Movie Title:The Old Dark House

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Not only is there an Dilapidated Dim HOUSE, there’s also a unlit and stormy night outside said house, a heavy rain that causes mud slides and has turned the roads into quagmires. It’s so unpleasant that travelers Roger Penderel (Melvyn Douglas) and Philip and Margaret Waverton (Raymond Massey and Gloria Stuart) swallow their fears (how would YOU like it if your knock at the door of a scary primitive house was answered by Boris Karloff? ) and scrutinize refuge there. They are followed soon enough by portly and high-spirited Sir William Porterhouse (Charles Laughton) and fiery young Gladys DuCane (Lilian Bond) . Nobody in their moral mind would contemplate spending a night in the spooky traditional spot unless forced by the sharpest contingency. Nobody in their moral mind, we soon learn, inhabits the house, either. It’s the space of the Femm family, weak siblings Horace and Rebecca (Ernest Thesiger and Eva Moore) and a brace of unseen, but not unheard, relatives locked in upper memoir rooms. Boris Karloff plays Morgan, a butler or sib (never explained either intention), who’s scarier than all accumulate out.

THE Used Sunless HOUSE is a scare movie, of sorts. It doesn’t indulge in splatter-gore or supernatural head-twisting to shock and thrill. Rather, it relies on high shadows and sardonic dialogue, unfamiliar characters and menacing situations. The movie contains no character stranger than Karloff’s Morgan, a hulking soundless brute glowering from slack a bolshie beard and a few deep and delicately placed scars painted in by Universal make-up genius Jack Pierce. Morgan develops an overarching attraction to fine young Margaret Waverton. Director James Whale makes Margaret undergo the only costume change in the film, a travel that accomplishes a number of things. Undressing down to her slouch, Margaret is at once sexualized and made vulnerable. It gives deaf veteran Rebecca Femm the opportunity to suppose lines at once darkly silly, sardonic, and deeply disturbing. As Gloria Stuart, who recently played the 100-year-old survivor in TITANTIC, tells us on the easy and informal commentary track, Whale wanted her to appear a `flaming dagger’ when Karloff chased her about the sunless mansion, hence the pink Jean Harlow-ish silk gown. Rebecca Femm, fondling the gown’s silk, declares “Pleasing stuff, but it’ll rot.” Touching the young woman’s skin beneath the gown, she says “Finer stuff level-headed, but it’ll rot, too!” Whale intercuts the scene with images of Margaret and Rebecca and Margaret looking at herself in an feeble and distorting mirror. It’s a knowing sequence, transcending and enhancing the terror simultaneously.

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THE Aged Shaded HOUSE is filled with hooked, dusky comedy and tremendous performances. Whale, of course, had earlier directed Karloff in FRANKENSTEIN, and would work yet again with him in a few years on THE BRIDE OF FRANKENSTEIN. Thesiger would join them as the demented Dr. Pretorius. If you’ve seen that movie and enjoyed its singular price of humor, you’ll savor THE Passe Dismal HOUSE as well. HOUSE lacks BRIDE’S humanity, there are no friendly monsters in this one, but its comedy is more finely honed and definitely of a darker hue. And the ensemble cast is as capable as it gets. I loved this movie.

Included on the Image dvd is Gloria Stuart’s informal and personal commentary, a nine-minute stills gallery (button free, it runs on its acquire) and an eight petite interview with director Curtis Harrington, who was a friend of Whale’s and the man most responsible for preserving, and restoring, THE Conventional Shadowy HOUSE as it lay mouldering in the Universal vaults in the 1960s.

Director James Whale deftly combined dry, sardonic humor with classic apprehension elements to gain the richly spirited dark comedy “The Customary Shadowy House”. By turns darkly witty and genuinely creepy, the film benefits from a razor-sharp script, temperamental cinematography, and uniformly magnificent performances in addition to Whale’s creative directorial flourishes. Simply summarized, the set involves a group of stranded travelers who buy refuge in an isolated Welsh mansion owned by a dangerously eccentric family during a terrific storm; before the night passes, members of the group will encounter anxiety, romance and even death as the inform, wind and rain rage outside.

