Lowest Selling Price For Castle: The Complete First Season At Amazon.
September 3rd, 2010
Product: Castle: The Complete First Season
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Nathan Fillion is bright as ABC’s unique world illustrious author-turned-pseudo-cop Richard Castle. Gradual the veneer of an arrogant celebrity, who seems to have let dozens of best sellers and world acclaim go to his head, Castle is truly a kind-hearted man and a compassionate father. Besides writing, his current hobby seems to be irritating Kate Beckett (Stana Katic), the NYPD detective who was in charge of a investigating a string of copy-cat murders modeled after Castle’s hold kill mystery books. Since he’s killed off the main character of his last series, Castle needs novel inspiration for his next position of novels, and he finds his muse with the charming but difficult-to-crack detective. The chemistry between Fillion and Katic is wonderful, leaving the audience with more to follow than unprejudiced the destroy cases. Unlike most criminal investigation shows, Castle has a heavy focus on humor and the strong development of its characters and their relationships. Not quite a drama and not quite a comedy, this primetime series has elements that appeal to any sensibility. The curved assassinate storylines will maintain you guessing for the corpulent hour until the conclusion you never expected.
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Bonus material for the DVD includes slack the scenes interviews with the stars, out takes, deleted scenes, and more. Strong first season. I’m greatly looking forward to watching this exhibit thrive and burgeon into big-name area.
CASTLE is one hell of an gripping fragment of light, fluffy cop television. It’s the perfect antidote to those who are wallowing in the dusky sewers of cop shows like LAW AND ORDER SVU or CRIMINAL INTENT or the shiny but shameful THE SHIELD. Creator Andrew Marlowe, perhaps best known as the screenwriter for AIR FORCE ONE, has created a very breezy and incredibly fun cop display that’s indispensable purpose is to counter the altogether too intense police procedurals that the public seems to inhale like cigarette smoke (you know it’s not proper for you, but you can’t back it) . He’s also added the perfect actor for a present like this: Nathan Fillion. Many people weren’t familiar with Fillion’s work until he became a cast member of the horrifically unpleasant DESPERATE HOUSEWIVES, but before that, he was a key player in what’s known as The Whedonverse, starring in the all-too shortlived FIREFLY and also guest-starring in the final season of BUFFY THE VAMPIRE SLAYER. He was also featured in one of Whedon’s more unusual and shining creations, DR. HORRIBLE’S SING-ALONG BLOG, where he wonderfully plays a shallow, over-confident superhero. He also appeared in another VERY shortlived Fox television note called DRIVE, which was sever down before it could arrive its potential. He’s been featured in films like the FIREFLY sorta-sequel SERENITY, a unbelievable indie splattergore comedy called Spin, and some gloomy direct-to-DVD fare like WATER’S EDGE and WHITE NOISE 2: THE LIGHT. But as he proved with FIREFLY, he has more than enough talent and charisma to carry a explain on his fill if significant (even though it wasn’t critical with how gargantuan FIREFLY was) .
And that’s very remarkable the case with CASTLE. As mystery writer Richard Castle, this is his explain. Despite some strong supporting performances by actors like Susan Sullivan, who plays his flamboyant, vibrant, and at times, annoying mother, and a sometimes over-her-head Stana Katic as his professional and personal foil, NYPD Detective Kate Beckett, this point to and everything tremendous about it is planted rightly and firmly on the charm and talent of Fillion.
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The demonstrate is very considerable in the vein of a program like MOONLIGHTING, pitting the goofy yet irrestistably charming lothario against the by-the-book, stalwart, luminous and sassy and undeniably sexy-but-sexless woman as the two of them salvage into one wild adventure after another. The thing about this point to that gives it perhaps an even stronger gain than a demonstrate of this type should is that it has a specific “mythology” arc that will carry it for at least another season; namely the unsolved cancel of Beckett’s mother, and Castle’s determination to solve it, even if it means that he will lose a friend and potential like interest in Beckett.
