical veteran Gene Nelson. The kidnappers want Johnny to use his fighting finesse to kill a desert king. Johnny a hitman? No he's a hit man a top singer of songs like Kismet Harem Holiday and nine more all part of the jammin' swashbucklin' fun of Harum Scarum.
In Boohbah Magic the five magical atom Boohbahs present some of their best episodes. As always, the Boohbahs begin the shows by moving around the world in their Boohball before settling on a particular group of children. The group then gets to wish into existence a present to send into Storyworld for their chosen Storypeople to play with. Before and after each story, the atoms get down to some funky dancing. As a premise it may be a bit boggling to the adult eye, but kids genuinely love it. Colourful and musical, each show is a brightly engaging 20 minutes. The shows in question are "Armchair", "Skipping Rope", "Record Player" and--a bonus episode on the DVD--"A Pile of Balls". It's pretty self-explanatory stuff. The other aspect that unifies each episode is the idea of encouraging imitation and interaction. Basic science and mathematics are encoded in the stories with the intention that the child will work out what will happen next. Even if it feels like a composite of several established successful shows, the important thing is that both the intent and the outcome are genuine. Kids love to watch and shout out "Boohbah!" --Paul Tonks
It's difficult sometimes to fathom how compilers think. This Chiller Theatre threesome consists of two classic silent horror films, plus a low-budget B-movie from the early 1960s. The connection? You decide! Yet these are films that belong in any self-respecting collection, and this package is a good way of acquiring them. Of those featuring Lon Chaney, it's the original 1923 The Hunchback of Notre Dame that comes across best. Chaney's grotesquerie is shot-through with pathos, and Patsy Ruth Miller's Esmeralda has enduring freshness. Wallace Worsley handles crowd scenes and cathedral stunts with aplomb, and there's an atmospheric "posthumous" soundtrack, though anyone looking for accuracy in the depiction of medieval French society is in for a shock. 1925's The Phantom of the Opera is slow-moving and uneventful by comparison, with Rupert Julian's direction never escaping the narrow Gothic trappings of the novel. Chaney cranks (or is that camps?) up his range of gestures to the limit, and Mary Philbin is an eye-catching heroine, but the denouement in the Paris sewers seems endless--with looped extracts of Schubert and Brahms as a hardly appropriate soundtrack. Cut to 1962, and The Carnival of Souls--made in Kansas for under $100,000--is an undeniable cult classic. Herk Harvey sustains the increasingly surreal narrative with ease, Candace Hilligoss is striking (if a tad gauche) as the young organist caught on the cusp of this world and the next, and Gene Moore's organ soundtrack is a masterly backdrop for the motley assemblage of ghouls who pursue her around the seaside pier in a memorable closing sequence. On the DVD: Chiller Theatre is very acceptably remastered--with 1.33:1 aspect ratio and 12 chapter headings per film--and decently if minimally packaged. --Richard Whitehouse
Boohbah is an exciting new children's programme with a format that fosters both creative thinking and creative movement. It is a new televisual experience for children. Boohbah is entirely designed to encourage physical action on the part of its young viewers. Squeaky Socks: Jump side to side with the Boohbah's and lift your feet to the funny Boohbah beat. In Storyworld Brother and Sister find some big squeaky socks but will this discovery put a spring in their step?
One hundred years after Bram Stoker's Dracula comes a new kind of vampire story. Anthony (Yan Birch) is a modern bloodsucker who uses his popular rock band as a front to lure beautiful young groupies to his lair. His assistant Reed (Alex Erkiletian) disposes of the bodies of these nubile unsuspecting victims after Anthony seduces and kills them. As a result of his bloody lifestyle Anthony soon contracts a deadly virus. Reed must try to save his master from a fate worse that death. Part dark satire part horror-comedy Sucker is truly a rock 'n roll vampire tale for the 90's.
Please wait. Loading...
This site uses cookies.
More details in our privacy policy