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Among a famous cast that includes such luminaries as Boris Karloff, Melvyn Douglas, Charles Laughton, and Gloria Stuart, the acting honors are stolen by Ernest Thesiger playing the pinch-faced, hollow-eyed lord of the manor. Thesiger manages the difficult task of being very comical and vaguely menacing at the same time; in his first scene he introduces himself in a sepulchral but prissy tone as, “Femm … Horace Femm”, and the do is both marvelously droll and discomfortingly shivery. Eva Moore also makes a distinctive impression in the role of Thesiger’s sharp-tongued sister whose begrudging hospitality to her guests does not include “beds … they can’t have beds!” She is particularly ominous as she fingers the fabric of Gloria Stuart’s grievous chop evening gown, noting “radiant stuff, but it’ll rot”, and then proceeds to keep her hand on the exposed flesh above Stuart’s chest, adding “finer stuff smooth, but it’ll rot too!”

The Kino DVD offers a sparkling video transfer of this film which was once considered lost. After the film’s negative was discovered moldering in a vault, and then painstakingly restored, a copy was shown a very few times on pay cable TV channels encourage in the early 1990′s; unfortunately, that print was so gloomy that the movie was virtually unwatchable. The Kino version features correctly balanced inequity and a clearer, crisper soundtrack. As far as extras go, there is a unbelievable photo gallery; excerpts of an interview with Curtis Harrington, a long-time acquaintance of James Whale who initiated the long search for the film’s missing negative; and a commentary by film historian James Curtis. Best of all is a second audio commentary by actress Gloria Stuart who with big intelligence and charm reveals piquant tidbits about the film’s production, the other cast members, and the shooting of individual scenes, as well as general stories about Hollywood and her enjoy career.

The 1962 Hammer remake of the same title, directed by William Castle, bears very few similarities with Whale’s production; Castle’s version is almost devoid of awe and emphasizes huge comedy which sometimes veers into the realm of slapstick. Both are exciting films in their hold ways, but I personally choose Whale’s current and heartily recommend that you add it to your home DVD library.

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Movie Title:The Music Man

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Looking for the musical that beat WEST SIDE Yarn for the Tony Award? You’ve found it here, in Meredith Willson’s THE MUSIC MAN — and its appearance on DVD, in widescreen format and with all the bells and whistles, is long overdue.

Pop the disc in, and you’ll immediately be taken to the “Just Here In River City” documentary (you’ll have to press the MENU button on your DVD controls to gain to the main menu so you can actually opinion the movie — why the disc goes immediately to the documentary is rather unique) . Hosted by Shirley Jones, who unexcited looks colossal, the beneficial, too-short documentary is crammed with lots of marvelous stories and bits of trivia, in the words of several of Those Who Were There. You’ll gather out, for instance, which segments were actually filmed first, how amazed Susan Luckey was at Robert Preston’s ability to lip-synch “Wretchedness” during filming, and why Shirley Jones wore so many frills and flowers on her dress in the scene at the footbridge.

As for the film itself — the print is resplendent, and as someone who had only experienced the film in pan-and-scan format, it is a delight to finally peek entire dance sequences without the cropping. And you’ll finally be able to seek all four members of The Buffalo Bills barber shop quartet (the terrible fellow singing bass could never be seen in TV-formatted versions) .

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There are other, smaller moments that have always cried our for the letterbox format, and if you contemplate both versions closely, you’ll peek the trusty advantages in seeing the entire scene as it was shot. For example, one particularly disorienting scene in pan-and-scan format is the “Grasp A Small, Talk A Little/Goodnight, Ladies” sequence, when Professor Hill is speaking with Mrs. Shinn and the town ladies about Veteran Miser Madison, and dismebodied voices drift in from off camera. At one point, Mrs. Shinn says, “Miser,” and an off-camera scream says, “Madison,” causing Mrs. Shinn to grimace. In pan-and-scan, it looks like a mistake; in widescreen format, the speaker is finally visible to Mrs. Shinn’s accurate, bringing the scene together in a logical fashion. Sounds like a trivial moment, I know, but that scene in pan-and-scan has grated me for years!

