Cold austere Presbyterian Churh is just another small mining town in the turn-of-the-century Pacific Northwest - and a perfect place for John Q McCabe and Constance Miller to bring a touch of 'civilazation'. He's a small time gambler who dreams of running a big time bordello; she's a madam from Seattle who arrives to make that dream come true...
One of the landmark films of the 1960s, Bonnie and Clyde changed the course of American cinema. Setting a milestone for screen violence that paved the way for Sam Peckinpah's The Wild Bunch, this exercise in mythologized biography should not be labelled as a bloodbath; as critic Pauline Kael wrote in her rave review, "it's the absence of sadism that throws the audience off balance". The film is more of a poetic ode to the Great Depression, starring the dream team of Warren Beatty and Faye Dunaway as the titular antiheroes, who barrel across the South and Midwest robbing banks with Clyde's brother Buck (Gene Hackman), Buck's frantic wife Blanche (Estelle Parsons) and their faithful accomplice C W Moss (the inimitable Michael J. Pollard). Bonnie and Clyde is an unforgettable classic that has lost none of its power since the 1967 release. --Jeff Shannon
Zavvi - The Home of Pop Culture Once the byword for expensive Hollywood failure, Ishtar is slowly and rightfully becoming recognised as one of the unsung greats of eighties' American cinema. In a nod to Bob Hope and Bing Crosby Road to movies, Warren Beatty (Mickey One) and Dustin Hoffman (Straw Dogs) star as brilliantly awful songwriters who find themselves mixed up in Cold War shenanigans whilst in Morocco. Another comedy gem from Elaine May's sadly small, but utterly perfect directorial career. Special Features 2K restoration Two presentations of the film: the 1987 Theatrical Cut (107 mins) and the 2013 Director's Cut (105 mins) Original mono soundtrack Optional 5.1 surround sound Audio commentary with ReFocus: The Films of Elaine May editors Dean Brandum and Alexandra Heller-Nicholas (2021) Elaine May and Mike Nichols in Conversation (2006): archival video recording of the two friends and collaborators discussing their careers following a retrospective screening of Ishtar at New York's Walter Reade Theater New interview with songwriter Paul Williams (2021) New appreciation with actor, comedian and filmmaker Richard Ayoade (2021) Waiting for Ishtar (2017): Jonathan Crombie and John Mitchell's charming documentary, featuring interviews with Williams, actors Charles Grodin and Carol Kane, journalists Peter Biskind and David Blum, film critic J Hoberman, and others Original theatrical trailer Image gallery: promotional and publicity material New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by Jessica Kiang, archival articles and interviews, an overview of contemporary critical responses, and film credits UK premiere on Blu-ray Limited edition of 3,000 copies More extras to be announced! Extras subject to change
A modish creation teased into life by Warren Beatty, Shampoo was an offbeat Hollywood hit back in 1975. Made after Watergate, it reflects on the hedonism of late-60s Los Angeles with a sad, somewhat cynical eye. Basically a bedroom farce, fuelled by some famously raunchy dialogue, its comedy is nevertheless underlain with melancholy. Screenwriter Robert Towne was inspired by Wycherly's Restoration comedy The Country Wife, wherein a wily fellow convinces friends of his impotence even while he is merrily seducing their wives. Hence, Towne invented handsome Beverly Hills hairdresser George Roundy (Beatty), who ought to be gay, but emphatically isn't. Shampoo begins on US Election Day, 1968, as Nixon is trouncing McGovern at the polls, and George Roundy is trying to sort his life out. An earnest advocate of sensual pleasure, he beds most of his female clients, from the fretful Jill (Goldie Hawn) to the wealthy Felicia (Lee Grant). Yet George is himself unfulfilled, and imagines that owning his own salon will satisfy him. He asks Felicia's husband Lester (Jack Warden) to back him, but first Lester coerces George into squiring his mistress Jackie (Julie Christie) to a Nixon victory party. Inevitably, Jackie is another of George's girls and, having seduced Felicia's vivacious daughter (Carrie Fisher) earlier that day, George has much to conceal from Lester and Felicia as the evening's festivities unravel. Shampoo shows the 60s turning sour. The characters are rich hippies, superficially liberated but deeply unhappy, and blandly indifferent to the dawning of the Nixon era. The excellent Lee Grant won an Oscar, but Shampoo is Beatty's film. He produced it, had a substantive hand in Towne's script, and deputised the nominal director, Hal Ashby. The film mildly exploits legends of Beatty's real-life sexual prowess, but mainly it embodies his commitment to making thoughtful movies for grown-ups. Richard Kelly
Benjamin 'Bugsy' Siegel ( Warren Beatty) is the legendary power broker whose disarming charm and elegant good looks hide a violent and dangerous personality. Virginis 'The Flamingo' Hill ( Annette Bening) is a stunning glamorous starlet with a wise guy wit and tough past. Their attraction is magnetic - together sex risk and danger to fight their underworld bosses and builds their dream of a city in the desert drive them.