So I say bring on Season Two, and continue the tone that the reveal has given us, and don’t let it conform to what the “hitmakers” explore trending with the too-upsetting cop shows. Sustain it easy breezy. And hopefully the prove will procure the audience it deserves, and Fillion will rep more of the opportunities he deserves.
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Lowest Price Found On The 36th Chamber of Shaolin At Amazon.com.
September 3rd, 2010
Product: The 36th Chamber of Shaolin
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Gordon Liu (also known as Lau Kar Fai) stars as a young man who’s friends and family have been killed by the novel government. He wakes up at the Shaolin Temple, a set he has only heard about a couple of times. When he realizes he is at the best residence possible to learn kung fu, he begs and begs to learn so that he can revenge his family. He does finally derive taught, but has to launch with the basics. Every share of his body must become stronger before he can learn how to fight. After he finishes the first stages of training in narrate time, he is now highly respected and moves onto learning sincere fighting styles. He breezes through this and becomes a vast fighter in only 5 years or so. This is not one of those movies that has 1 or 2 training sequences. Gordon is shown in at least 13 of the chambers and half of the movie is spent at Shaolin. So after he has become a master fighter, he is given a high honor and told that he can become second in charge of any of the 35 chambers. A senior monk played by the enormous Lee Hoi San objects to this and says that he can’t have this honor unless Gordon defeats him in a weapons duel. Lee Hoi San does not play a villain, but he does not believe that Gordon is a capable enough fighter to receive so worthy praise. His idea works better than he could have ever imagined. He ends up helping Gordon improve as a fighter and as a person. Gordon is told he can leave Shaolin now, and he goes to catch revenge on the foul General who killed his family.
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One thing that sets this movie apart is that it tries to be a steady movie, and it succeeds. Watching Gordon grow up into a man is noteworthy to peruse. The commentators didn’t scrutinize, but a lot of the stuff in this movie is very actual. When Gordon has to consume the pole with the wieght on the raze to hit the bell over and over again, that is a sincere weight on the kill of the pole! Gordon talks in the interview (included on this disc) about how the sabres that Lo Lieh uses in the final fight are loyal, and it impartial makes the movie that mighty better. Dont seek information from your average record of revenge. I was touched deeply when I first saw this and there are not many kung fu movies that have as considerable meaning and feeling.
Rating- 5/5
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Picture quality is remastered very well. It does score a bit darker and lighter in some scenes, but other than miniature print pain once or twice, the record quality is perfect. The Mandarin, Cantonese and English tracks all sound trustworthy. In fact, I have never heard the English dub sound this honorable. The subtitles should have been written better, and the English dub is actually a better translation. They are not horribly written, but could have been a lot better. I am not complaining though since this is the only fault on the DVD.
Special features include a gargantuan commentary from The RZA and this Andy Klein guy who does not know very remarkable about the genre. Luckily RZA is there to encourage him point out actors like Lau Kar Glide, Wilson Tong and Hsiao Hou. I found the commmentary palatable. RZA talks about his experiences with this movie, and he is definitely a 36th Chamber expert. And I found it attractive comical that he seems to mediate Gordon Liu is a monk in right life.
The 17 cramped interview with Gordon Liu is very appealing. He talks about many things such as training day and night and how immense of an honor it was to work with a megastar like Lo Lieh. Gordon skips over the years like people should know what he is talking about, but honest in case you don’t, I will maintain you in. In 1974 Lau Kar Leung was Chang Cheh’s top action director and Gordon Liu was cast as a villain alongside Johnny Wang Lung Wei and Leung Kar Yan in movies like ‘7 Man Army’. When Lau Kar Leung split up with Chang Cheh he started directing his occupy movies for the Shaw Brothers, starting with ‘Spiritual Boxer’. In his next movie ‘Challenge of the Masters’, Lau Kar Leung cast his younger adopted brother Gordon Liu as the lead. This is what led to Gordon becoming the star of ‘The 36th Chamber of Shaolin’, the greatest Shaolin Temple movie ever made.
There is a 17 shrimp documentary on Shaolin that is basically another 17 minutes of awesome info from Gordon Liu.
The 8 runt interview with film critic/scholars Andy Klein and David Shute is a very great description of how tremendous of a movie this is.
