Mozart - Don Giovanni (Molinari-Pradelli)
Recorded Live at The Royal Festival Hall London 30th May 2000.Abida Parveen is feted as heir to the crown of the late Qawwali legend Ustad Nusrat Fateh Ali Khan. For over a decade her golden voice has swept audiences into trance with scintillating renderings of devotional ecstatic Sufi mystic poetry. She is the only female Muslim exponent of devotional music and the only woman allowed to sing at the shrines of the Sufi saints. Singing mainly in Urdu Sindhi Hindi Punjabi and Seraiki her beautiful uplifting music transcends all linguistic boundaries and she performs all over the world to people of all creeds.
Motor Cycle Sport 1956
This Happy Breed' is a splendidly acted classic portraying how an ordinary British family lived between the wars. Just after WWI the Gibbons family moves to a nice house in the suburbs. The inhabitants of 17 Sycamore Road are ordinary people with their irritable in-laws their just plain folks camaraderie and their unshakeable belief that no matter how hard the times are Mother England is forged of good stock and common sense will somehow prevail. This is a wonderful adaptation of Noel Coward's play written by Anthony Havelock-Allan and directed by David Lean who brought us the critically acclaimed classic 'Brief Encounter'.
Buster Keaton's career reached its creative apex with this rousing comic adventure. Not merely one of the finest silent films, this remains one of the great film comedies of all time. The Great Stone Face stars as Southern railroad engineer Johnny Gray, a man with only two loves: the sweet Annabelle Lee (Marion Mack) and his trustworthy engine, the eponymous General. When Fort Sumner is fired upon he is one of the first to enlist, but when the war office rejects him (he's too valuable as a trained engineer) his sweetie rejects him as a coward. Johnny has the opportunity to prove his bravery when Yankee spies steal his engine and inadvertently kidnap Annabelle, and Johnny pursues with all the resources at his disposal: handcar, bicycle and finally railroad engine. Keaton's love/hate relationship with technology and machinery shines as he becomes one with his beloved locomotive and wrestles with a finicky cannon that threatens to blow his engine off the tracks; with tremendous dexterity, he nails the humour with inimitably deadpan takes. Spunky Marion Mack makes a perfect partner for Keaton, not merely a foil but a gifted comedienne in her own right. Other Keaton films contain more laughs and inspired comic stunts, but none combines romance, adventure and comedy into a solid story as seamlessly as this silent masterpiece. --Sean Axmaker, Amazon.com
The Ginger Rogers Collection (3 Discs)
Forbidden to continue his travels through time and space by his fellow Time Lords the newly regenerated Doctor begins his exile on Earth and finds himself hurled into one of his most exciting and terrifying adventures. But the Doctor is not the only alien intelligence arriving on the planet. A shower of mysterious meteorites signals the coming of the Nestene Consciousness - an evil cosmic collective being with just one goal - total conquest of Earth. The Nestenes possess a specia
On June 6 1944 the Allied Invasion of France marked the beginning of the end of Nazi domination over Europe. The attack involved 3 000 000 men 11 000 planes and 4 000 ships comprising the largest armada the world has ever seen. The Longest Day is a vivid hour-by-hour re-creation of this historic event. Featuring a stellar international cast and told from the perspectives of both sides it is a fascinating look at the massive preparations mistakes and random events that determined the outcome of one of the biggest battles in history. Winner of two Oscars (Special Effects and Cinematography) The Longest Day ranks as one of Hollywood's truly great war films.
One of the most famous, most shocking and, for much of its existence, most elusive of cult films, Tod Browning's Freaks remains worthy of its dubious top billing by literary critic Leslie Fiedler as the greatest of all Freak movies. At the centre of the story are two circus midgets, Hans and Frieda (already well known in the 1930s through film and advertising appearances as Harry and Daisy Earles), whose marriage plans are blasted when Hans becomes the target of the aerialist Cleopatra's plot to marry him then kill him off for his money. During what is certainly one of the most notorious scenes in cult film history, the wedding party of freaks ritually embrace Cleopatra as one of us. Through her undisguised horror at this and her gruesome punishment by the freaks, the film bluntly confronts viewers about our awkwardness about different bodies while simultaneously stirring up fear and alarm in familiar horror-movie style. Better known for the Bela Lugosi version of Dracula (1931), Brownings showmanship was equally a product of the circus (he was himself an adolescent contortionist in a travelling show). His meshing of circus and cinema--two dangerous entertainments--produces Freaks' uniquely disquieting effect.Startled and indignant preview audiences forced the producers to add an explanatory foreword to the film but even this crackles with sensationalism as it veers between sideshow-style sympathy and fright warning. None the less, protests and local censorship ensued and the film never reached the mass audience for which it was made. Still, some of the real stars of the midway Ten-in-One shows of the 1920s and 30s (Johnny Eck, Daisy and Violet Hilton the Siamese twins, Prince Randian, the Hindu Living Torso) are showcased here as themselves and it is their undeniably real presence in what is otherwise familiar fictional terrain which is still so provocative. --Helen Stoddart