The DVD also contains a theatrical trailer, but it’s not the trailer for the modern 1962 release, but for the re-release a number of years later. It’s detached an racy curiosity, featuring a reworked version of the “76 Trombones” sequence with Preston signing novel lyrics about the film.

If there’s any shortcoming in the disc, it lies in the sound quality. You’ll have to crank the volume up a bit to hear everything properly, but beware — the moment you hit the MENU button, you’ll be blasted by and ear-splitting version of “76 Trombones” on the menu hide. Ouch. Hit Quiet honest before you touch MENU. You’ll thank me later.

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It’s a traditional out cliche, but they really DON’T obtain musicals like this any more. And if your only experience with THE MUSIC MAN has been with the pan-and-scan format, do yourself a favor and rob up either the DVD or the letterboxed VHS format. You really WILL realize what you’ve been missing.

I like this movie. As funny as it is — a goofy location, absurd over-the-top characters, the wacky “judge system” — it is objective a whole lot of fun. Robert Preston sparkles as the fly-by-night con artist/salesman who unbiased happens this time to derive his foot caught in the door, and who better to earn that foot than Shirley Jones, who is as aesthetic and talented a leading lady as has ever graced a grand shroud musical. Ron Howard is as comic as a kid can be in the movies, and the music will finish with you long after the movie is over.

The film also has a titanic cast of supporting character actors and comedians, not to mention the astonishing Buffalo Bills. I like the anvil salesman character (THAT’S a astronomical line of merchandise for a traveling salesman!), and my common song has to be the pool hall song, “There’s distress in River City.” The movie, comical as it is, also has its touching moments, especially when Professor Harold Hill, standing on the footbridge, confronts the gap between his dreams and his life for the first time, and really realizes he is in savor with the fair librarian. For pure fun and entertainment, it’s hard to accumulate a better movie than this animated but affectionate kidding of the Hawkeye Plot, and hard to accumulate a more fun couple than the fascinating Robert Preston and the resplendent Shirley Jones.
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Movie Title:Himalaya

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This film has some of most breathtaking scenery ever filmed. Shot high up in a remote dwelling of the Himalayas that has seen very few foreigners, it focuses on the Tibetan people who live in an set of the mountains called Dolpo. These people are referred to as Dolpopas. The adore that the director, Eric Valli, has for this state of the world is palpable with the loving care and attention to detail that is lavished on this production. Shot at heights of up to 17,400 feet, this film is a large achievement both cinematically and historically, as it locks in time a miniature known culture and map of life.

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The sage, which is based upon sincere life events, details a generational struggle between the young and the archaic. The storyline is simple. This isolated village is dependent upon trading its salt for grain, so that the village may survive. To do so, a caravan of yaks must build an arduous slide through the Himalayan Mountains to Nepal to accomplish such a trade. When one such caravan returns to the village, the caravan chief, is monotonous and his body has been brought aid to the village by his best friend, Karma. The plain chief’s father and tribal council memeber, Tinle, crazed with exertion, suspects Karma of having brought about his son’s death in an attempt to select his site as chief of the caravan. His dumb son has left gradual a aesthetic wife, Pema, whom Karma covets, and a young son, whom Tinle wants designated as chief, despite his youth.

This sets into play a power struggle between Tinle and Karma, both of whom are headstrong and willful. After the former sky burial for the dumb caravan chief, this clash of wills results in two separate caravans setting out on the salt trading chase. One is led by Karma who, accompanied by the village youth, defiantly leads his caravan out of the village before the date designated by the village lamas. The other is led by Tinle, who has persuaded his other son, Norbou, a Buddhist monk, to abet him. Accompanied by Norbou the elders of his village, as well as by his tiring, son’s widow and young son, Tinle follows tradition and leaves on the date that the lamas have designated as being most propitious for the difficult scamper. The film details each of the respective journeys, as well as the continuing battle of wills between the two leaders. The risks that Tinle takes on the whisk in order to to rep up with Karma is captured in all its starkly ravishing, cinematic majesty and will leave viewers sitting on the edge of their seats.