A flawed but stylish adaptation of the Chester Gould comic strip by director Warren Beatty, who also stars in the title role. The minimalist plot involves a battalion of baddies who confront the intrepid detective in a series of strung-together vignettes. Al Pacino is a comedic if overblown standout as Big Boy Caprice and Madonna simply smoulders as aggressive blonde bombshell Breathless Mahoney. It matters not that the plot is Spartan, as this dazzling eye candy is much enhanced by Stephen Sondheim's songs, including the Academy Award-winning ditty, "Sooner or Later (I Always Get My Man)". Beatty took his cue from the source material and concentrated on the relationships between these people, whether strained, romantic or hateful. The performances are subtle and more amusing than you would expect from such a visually bold picture. Shot in bright, primary colours, this also won Oscars for Best Art/Set Direction and Makeup (for those inventively hideous criminals). Watch for well-known names, such as Dustin Hoffman and Dick Van Dyke, in cameo appearances and supporting roles. --Rochelle O'Gorman
There is no conspiracy. Just twelve people dead. Alan J. Pakula's The Parallax View a superb conspiracy thriller about one man's paranoia that turns out to be total incredible fact ranks among the best movies of its kind. Warren Beatty is a news reporter who aong with seven others witnesses the assassination of a political candidate. When the other seven die in ""accidents"" the newsman begins to doubt the offiical position: that the lone madman was responsible for the crime. He imagines a sophisticated network of highly trained murderers. But his nightmares pale against the bizarre truth he uncovers.
Bonnie and Clyde balances itself on a knife-edge of laughter and terror thanks to vivid title role performances by Warren Beatty and Faye Dunaway and superb support from Michael J. Pollard Gene Hackman and Estelle Parsons. Director Arthur Penn keeps the film's sensibilities tough but never cruel. It continually dazzles especially in the work of cinematographer Burnett Guffey and editor Dede Allen. And as film lovers since have discovered it's no ordinary gangster movie.
Bugsy represents an almost miraculous combination of director, writer and star on a project that represents a career highlight for everyone involved. It's one of the best American gangster movies ever made--as good in its own way as any of the Godfather films--and it's impossible to imagine anyone better than Beatty in the movie's flashy title role. As notorious mobster and Las Vegas visionary "Bugsy" Siegel, Beatty is perfectly cast as a man whose dreams are greater than his ability to realise them--or at least, greater than his ability to stay alive while making those dreams come true. With a glamorous Hollywood mistress (Annette Bening) who shares Bugsy's dream while pursuing her own upwardly mobile agenda, Bugsy seems oblivious to threats when he begins to spend too much of the mob's money on the creation of the Flamingo casino. Meyer Lansky (Ben Kingsley) and Mickey Cohen (Harvey Keitel) will support Bugsy's wild ambition to a point, after which all bets are off, and Bugsy's life hangs in the balance. From the obvious chemistry of Beatty and Bening (who met and later married off-screen) to the sumptuous reproduction of 1940s Hollywood, every detail in this movie feels impeccably right. Beatty is simply mesmerising as the man who invented Las Vegas but never saw it thrive, moving from infectious idealism to brutal violence in the blink of an eye. Director Barry Levinson is also in peak form here, guiding the stylish story with a subtle balance of admiration and horror; we can catch Bugsy's Vegas fever and root for the gangster's success, but we know he'll get what he deserves. We might wish that Bugsy had lived to see his dream turn into a booming oasis, but the movie doesn't suggest that we should shed any tears. --Jeff Shannon
Warren Beatty Collection
'Reds' tells the story of the love affair between early 20th century activists Loise Bryant and John Reed. Beatty's award winning epic mixes drama and interviews with major social radicals of the period. Set against the backdrop of the tumultuous start of the twentieth century the two journalists' on-again-off-again romance is punctuated by the outbreak of WWi and the Bolshevik Revolution. Louise's assignment in France at the outbreak of the war puts an end to their affair. John Reed's subsequent trip to Russia and his involvement with the communist party rekindles their relationship. When Louise arrives in Petrograd she finds herself swept up in the euphoria of the Revolution. Reed however eventually becomes disillusioned with communism when he sees his words and intentions augmented and controlled by the growing Soviet propaganda machine.