In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. But this time around, all three characters have moved several notches down the ethical scale. Robinson, who in the earlier film played a college professor who kills by accident, here becomes a downtrodden clerk with a nagging, shrewish wife and unfilled ambitions as an artist, a man who murders in a jealous rage. Bennett is a mercenary vamp, none too bright, and Duryea brutal and heartless. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold. When it was made the film hit censorship problems, since at the time it was unacceptable to show a murder going unpunished. Lang went out of his way to show the killer plunged into the mental hell of his own guilt, but for some authorities this still wasn't enough, and the film was banned in New York State for being "immoral, indecent and corrupt". Not that this did its box-office returns any harm at all. On the DVD: sparse pickings. There's an interactive menu that zips past too fast to be of much use. The full-length commentary by Russell Cawthorne adds the occasional insight, but it's repetitive and not always reliable. (He gets actors' names wrong, for a start.) The box claims the print's been "fully restored and digitally remastered", but you'd never guess. --Philip Kemp
""Doctor my men have just put three highly explosive grenades into a confined area. Nothing remotely human could have survived that."" But as the Doctor informs Group Captain Gilmore the hostile agressor which has already killed one of his men is not remotely human. For London in 1963 is to be the alloted place and time for a further encounter between the Doctor and his most feared enemy - the Daleks. Accompanied by a streetwise teenager from the 1980's called Ace the Doctor must
March of the Wooden Soldiers Evil old Silas Barnaby threatens to evict Widow Peep who lives in a shoe unless she lets him marry her daughter Bo-Beep who is in love with the dashing young Tom-Tom. Silas seeks revenge by banishing Tom-Tom to Bogeyland but with the help of Stan Ollie and a mouse Tom-Tom and Bo-Peep are saved and the monsters of Bogeyland chased out of Toyland. Flying Deuces Stan and Ollie are holidaying in Paris. Ollie intends to remain in France to marry Georgette (Jean Parker) the innkeeper's daughter but she refuses his proposal. Ollie decides instead to jump into the Seine along with Stan but Fran''ois (Reginald Gardiner) a Foreign Legion officer who is actually Georgette's husband offers an alternative. Utopia The last film Laurel and Hardy made together Stan and Ollie fly to London for the reading of Stan's late uncle's will. After Stan's uncle's cash is used to pay the solicitors death duties and tax the only things left are a yacht--and a South Sea island. Hilarious hijinks ensue... Disc 4 also includes Hustling for Health One Too Many and The Lucky Dog
In Charade Audrey Hepburn plays a Parisienne whose husband is murdered and who finds she is being followed by four men seeking the fortune her late spouse had hidden away. Cary Grant is the stranger who comes to her aid, but his real motives aren't entirely clear--could he even be the killer? The 1963 film is directed by Stanley Donen, but it has been called "Hitchcockian" for good reason: the possible duplicities between lovers, the unspoken agendas between a man and woman sharing secrets. Charade is nowhere as significant as a Hitchcock film, but in terms of suspense it holds its own; and Donen's glossy production lends itself to the welcome experience of stargazing. You want Cary Grant to be Cary Grant and Audrey Hepburn to be no one but Audrey Hepburn in a Hollywood product such as this, and they certainly don't let us down. --Tom Keogh, Amazon.com
Rain
In a free-flowing game, full of attacking flair, Hungary's latter-day heroes put mighty Brazil to the sword with a magnificent International performance. The game was so good that the crowd stood and cheered the teams for more than an hour - after the game had finished!! The knowledgeable Everton crowd cheered for Hungary and helped to lift the entire game to one of the finest ever seen in the World Cup. Watch for the tremendous organisation of the Hungarian defence, faced with football's most feared attack. Watch for the silky ball skills of Florian Albert - and the broken shoulder of Kalman Meszoly. A simple sling and he was back on the pitch! Features full match with slo mo replays Brazil Team Gylmar Santos Henrique Lima Bellini (c) Altair Garrincha Gerson Alcindo Tostao Jairzinho Hungary Team Gelei Matrai Kaposzta Meszoly Sipos (c) Szepesi Bene Mathesz Albert Rakosi Farkas The original BBC film, narrated by KENNETH WOLSTENHOLME
In a way, Scarlet Street is a remake. It's taken from a French novel, La Chienne (literally, "The Bitch") that was first filmed by Jean Renoir in 1931. Renoir brought to the sordid tale all the colour and vitality of Montmartre; Fritz Lang's version shows us a far harsher and bleaker world. The film replays the triangle set-up from Lang's previous picture, The Woman in the Window, with the same three actors. Once again, Edward G Robinson plays a respectable middle-aged citizen snared by the charms of Joan Bennett's streetwalker, with Dan Duryea as her low-life pimp. The plot closes around the three of them like a steel trap. This is Lang at his most dispassionate. Scarlet Street is a tour de force of noir filmmaking, brilliant but ice-cold. The Stranger, according to Orson Welles, "is the worst of my films. There is nothing of me in that picture". But even on autopilot Welles still leaves most filmmakers standing. A war crimes investigator, played by Edward G Robinson, tracks down a senior Nazi to a sleepy New England town where he's living in concealment as a respected college professor. Welles wanted Agnes Moorehead as the investigator and Robinson as the Nazi Franz Kindler, but his producer, Sam Spiegel, wouldn't wear it. So Welles himself plays the supposedly cautious and self-effacing fugitive--and if there was one thing Welles could never play, it was unobtrusive. Still, the film's far from a write-off. Welles' eye for stunning visuals rarely deserted him and, aided by Russell Metty's skewed, shadowy photography, The Stranger builds to a doomy grand guignol climax in a clocktower that Hitchcock must surely have recalled when he made Vertigo. And Robinson, dogged in pursuit, is as quietly excellent as ever. On the DVD: sparse pickings. Both films have a full-length commentary by Russell Cawthorne which adds the occasional insight, but is repetitive and not always reliable. The box claims both print have been "fully restored and digitally remastered", but you'd never guess. --Philip Kemp
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