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Set against a breathtaking backdrop of Himalayan beauty, this is a must inspect film. The performances by those in lead roles are compelling. Thilen Lhondup, a actual life old yak man who had fled Tibet during its invasion by China, is charismatic and grand as Tinle. Gurgon Kyap imbues the role of the headstrong Karma with a youthful vigor and machismo. Lhakpa Tsamchoe, an exotic beauty who hails from Southern India by plot of Tibetan parents, is wonderfully tranquil in the role of Pema. Karma Wangel is absolutely adorable as Tinle’s grandson and will rob the viewers’ hearts.

Anthropologically rich and visually comely, it took the director nine months to film this movie. The daunting logistics, the unpredictable weather, and the spend of mostly non actors contributed to this being a time titillating project. In order to enjoy as distinguished authenticity as possible, this film was shot entirely on area and the villagers even wore their have clothing in the film. The director’s care and disaster paid off, however, as this is one of the most stunningly aesthetic films ever made. The musical procure by Bruno Coulais is haunting, capturing the soaring majesty of the station, as well as some of its mystique. It also offers what I hold to be Tibetan throat singing, a somewhat esoteric fabricate of singing/chanting not often heard in the western world.

This film, which was first released under the title “Caravan”, was nominated for an Academy Award for Best Foreign Language Film in 2000. I absorb that it lost to Pedro Almodovar’s film, “About My Mother”, which is also an kindly movie. Having seen both films, however, there is no doubt in my mind that Valli’s film should have been the one to sprint away with the Academy Award.

The DVD is first rate, providing crystal obvious visuals and audio. It is a value laden DVD, loaded with a number of captivating features. It offers a terrific director’s commentary, as well as a delicious and informative featurette by Debra Kellner on the making of the film. There is also another provocative featurette, entitled “Electronic Press Kit”, that contains some animated film clips and montages as to how positive things were done on the film, given the daunting logistics. This is a must have DVD for those who are alive to in other cultures, the Himalayas, and, quite simply, a tall film. Bravo!

This astounding film gets my nod when it has been nominated for academic award for the best foreign film 2000. I have watched this movie today and really wrathful to write a review. It’s an inspirational, coming-of-age, yarn about Chief’s pursuit to perceive after the people in his village Dolpa and the obstacles in his path. I have been to Dolpa, infact I have seen these people around having same kind of life. The people in the movie are valid and their customs are exact too. The epic has been greatly supported by mind blowing scenic plan of Nepal and its culture. The himalayas, villages, Foksandu lake are true and it has become the heart of this movie. On top of that this movie also reflects the culture which is dying at this information age. Thanks for the director and photographer for creating such a nice movie.
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Movie Title:In Plain Sight: Season One

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Hopefully, Mary McCormack reads her Amazon.com reviews. IN Dumb Examine is the kind of shiny comedy-drama that commercial TV should be producing, but can’t or won’t.

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The life narrative of U.S. Marshal Mary Shannon who works for the U.S. Discover Protection Program (WITSEC), as told through her encounters with her colleagues and various “clients,” IN Tiresome SIGHT’s storylines are multidimensional and complex. So are the characters.

Mary is a tough, competent, and sharp-witted woman with ice in her professional veins. She’s also nostalgic, emotional and warm, dedicated to friernds, family and the witnesses under her charge, and is committment-phobic. She drives a junkbox. She has a non-boyfriend who loves her. She may or may not treasure him, but she sleeps with him. She has a knowing partner named Marshall Mann who loves her. She clearly loves him. They’d each remove a bullet for the other. She doesn’t sleep with him, but she’s apparently jealous of his involvements with other women.

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Mary has a mother (named Jinx) and a sister (named Brandi) with a combined bimbo quotient of over 250 and revolving doors on their bedrooms, who are both likeable and surprisingly innocent, and deeply wounded, and appreciate her very powerful. They live with her. They don’t work. She supports them. For their protection she has a hide as a low-level courier. They can’t understand why she’s wasting her life, and criticize her for not meeting a man as they leaf through this month’s whine of Cosmo.