The RZA gets a 10 miniature interview where he talks about where he first started watching these movies and also gives his thoughts on the Shaw Brothers and explains why the Master Killer in his rap group took that name.
The trailers are the best special feature. The trailer for ‘Shaolin Mantis’ is very novel. Instead of showing clips from the movie, the actors introduce what kind of kung fu styles are going to be traditional (be positive to observe for Lily Li!) . Lau Kar Leung is the director of ‘Shaolin Mantis’ and doesn’t even have a role in the movie, but he gets to prove off his ultra awesome kung fu skills quite a bit in the trailer. I consider I have watched this trailer about 50 times, and I will eventually master that Shadow style!
Also included are Unusual trailers for ‘The 36th Chamber’, ‘Return to the 36th Chamber’, ‘Disciples of the 36th Chamber’, ‘8 Map Pole Fighter’, ‘My Young Auntie’, ‘One Armed Swordsman’, ‘Infernal Affairs 3′ and the fresh Master Killer US TV commercial.
The last special feature is a gallery of novel movie posters and movie stills.
This 1970s classic is a must-have for action/martial-arts movie lovers. The sage centers around a young scholar (Gordon Liu) who enlists as an underground rebel seeking to overthrow the Manchu rulers that have taken over China. The spoiled local Manchu warlord, played by Lo Lieh (the Shaw Brothers’ celebrated villain!), discovers the dwelling and slaughters Liu’s family. Liu flees to the Shaolin Temple, where he becomes a monk, adopts the name “San Te”, and learns the secrets of Shaolin kung-fu (because the dubbing is faded, the character’s pre-Shaolin name is difficult to perform out) . This is when the movie shines! The training sequences, though dramatized at times, are the most wonderful ever caught on film and highlight the excruciating hurt the monks endure. Seven years later, San Te leaves the Temple and returns to his broken-down village to choose revenge on the Manchus.
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Unlike many HK martial arts films, this one does not have “wire-fu” and ridiculous side antics and comedy that distract from the dwelling. The fighting sequences are quickly, hard, and clean- pure ancient school heaven! The narrative and dialogue are simple; the dubbing could utilize improvement, but one should understand most of the words. Pay halt attention to the skills San Te learns at Shaolin, and then seeing them applied when San Te battles the Manchus! When you se this, you really delight in the attention to detail that the makers of the film assign forth.
Overall, a gem of a movie. They don’t get them like this anymore!!
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Best Selling Price For The Game Is Over At Amazon.com.
September 3rd, 2010
Product: The Game Is Over
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I couldn’t catch into this movie at first. It is the kind of film you must glimpse with no distractions to net the subleties and nuances that are its strength. Otherwise, it feels very boring engaging, verging on plain. But if you stick with it, you acclimate to the hotfoot and this record of adultery, betrayal and revenge manages a nice balance of stylization and realism. It manages to ask a very basic put a question to about the universal dillemma: monogamy in marriage and it’s pitfalls. Or strengths, depending on how you clarify its message.
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Like all top-notch European films, “Game” leaves the message in the viewer’s imgination and doesn’t polarize its characters into top-notch guys, unpleasant guys, well-behaved deeds and bad ones. Ultimately everyone in this film –as in life– has a private agenda that can be viewed two ways.
If you eye at this movie, you will recognize the improbable and very obvious projection of what happens when in a relationship one partner views the other as a “thing”, a “posession”, an “object” rather than providing care and like. We can learn from this movie decades later in that in relationships we all need a true connection, an internal like that in which the two characters found (Renee and Maxime) . They connected, since they were both viewed as “objects” by the one who controlled them and viewed them this intention. Both attempted to sprint the control they were under and in doing so injure up being blackmailed by the controller. What a tall movie to expose how power and control and the awe of losing it, will end at nothing to extinguish anothers kindred spirit. Although the ending was not a typical “happily ever after” ending, it dipicts accurate life, and trusty people who manipulate others to maintain themselves on top.
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Lowest Price On The Great American Songbook At Amazon.com.