Influenced by the French New Wave, director Arthur Penn's ground-breaking and wildly inventive Mickey One is a tale of a man on the run - his first teaming with Warren Beatty, two years before Bonnie and Clyde. The film also boasts a classic jazz score by Eddie Sauter and Stan Getz. Extras: High Definition remaster Original mono audio Alexandra Stewart on 'Mickey One' (2017, 19 mins): a new interview with the celebrated actress Matthew Penn on 'Mickey One' (2017, 20 mins): a new interview with the son of director Arthur Penn The Guardian Lecture with Arthur Penn (1981, 59 mins): archival audio recording of an interview conducted by Richard Combs at the National Film Theatre, London Original theatrical trailer Joe Dante trailer commentary (2013, 3 mins): a short critical appreciation Image gallery: on-set and promotional photography New English subtitles for the deaf and hard-of-hearing
Warren Beatty and Hal Ashby team up for a bedhopping farce that doubles as a sly political satire Shampoo gives us a day in the life of George, a Beverly Hills hairdresser and lothario who runs around town on the eve of the 1968 presidential election trying to make heads or tails of his financial and romantic entanglements. His attempts to scrape together the money to open his own salon are continually sidetracked by the distractions presented by his lovers played brilliantly by GOLDIE HAWN (The Sugarland Express), JULIE CHRISTIE (Don't Look Now), and LEE GRANT (in an Oscarwinning performance). Star WARREN BEATTY (Bonnie and Clyde) dreamed up the project, cowrote the script with ROBERT TOWNE (Chinatown), and enlisted HAL ASHBY (Harold and Maude) as director, and the resulting carousel of doomed relationships is an essential seventies farce, a sharp look back at the sexual politics and selfabsorption of the preceding decade. Features: 4K digital restoration, with uncompressed monaural soundtrack Alternate 5.1. surround soundtrack, presented in DTSHD Master Audio New conversation between critics Mark Harris and Frank Rich Excerpt from a 1998 appearance by producer, cowriter, and actor Warren Beatty on The South Bank Show PLUS: An essay by Rich
The final film by the great, yet underrated Robert Rossen (All the King's Men; The Hustler) is a compelling tale of love, madness, and forbidden desire. Warren Beatty (Mickey One; The Fortune) stars as a young war veteran who takes a job as on orderly in a local asylum and falls under the spell of beautiful schizophrenic, Lilith (Jean Seberg A Bout de souffle; Bonjour Tristesse). Boasting a superb supporting cast that includes Peter Fonda, Jessica Walter, Gene Hackman and Kim Hunter, Rossen's delicate and powerful film is one of the most under-appreciated American films of the 1960s. Extras: High Definition remaster Original mono audio The Guardian Interview with Warren Beatty (1990): archival audio recording of the celebrated actor in conversation with Christopher Cook at London's National Film Theatre The Suffering Screen (2019): a visual essay by journalist and author Amy Simmons which explores cinema's enduring fascination with female madness The Many Faces of Jean Seberg (2019): critic and film historian Pamela Hutchinson explores the career of the famed actor Theatrical trailer Image gallery: on-set and promotional photography New and improved English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet with a new essay by lecturer and broadcaster Richard Combs, an overview of contemporary critical responses, archival articles, and film credits UK premiere on Blu-ray All extras subject to change Format Blu-ray
The whimsical comedy-romance Heaven Can Wait is a delightful example of the small sub-genre of afterlife comedies. The film, which teams then lovers Warren Beatty and Julie Christie for a third time following McCabe and Mrs Miller (1971) and Shampoo (1975), is not a remake of the 1943 supernatural film of the same name, but of the Robert Montgomery classic Here Comes Mr Jordan (1941). Here Beatty is American football player Joe Pendleton, who accidentally dies, decades too early, and is incarnated in a new body which, until recently, was occupied by a ruthless multi-millionaire. James Mason is superb as a most authoritative angel (Mr Jordan), heading a fine cast including Charles Grodin, Buck Henry and Jack Warden. In a sub-plot paralleling The Shop Around the Corner (1940) and revisited in You've Got Mail (1998), Julie Christie plays an English woman outraged that one of the former millionaire's companies is destroying her village, while simultaneously falling in love with the man now occupying the hated millionaire's mortal coil. Much comic and romantic misunderstanding follows, as well as some appealing slapstick, courtesy of Dyan Cannon. Aided by a lovely musical score by Dave Grusin, this is a beautifully played and thoroughly charming bittersweet fantasy about the transcendent power of love. It is a joy for romantics everywhere. On the DVD: Heaven Can Wait comes to DVD in a good 1.77:1 ratio transfer which exhibits just a little grain in some darker scenes. The print shows some very minor, occasional damage, but nothing to complain about in a film of this vintage. The sound is the original mono mix, which is perfectly serviceable. The only extra is the theatrical trailer. --Gary S Dalkin