At work she’s barbed and her emotions and moods change faster than the tides. She has a boss. He respects her. Despite titles, she’s very definitely in charge. She argues vociferously with the law and order ADA who can’t stand the fact that her witnesses are often career criminals with a lifetime pardon. His name is Bob Dershowitz. He’s African-American. Nobody can figure that out, even Dershowitz.

Mary’s private life isn’t exactly a mess, but its far less clear-cut than her professional life, or would be, if she’d end caring about her charges so distinguished. But, as she says in so many words, she’s one portion secret agent, one section mother, one fragment confessor, one share friend, one allotment cop. A woman of many parts.

Mary McCormack was made for this role. “Not exactly runt” (as Mary Shannon is described), Ms. McCormack exudes a sense of self-confidence and solidity on camera, and imbues her character with layer upon layer of personality. This is a mountainous acting job, because Mary McCormack brings Mary Shannon to life in full-color, sometimes conflicted and contradictory. She’s also incredibly sexy, which doesn’t seem to fit, but it does. Thank God. A competent professional, a warm caring person, and a sexual human being. Television has finally discovered a trusty woman.

YES!!!

I didn’t acquire onto this series until the first season was already over, but have been enjoying reruns on the USA network and Sleuth. And I have been anticipating the release of this series on DVD ever since. The characters are well developed, bulky of the flaws which accompany us all on life’s path, and for the most allotment are very likable. That said, the over-the-top dysfunctional antics of Mom and Sis DO glean ragged, and I fetch Jinx’s character to be a kill of the talents of Leslie Ann Warren. She is absolutely the queen of quirky, but of all the characters, her storylines are the least challenging, and in fact, bring down the entire explain a notch. If I fetch tired of this series, this will be the reason for it. Mary certainly has dysfunctions of her have, but she at least, appears to be able to learn along the intention. I’d like to perceive the dysfunction toned down. If these characters can all grow a bit, then I enjoy this series could have a long and successful hurry.

The interaction between Mary McCormack and Fred Weller’s characters is especially delightful; it’s the jewel of this series, and without it, I’m not certain how successful this demonstrate would be. What with his encyclopaedic knowledge of all things arcane and quirky, and his perfectly dry, straight-man delivery, he and Mary have a palatable kind of chemistry you don’t observe too often. In fact, I feel he really should have equal billing to Mary McCormack.

The Sight Protection aspect of the yarn makes for somewhat novel storylines, which are MORE than welcome, and the prove is well written. All in all, it adds up to a lot of fun. And as an extra bonus for me, it’s filmed in Northern Unusual Mexico, my well-liked spot in the world. What more could I ask for?
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Movie Title:Cooking Italian, Vol. 2: The Cuisine of Southern Italy and the Islands

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This DVD is more of a travelogue than a “how to cook it” presentation. The recipies are presented in a like a flash, generalized fashion with the moderator mispronouncing accepted Italian phrases. The types of dishes chosen are authentic and prepared by local chefs. The video redeems itself by visiting the gleaming market places of Naples and Palermo and all the elegant locales of southern Italy and Sicily.

This was an engrossing DVD and was nice to scrutinize for the topic and information. I liked the tour through Italy and the Food of course, but the narration leaves mighty to be desired. She not only is anot able to convey the Italian words properly but her content drones on almost to the point you don’t want to see the rest od the movie. Overall it is gripping and visualy exquisite. Score it for the food and pictures.
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Movie Title:Mission Impossible – The Complete First TV Season

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When Mission: Impossible, the movie came out, I was expecting a sizable studio update of the classic TV point to. What I got was yet another Tom Hover star vehicle where he preens and postures and seizes the spotlight at the expense of everyone else in the film. To say I was disappointed is an understatment — I was incensed! The IMF team killed off? Jim Phelps a terrible guy? You’ve got to be kidding me! The TV series’ conception of an elite covert operations team working together to do the United States from enemies, both foreign and domestic, was bastardized so Tom Flit could flash his 1000 watt smile and build the day all by himself. I was so mad, I vowed to never sight the film again or any possible sequels. It’s a tell I’ve kept to this day and will continue to withhold.