September 3rd, 2010
Product: The Great American Songbook
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This astounding DVD features songs written by the Gershwins, Cole Porter, Frank Loesser, Irving Berlin, Rodgers & Hart, Rodgers & Hammerstein, Jerome Kern & Dorothy Fields unbiased to name a few composers and lyricists. A colossal plus is that the entire musical numbers are shown, but not unprejudiced short clips. If you cherish mountainous American songs, this DVD is for you. Highly recommended.
I objective saw this fabulous PBS special last night on the “Ample Performances” special and I must say that this is one of the best and well documented accounts of the most incredable music from the song writers and the stars who made these songs Unforgettable. This present pays tributes to Jerome Kern, Irving Berlin, Johnny Mercer, Cole Porter and countless other composers.
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The Musicals of Astaire and Rogers, Rooney and Garland, Bing and Bob, Ethel Merman and many others. I really learned alot and enjoyed this DVD greatly. This reveal is hosted by Michael Finestein and pudgy of the best pre-war, post-war and Enormous band music that movie lovers are acustomed too! If you adore this era of current song, Like Judy Garland who is featured 4 times or unprejudiced indulge in musicals. This is the program to have in your collection. I can’t wait to regain my copy.
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Purchase Any Which Way You Can Dvd And Blu-ray At Amazon!
September 3rd, 2010
Product: Any Which Way You Can
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I’m a broad Clint Eastwood fan, and I be pleased watching and discussing his deep, shaded movies like “The Beguiled” and “Unforgiven.” But my guilty secret is: whenever “Any Which Arrangement You Can” display up on cable TV, I obtain a titanic goofy grin on my face, tumble everything I’m doing, and scrutinize it. I realize this film is an acquired taste, but I *love* it. It’s my redneck roots coming out. The overage bikers, Clyde the orangutang, William Smith, crazy passe Ruth Gordon, Geoffrey Lewis, Clint crooning with Ray Charles on the soundtrack, even Sondra Locke’s singing and acting (which comes off as enjoyably campy in this context) –it’s all sizable! And I savor the message of “we rustic rural types are unprejudiced as enchanting as anybody else” (because these *are* my people, as I’ve said.) I don’t judge Eastwood has made a more savory movie.
Yes, yes, I know…an orangutan is not a monkey…as I stated in my review of the first film, Every Which Diagram But Loose (1978), `Clint and his orangutan’ fair doesn’t have the same zing…anyway, the gang from the immensely celebrated first film is support (well, nearly the whole gang, as the unique orangutan who appeared as Clyde was replaced in this one with a younger ape), helmed by, in his directorial debut, Buddy Van Horn, who would later insist Clint Eastwood in two more films, The Insensible Pool (1988), and Pink Cadillac (1989), before returning to what appears to be his legal calling in performing and coordinating stunts. Returning with Eastwood is Sondra Locke (The Gauntlet), Geoffrey Lewis (Thunderbolt and Lightfoot), Ruth Gordon (Harold and Maude), and John Quade (Rancho Deluxe) as Cholla, leader of the Dusky Widows motorcycle gang. Also appearing is B movie old-fashioned (peruse it up, he’s been in like 150 films, many you probably never heard of) William Smith (Conan the Barbarian) and Harry Guardino (The Enforcer) .
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It seems Philo (Eastwood) is looking to retire from bare knuckle street fighting, not because he’s growing tired of it, but because, as he says, he’s beginning to like the harm (a plan I won’t claim to understand, but then again, there’s a whole lotta things in this colossal wild world that confound, confuse, and perplex me, so I won’t argue the point) . Well, shortly after his self-imposed retirement, he’s approached by some Mafioso types who are fervent in having Philo go against their street fighting champion from the East, Jack Wilson, played by Smith (well, they never referred to him as `the champion’, but the understanding is pushed that the mob guys had to advance out West to behold for unusual action as Wilson has beaten nearly everyone worth beating in the East) . They construct Philo an offer he can’t refuse, namely offering him a load of dough, and Philo initially accepts, but then decides against it as those around him, including Lynn (Locke), whom he made up with since the last film, are concerned that Philo may salvage seriously injured. Well, as you can imagine, the mob guys don’t hold this news too lightly, and prefer matters into their hold hands, trying to force Philo into an East vs. West knock down, walk out, bare knuckle brawl against Wilson, whom I will say seems to live up to his reputation as a crippler. Oh yeah, the Sad Widows are aid, detached smarting from their previous encounters with Bedoe, level-headed looking for payback.