Influenced by the French New Wave, director Arthur Penn's ground-breaking and wildly inventive Mickey One is a tale of a man on the run - his first teaming with Warren Beatty, two years before Bonnie and Clyde. The film also boasts a classic jazz score by Eddie Sauter and Stan Getz. Available for the first time ever in the UK. INDICATOR LIMITED EDITION SPECIAL FEATURES: High Definition remaster Original mono audio New interview with star Alexandra Stewart (2017, tbc mins) New interview with Matthew Penn, son of director Arthur Penn (2017, tbc mins) The John Player Lecture with Arthur Penn (1981, tbc mins): archival audio recording of an interview conducted at the National Film Theatre, London Joe Dante trailer commentary (2013, 3 mins): a short critical appreciation Music promo Original theatrical trailer Image gallery: on-set and promotional photography New English subtitles for the deaf and hard-of-hearing Limited edition exclusive booklet featuring a new essay by journalist Nick Pinkerton, an overview of contemporary critical responses, and historic articles on the film World premiere on Blu-ray UK DVD premiere Limited Dual Format Edition of 3,000 copies
Follow the story of Deanie and Bud a young couple whose small Kansas town disapproves of their relationship. After Bud finds another girl Deanie is driven to madness. Set against 1920's America and the crash of 1929 this touching story teaches the harsh lessons of love.
Jay Bulworth is your typical senator going through a nervous breakdown. The empty speeches, lies, money and pressure have led him to plan his own assassination on a weekend trip home to California just before the election. However, a cord snaps in him and like Jim Carrey's rambling lawyer in Liar, Liar, Bulworth can only tell the truth. This new freedom turns Bulworth on and he spews the ugly truth about politics: he tells mass media they are as corrupt as insurance companies; lambastes a black church for not having leaders; and riles the Jewish power elite of Hollywood. He enters South Central running away from advisors (including a bemused Oliver Platt) and mixing it up with a potential new girlfriend (Halle Berry) and a local boss (Don Cheadle). He offends across the board, even developing an inherent knack to rap his speeches. And the public loves it. The weekend becomes a clarifying point for Bulworth: he finds a reason to live.Beatty's rude and relevant comedy is a one-joke movie but the joke is pretty good. It's a courageous film that is always sharp even though it loses narrative focus. Beatty's hilarious raps are so inspired they deserve repeated viewings. As usual, Beatty surrounds himself with a great crew, Ennio Morricone's music and Vittorio Storaro's cinematography being especially noteworthy. Beatty and Storaro even have the audacity to imitate two very famous photographs in the film's final seconds. The script by Beatty and Jeremy Pikser won the LA Film Critics award and was nominated for an Oscar. --Doug Thomas
The early 1900's with its Mann-Act (disallowing women to be transported across State lines for immoral reasons) brings a married man to devise a scheme for taking his upper-class girlfriend away with him... he simply has her marry his unmarried buddy. However, it doesn't take very long before both men start laying claim to her affection... until, that is, she's about to be cut out of her parent's fortune. So, a new scheme is devised, which only adds to their problems...
This high-concept, big-budget screwball comedy directed by Mike Nichols (The Graduate, Wolf) stars Warren Beatty (Mickey One, Bonnie and Clyde) as a slick con man and Jack Nicholson (One Flew Over the Cuckoo's Nest, The Border) as his dim-witted sidekick trying to get their hands on the fortune of a hapless young heiress played by Stockard Channing (Grease, The West Wing). A commercial failure on its initial release, this buoyant and beautifully staged madcap comedy is ripe for rediscovery and reappraisal.
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