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I’m positive that Mr. Flit and his represtatives had something to do with the delay in releasing the modern series on DVD. Thankfully, now that Paramount has shown used Tom the door, we can now stare the series that started it all. Peter Graves’ Jim Phelps is missing from the first season (Steven Hill of Law and Order plays Dan Riggs, the leader of the IMF during the first season) . But Martin Landau as Rollin Hand, Barbara Bain as Cinnamon Carter, Greg Morris as Barney Collier and Peter Lupus as Willy Armitage are all point to. Unlike most of the search for stories from the 1960′s (and unlike the Tom Flee film series), Mission:Impossible, the TV series, took a more cerebral near to its stories. There’s no James Bond in these stories — honest a team of agents who covertly depose all types of dictators, terrorists and traitors without leaving any evidence of their involvement. Impartial as Columbo turned the TV detective genre on its ear so did Mission:Impossible turn the contemplate genre on its ear.

Here’s hoping that those who only know Mission:Impossible from the films have a leer for themselves. I daresay they’ll realize that the TV series is vastly worthy to the film series and that the complete absence of Tom Glide is a very, very obliging thing.

What can be said about this exhibit except release of the series on dvd is overly long overdue. It is fair that this volume will hold many by surprise since Peter Graves as Jim Phelps is not a character. Eye for Steven Hill, who many may remember from Law and Order a few seasons ago. The exhibit improved with age but this is level-headed to generous to pass. Bask In this expose if you watched in the day or if you were not around when it was on. View for lots of mammoth guest stars, but stare for soon tightly hurt suspenseful plots. This is the novel and tranquil best.
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Movie Title:Hud

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Welcome to the last Western. HUD is a memoir of what killed the western ethos – it was done in by a man with a “barbed wire soul” driving a pink cadillac. Before HUD men raised cattle or plowed the earth, after HUD men ceded the land to the oil drillers.

The movie opens with 17-year-old, wide-eyed Lonnie looking for Hud. The lope leads him past a busted up saloon and ends when he finds a married woman’s high heel shoe carelessly flung on her front porch. Hud seems to have a taste for married women and a contrivance with the bottle that the absorbing Lonnie finds handsome.

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When they earn home Homer drives them out to a freshly slow heifer. There are no bullet wounds or other signs of injury and Homer decides to call the authorities. Hud disagrees. If the heifer died of a disease it could jeopardize everything, and Hud is too halt to inheriting the ranch for that. Homer has more at stake, but burying the cow without an investigation would simply be rotten. The drama proceeds from there as deliberately, and inevitably, as a Greek tragedy.

Like other epics, and HUD deals with sage themes, there are expansive battles. Hud Bannon battles with his father, Homer Bannon (Melvyn Douglas) for the heart and mind of his nephew Lonnie (Brandon de Wilde.) Hud and Lonnie battle over their “half-wild” maid Alma (Patricia Neal.)

Hud, a man of exiguous patience, is brutally bid in his arrive to Alma. The inexperienced Lonnie admires her from a gentler distance. Director Martin Ritt includes two scenes that highlight this contrast. One night Hud tomcats his blueprint into Alma’s room asking for a cigarette. The experienced and wary Alma gives – Hud lights the handout and blows out the match objective as Alma asks for a light. With his attend to her Hud drops the burnt out match into her hands and waits a beat before dropping the matchbook. It’s a short throwaway that highlights Hud’s loutish behavior. It gains relevance a slight later when Lonnie takes a blow to the head and has to engage to his bed. Alma brings him a glass of `fresh squeezed lemonade.’ Lonnie takes the drink and a terrified witness beetles his brow. Alma puts her hand under his mouth and urges him to spit. `C’mon, honey,’ she says, `they’re unprejudiced lemon pits.’

Lonnie spits his seeds into her hand, Hud a useless, burnt out stick, and Dr. Freud has impartial left the building. Maybe Ritt build those scenes in to delight louts like me four decades on. HUD is filled with much, multi-layered scenes. Another memorable one occurs when Homer Bannon’s herd is driven into an enclosure. It is very long, maybe four minutes, and deliberately edited. I don’t know if we’d seek its like today, but its length and deliberation gives it awesome power.