While Any Which Plot You Can didn’t match the success of the first film, that’s little potatoes as it quiet was very well-liked, making a boatload of dough (I’ve read somewhere in the neighborhood of $75 million compared to Every Which Diagram But Loose’s $100 million dollar return…support in mind these are unhurried 70’s, early 80’s dollars we’re talking about) . That’s qualified enough to give any studio executive the warm fuzzies, but is the film any salubrious? I believe so…despite changing directors and storywriters (Jeremy Joe Kronsberg, writer of the recent was replaced by Stanford Sherman, who would later pen the films Krull and The Ice Pirates), the filmmakers seemed to try and retain the novel formula intact, for the most allotment. The film obviously displays a bigger budget, but I felt a miniature of the intimacy was lost between some of the characters, due to the fact the cast was expanded, featuring a broad deal of different, often crazy characters (even the Murky Widow gang seems to have increased their membership) . Did this waste the film? Certainly not, but I missed Lewis and especially Gordon’s characters not getting as mighty attention as they did in the first film (Gordon tended to retract most all the scenes she was in with regards to the first) . Speaking of Gordon’s character of Ma, we learn she actually has a actual first name in that of Zenobia…seems oddly appropriate. And is it me, or do orangutans like to kiss an dreadful lot? Seemed Clyde was always keen in smooching on someone, even in the first film. Nothing sez lovin’ like a stout, wet, hairy orangutan kiss…as with the first, Any Which Intention You Can features some truly astounding songs performed by artists like Glen Campbell, Fats Domino, Johnny Duncan, and John Durrill, and also features a duet between Ray Charles and Eastwood himself, played over the opening credits. Between you and me, I swear about as beneficial as Clint Eastwood, which is to say not very marvelous, but generous enough to gather by if I had Ray Charles backing me up. I assume the thing that really makes this film work, as was good of the first film, is Clint Eastwood’s seemingly inherent genial, amiable, and worthy qualities that approach through the character of Philo Beddoe. He appears to be a generally nice guy, bid to live his life, ape by his side, never meaning no afflict, that is unless you do him, or his, harmful. Seriously, if you had to grasp someone to relieve you up in a fight, wouldn’t you determine Philo (I wouldn’t resolve Orville, as he’s certainly precise, but can’t fight for snot, but he is wonderful for taking a bullet, so I may reconsider)?
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The wide shroud (1.85:1) characterize looks very generous on this DVD, and the Dolby Digital 5.1 sound comes through reasonably positive. Special features include a theatrical trailer for the film, production notes, and a filmography for Eastwood (these are the real same features as are on the DVD release of Every Which Design But Loose, except the production notes obviously differ, and are a bit skimpier here) . It’s too abominable Warner Brothers cheaped out on including some more worthwhile features, like a cast commentary track, but I command that will near in a later, anniversary release (then again, probably not as Warner Brothers is illustrious for their lack of extras) …oh well…it’s collected a expansive film.
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Lowest Selling Price On Tokyo Majin: The Complete Series Box Set At Amazon.
September 3rd, 2010
Product: Tokyo Majin: The Complete Series Box Set
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To confess, I’m not a ample “terror anime” buff but typically indulge in series based on successful video game franchises. As such it was with a blend of expectations that I state out to review Tokyo Majin, The Complete Series.
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Interestingly enough, it appears as though Funimation has actually released this previous ADV Films’ property as two individual season sets and is now planning a complete series box spot, which contains all 26 episodes of the demonstrate.
Released across four discs (in a double-sized clamshell case), The Complete Series consists of episodes 1-26 and comes in at a total runtime of 650 minutes. It wears an appropriate TV MA (ragged, 17+) rating due to violence, gore, and supernatural imagery.
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Language options are standard sub & dub with both an English dub (Dolby 5.1 Digital Surround) and unusual Japanese soundtrack (stereo) & the choice of English subtitled if so inclined to turn them on.
The anecdote goes something like this: The mystical energy saunter that maintains order to the world (the Dragon Stream) has been disrupted. As a dispute result of this disturbance, a whole bunch incidents have erupted across Tokyo, including a surge of deaths, plagues of zombies, and six teenagers (who want nothing more than to live the simple life of students) suddenly gaining mystical powers.
It’s tough to do the point to into a single category; it would be foolish to downplay the supernatural/ mystical elements as they are catalyst that drives the spot but in terms of delivery and pacing, Tokyo Majin may more closely resemble an action series. In other words yes there are some peevish environments throughout and attempts at depth by establishing conflicted pasts for a few of the main characters, the series is really the medium in which to showcase super-human action sequences. Teenagers who can fire stunning mystical arrows from a bow or a tough guy who can uppercut through hordes of swarming monsters is going to be first-rate onscreen fun, bottom line.
Viewers can put a question to episodes loaded with repulsive creatures, flashy magical effects, and fight scenes loaded to the hilt with animation detail. For the most section, the formula works so long as you go into the note without expectations of a deep psychological thriller element. This is superhero fun against the legions of the underworld first and foremost; drama and mystery benefit only to compliment the greater mission at hand.
The visuals are glorious solid throughout with unprejudiced the moral texturing (and gore elements) to earn for some truly base nasties and the environmental tones are nice and gritty as well. The sound work is solid for the most share, with eerie notes working nicely into the background and slick tension-building strings when the mood calls for them. Unfortunately the hard rock anthem done by ACID at the opening and closing of each episode comes off as a bit misguided until you realize that it is the theme for the corrupt rock star villain later on in the prose.
In all, this is a indicate where the visuals and effects certainly outshine the writing but perhaps that’s exactly what makes it so fresh. I would recommend it to anyone looking for a petite supernatural butt whipping by some everyday kids. It’s also really decent of Funimation to contemplate their fans in deciding to release a fat 26-episode box region release for puny more than the individual seasons have been selling for until now.
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Windtalkers Critique At Amazon.
September 3rd, 2010
Product: Windtalkers
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Windtalkers is the narrative of two American soldiers (one played by Christian Slater, the other played by Nic Cage) who are assigned to protect two Navajo soldiers who work as windtalkers, transmitting messages past Japanese codebreakers using their code based on Navajo language.
Yes, there’s a lot of violence. Yes, it’s grim. The bodyguards, Cage and Slater, are instructed to extinguish the windtalkers rather than let them tumble into enemy hands.
This is a sizable war movie, not quite on the scale of Saving Private Ryan, but somewhere between something that tremendous and graceful and, say, Leisurely Enemy Lines. Cage and Slater do a marvelous job with their parts, which aren’t very fully fleshed out characters.
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Woo’s direction mature to be so over-the-top and artsy… the fight scenes traditional to be like cartoons, with terrible guy and noble guy blazing away at each other with two pistols… the most violent scenes were often preceded by or accompanying flocks of birds taking to flight, and bullet-riddled bodies always seem to pirouet in wearisome motion before they drop down tedious. Woo has left a lot of the traditional personal director’s style out of this one, actually. There ARE a lot of bullets, and a lot of the fighting scenes are very unrealistic (upright to mature Woo there), and there is one scene very reminiscent of mature John Woo, where a butterfly floats gracefully above a river then suddenly a bloody body falls into that river, destroying the fair image, juxtaposing a delicate natural image with a gory violent one, etc.
ANYWAY, mostly this is a shoot ‘em up war movie, and the ragged John Woo style is MOSTLY absent.
The yarn has that one feature going for it, the protection of the Navajo codetalkers, but otherwise it’s a very standard war movie, in terms of set. Mild, this movie comes off surprisingly well.