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Melvyn Douglas won an Oscar in this movie, and he portrays Homer Bannon as a man about as played out as his over grazed land and about as outmoded as the two longhorn he keeps solely for sentimental reasons. Neal also won an Oscar in this one, and her character is almost as extinct out as the elder Bannon. Life has frail her hard. Paul Newman was nominated as the title character, and in my conception would not have made an embarrassing winner. One of the most charming and charismatic actors in movie history, Newman manages to play a man of hollow charm. When he flirts, we eye the snake lurking unhurried his smile. HUD won a third Oscar for photography, and James Wong Howe presents a parched and arid black-and-white landscape.
This is an agreeable movie, and well worth the investment of anyone’s time.

This review refers to the widescreen DVD edition(Paramount) of “HUD”….

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Hud Bannon…he’s a self centered, frigid, bitter,womanizing lout. But hey..what’s not to like..I mean after all, Hud is Paul Newman in top acquire.Newman has given us so many glorious performances over the years and this is one his his best.

Martin Ritt directs this captivating anecdote and 40 years later it has not lost it’s appeal.It’s a original western/drama that will have you hanging on every word.Hud does everything he can to acquire life heart-broken for all those around him. His father(Melvyn Douglas) can’t seem to advance him, and years of resentment have built a deep rift between them.There seems to be no design to heal the wounds they carry inside themselves.The cattle ranch that Hud plans to capture over from his aging father is facing end, adding to the tension of the myth.The movie will captivate and sustain you till the demolish, and it’s one you’ll want to eye many times.

Newman and Ritt always work brillantly together and were both nominated for Oscars for their trustworthy work. Newman’s protrayal of this brooding rebel is stirring, and Ritt’s direction honorable. Melvyn Douglas took home a well deserved Oscar for Best Supporting as did the improbable Patricia Neal(Best Actress), for her bright work as the overworked and under appreciated housekeepper, who’s subtle beauty keeps Hud and his nephew(Brandon de Wilde) longing for her. The amazing Gloomy and White cinematography garnered a statue for James Wong Howe as well.Elmer Bernstein also contributes his talents with a spicy musical obtain.So many wonderfully talented names attached to this film and it shows!

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I waited a long time for this film to finally be released to DVD, and the wait was worth it. I found that overall the transfer was crisp and definite, the sound enhanced in 5.1 was a welcome addition(It may also be viewed in in the novel mono which has been restored), and the widescreen captured all the immense photography. There were a few scenes which did not seem to be as distinct and shining as the rest, but there was nothing about it that would win away from the enjoyment of this film.
There are no special features, but may be viewed in French(mono) and has subtitles in English for anyone who may need them.

Thanks Paramount for adding another of Newman’s enormous ‘H’ films to my collection(“Hombre”/”The Hustler”), and we are aloof waiting for “Harper” and another vast Newman/Ritt collaboration “The Outrage” to be released.

Settle in for a Newman classic and appreciate….Laurie
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Movie Title:The NeverEnding Story / The NeverEnding Story II

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This DVD has THE NEVERENDING Myth on one side and the other side of the disc has THE NEVERENDING Legend II.

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In THE NEVERENDING Anecdote, Bastian Bux (Barret Oliver) is an average student who finds himself repeatedly being abused by bullies who like to catch his money and throw him into dumpsters. Bastian’s mother is slow and both he and his father are quiet trying to cope with the loss. However, Bastian’s father is a realist and thinks that Bastian spends too powerful time drawing pictures, reading books, and daydreaming. He wants his son to buckle down and derive serious about school and life. He means well, but his advice doesn’t do great to improve Bastian’s condition. Eventually Bastian ends up meeting a peculiar bookstore owner that leaves a book, “The Neverending Sage”, where Bastian is able to borrow it. Bastian sneaks away to the attic of his school, locks himself in, and begins reading. The tale is a curious epic about a spot called Fantasia, a seeming endless world filled with countless creatures of every shape and size. Fantasia is under attack by an unknown force known as the Nothing that destroys everything in its path. The Childlike Empress (Tami Stronach) selects the grand warrior from the plains people, Atreyu (Noah Hathaway) to go on a sail and catch the one person who can keep Fantasia from total annihilation. Atreyu sets forth on a long, difficult run, traveling all over Fantasia, but no one seems genuine of helping him. As Atreyu journeys, Bastian secretly accompanies him and shares in all of his adventures. The book reads like none other that Bastian has ever read and it seems that he is a portion of the chronicle. As the Nothing grows stronger, Bastian has to settle if he will give into reality of what he sees around him or allow his imagination grasp control.