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If you’re a fan of the American John Woo movies, like Broken Arrow, or Mission Impossible II or Face/Off, or you liked some movies recently like Dismal Hawk Down or Slack Enemy Lines, you ought to engage a sight at Windtalkers. It’s not the best war movie of the last few years (I’d vote for Saving Private Ryan for that), or the best action movie, but it is inviting and memorable…
As a nephew of a Navajo Code Talker, I would like to deny my thoughts on WINDTALKERS.
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First of all, if the focus of a Navajo Code Talker movie is supposed to focus on the Navajo Code Talkers and their involvement in WWII, why is the movie centered around Nicolas Cage’s character while Adam Beach and Roger Willie play supporting roles?
Second, since a lot of folks are not informed about this section of WWII history, wouldn’t it have been a worthy better movie if they showed the origin of the Code Talkers before they faced the horrors of war in the Pacific Theatre?
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My uncle stood proud among the surviving Code Talkers as they were recently honored for their service in the Pacific. (note: at the beginning of the movie, he is the elder in the hat that talks to Yahzzie before he gets on the bus. He also served as technical consultant.) I’m determined after seeing the movie and having survived WWII, I doubt he enjoyed seeing the Code Talkers’ back-burner depiction in the film.
Nice “action” movie, though.
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Buy Too Hot To Handle Over The Internet.
September 3rd, 2010
Product: Too Hot To Handle
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ALPHA VIDEO is a provider of vintage programming that’s often unavailable elsewhere. Alpha’s prices are sparkling, but so is transfer quality of some of their offerings. None have undergone restoration, yet this product’s rareness and reasonable cost effect it a worthwhile capture.
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TOO HOT TO HANDLE is the legend of a London nightclub owner who fights relieve when a local mobster leans on him for protection money. Here, Jayne Mansfield skillfully manages a deadly serious role (perhaps her very best work) and proves there was more to her than that “plain blonde” image. For anyone alive to in scenes of burlesque-type stripping, “Too Hot” is obvious to please. (This film was originally in Eastmancolor but as of 9/09 was only available in b&w on DVD.)
SYNOPSIS–
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Johnny Solo (Genn) won’t be intimidated by Diamonds Dielli (Lawrence), nor will he listen to the advice of his exotic dancer girlfriend, headliner Midnight Franklin (Mansfield), who wants Johnny to pause the strip club business entirely in order to protect his fill life.
NOTE: Behold for a pawnbroker cameo by Ian Fleming (not the author), who in SILVER BLAZE (1937) portrayed Dr. Watson opposite Arthur Wontner’s Sherlock Holmes.
Related ALPHA item:
THE Corpulent Observe (1966) is a beach party comedy with Jayne, Phyllis Diller, ‘Fat Jack’ Leonard, Brian Donlevy and pop singer Johnny Tillotson.
Psarenthetical number preceding title is a 1 to 10 imdb viewer poll rating.
(6.7) Too Hot to Handle (UK-1960) – Jayne Mansfield/Leo Gen/Christopher Lee/Patrick Holt/Sheldon Lawrence/Ian Fleming
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The Busby Berkeley Collection Guide At Amazon.
September 3rd, 2010
Product: The Busby Berkeley Collection
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I am clear that I am one of many who are incredibly inflamed about the upcoming release of these luminous Busby Berkeley musicals! Each of these films believe many of the ample screen’s most unforgettable moments, and all five merit inclusion in this exquisite DVD package.
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For fans of musicals and for those who simply be pleased pleasant cinema, these movies have it all! First and foremost, the artistry of Berkeley’s musical sequences gain these films a must-see! It doesn’t matter if you are a musical maven or not. The inimitable Busby Berkeley production numbers will dazzle you, even with the sound turned down! In addition to being eminent musicals, these films are also some of the wittiest comedies from the 30’s era. I don’t contemplate anybody can resist the well-written mercurial dialogue and sly innuendo, particularly from the pre-code releases included here.
My mini-reviews:
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FOOTLIGHT PARADE — Spacious pre-code dialogue, and a extraordinary showcase for the comedic talents of both Joan Blondell and James Cagney, the latter demonstrating his unbelievable footwork that helped him collect his Oscar winning role in Yankee Doodle Dandy!