In THE NEVERENDING Epic II Bastian (Jonathan Brandis) is once again transported to Fantasia. Bastian is no longer threatened by bullies, but is instead taunted by his classmates when he joins the dive team. His father (John Wesley Shipp) misguidedly prods Bastian into overcoming his fears. Frustrated, Bastian returns to Mr. Koreander’s bookstore and though he is warned that the memoir in “The Neverending Epic” doesn’t remain the same, Bastian borrows the book and ends up returning to Fantasia. Upon entering Fantasia, Bastian finds that he has the symbol of the childlike Empress, Auryn, around his neck. He is informed by the giant bird Nimbly (Martin Umbach) that anytime he makes a wish, the power in Auryn will build the wish reach suitable. However, there is a black secret to Auryn. To do Fantasia, Bastian must salvage out Auryn’s secret, defeat the detestable witch Xayide, and close the Emptiness from inviting Fantasia.

Buy,Download, Or Stream The NeverEnding Story / The NeverEnding Story II! Click Here

Of the two movies, THE NEVERENDING Narrative is a far genuine film that its sequel.

The DVD doesn’t offer many extras. On THE NEVERENDING Anecdote side of the disc, there are some notes about the book and characters and a trailer for the film. THE NEVERENDING Sage II side has a trailer, cast & crew list, and a word high-tail game called “Bastian’s Challenge.” Also, both movies are shown in bulky camouflage and not widescreen.

The unusual NeverEnding Myth movie was a masterpiece. A complete work of art. I remember watching that movie when I was a kid, it amazed me. I study today, and it amazes me how it serene draws me into that legend so easily. In my concept, it is a pure fantasy world with no flaws, in acting, in situation, in direction, in visuals; the characters are all wonderfully fresh and well played.

*sigh* Now…to the sequel.

Besides the fact that every single character was recast (aside from the bookkeeper? ), and besides the fact that every character has a imprint current personality which contradicts how they were in the first movie. Besides the fact that Bastian had brown hair in the first movie, and now all of a sudden he has blonde hair. Apart from the fact that Bastian’s dad has quite the receding hairline in the first movie, and now, in the sequel, where’d that paunchy head of hair approach from? Aside from the fact that Falcor turned tiring, for something reason. Apart from the fact that Atreyu, the intrepid warrior in the first movie, turns into a confused sidekick that can only teach broken english now…

*sigh* aside from all of that…

The thing that gets me the most, throughout the sequel they call the Empress, “The Child-like Empress”… *sigh*

…She is not child-like; she is, in fact, honest a child! “Child-Empress”!!!

The magic that was the first movie disappeared in the second. I mediate the thing that sets the movies apart the most, a thing that hurts the sequel quite a bit, is the fact that we have to views of the myth, in the recent, Bastian’s point of idea as he reads the book, and then Atreyu’s and the others plan from inside the narrative.

With the NeverEnding Yarn II, there is no outside concept. It’s very linear, inside the narrative only, except of course, advance the waste, when the father starts reading the book, but the adult point of concept doesn’t fit in very well with the account.

I objective popped in The NeverEnding Epic into my VCR. The visuals are aesthetic, the Fantasia world in the recent movie is so well thought-out, and obviously so. But there’s something lacking with the sequel, it seems like you’re in a different, low-budget version of Fantasia.

*sigh*

So, I mediate I’m done with my rant.

But if you’ve lasted with me this long, here’s my advice:

The current movie is, no doubt, a must have in anyone’s movie collection. If you must recognize the second one, honest to explore how poor it is (if you haven’t seen it already), borrow it from someone or rent it, but don’t catch it. It’s not worth the money.

Pex Tubing
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