GOLD DIGGERS OF 1933 — My personal approved of this collection. it features the famed Ginger Rogers number “We’re In The Money”, and the unforgettable “Forgotten Man” performed by Joan Blondell! Stout production numbers and more captivating pre-code comedy.
DAMES — In addition to the large production number of the title song, it features an hilarious performance by Hugh Herbert, probably (though debatably) his best!
GOLD DIGGERS OF 1935 — This one introduces the tremendous production number, “The Lullaby Of Broadway” and also features a ample comedic performance from Gloria Stuart (of “Mountainous” fame) .
42nd STREET — This is the film that reinvented the movie musical! Nuff said, except that Ginger Rogers’ chaffing is a incredible highlight.
The extras glimpse nice, though I’m sorry no commentaries seem to be included. I’m looking forward to seeing the unique featurettes. All in all, this is a very reasonably priced package that is worth every penny. Like!
BUSBY BERKELEY COLLECTION
By Brendan G Carroll
While I was overjoyed that Warners & Turner have issued these sizable films on DVD at last in terrific quality (for the most fragment) and with amazing extras, there were some opportunities missed here and one glaring omission which I hope I can location apt.
The opportunities lost pains the archive material that might have been included and which would have been so worth the anguish to pick up. As most Berkeley buffs know, he gave a very engrossing and rare interview for a 1966 TV documentary called “The Movie Crazy Years” (about Warners) which also included a nice interview with Joan Blondell. It would have been salubrious to search for the relevant excerpts from this agreeable programme (which I contemplate was made by David Wolper) included in the various featurettes on these DVDs, rather than the endless gushy on-camera posturings of the likes of John Landis. Do I really need to be told over and over in hyper-gushy language, that Buzz was a genius, by so-called celebrity fans? I really wish Turner would at least include either contemporary witnesses or film historians (like Bob Thomas or Rudy Behlmer) to add pertinent commentary to projects like this. WHAT has John Waters got to do with Busby Berkeley I ask you?
The second “missed opportunity” is the rarely (and barely) seen 96 diminutive documentary “Busby Berkeley” made by Russ Jones in 1974 to co-incide with the publication of Tony Thomas’ expedient biography of Buzz, which included rare interviews with Winifred Shaw (about the Lullaby of Broadway number) and Ruth Donnelly (about Footlight Parade) among other treasures.
Surely Turner could have acquired both of these archive resources (at diminutive cost!) for this definitive DVD residence? It would have added such expansive historic value to the collection and first-rate insight. I really felt we never got to know remarkable about Berkeley as a man from any of the short documentaries or how he achieved his improbable effects. In fact, I realised that I knew more about him and his techniques, than I learned from any of the featurettes.
Much worse though, is the total absence of any comment about Ray Heindorf, the genius arranger and orchestrator at Warners, from 1931 on, who was responsible for the entire musical style of these films and especially the superior job he turned in for the mammoth numbers – creating seamless 10-15 microscopic arrangements of Harry Warren’s mammoth songs (and those of Kahal & Fain – they wrote `By A Waterfall’ by the intention, not that you would know it from watching the short documentary on Footlight Parade!!) .
Heindorf was also responsible for the marvellous, brassy orchestrations throughout – yet he never even gets a mention. He was a genius – in fact, according to Erich Wolfgang Korngold, (as told me by Eleanor Aller & Harry Warren himself) he was the best and fastest orchestrator Korngold had ever encountered, high praise indeed from maybe the one man in Hollywod who would know – and it was Heindorf’s ability to provide an endlessly varied treatment of each song that allowed Berkeley to come by away with making a number lasting a quarter of an hour without we, the viewer (and listener) ever getting bored with the tune!
Well, in spite of these shortcomings, it is incredible to have these at last in better than average prints (and in the case of 42nd Street, fantastic prints!) and of course, the historic trailers & shorts are all marvellous to have at last, rescued from the vaults.
However, I hope next time Turner puts out a major collection, somebody will hold the grief to compose a tribute to Ray Heindorf. It’s long overdue.
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September 3rd, 2010
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