ELIZABETH TAYLOR SIGNATURE COLLECTION
TAYLOR, ELIZABETH

What a great way to view the first half of her career all in one fell swoop. In National Velvet, of course, she plays young Velvet Brown, the most beautiful little girl ever born, with a love for her horse that knows no bounds. What a shame injury prevented her from playing in International Velvet for Bryan Forbes many years later, though Nanette Newman was very good in the part as well. In FATHER OF THE BRIDE, Taylor is all of a sudden very grown up, and Vincente Minnelli really showcases her youthful beauty and high spirits and passionate nature. The movie is wonderful with details, and although it is really Spencer Tracy's story, both Taylor and her look-alike movie mom, Joan Bennett, have some great scenes and both look ravishing. Yes, Liz was all grown up but the movie doesn't really go to the place of sexuality in the same way that Richard Brooks' CAT ON A HIT TIN ROOF does. Taylor kind of wears that white slip, otherwise it looks like it's falling off of her, and Paul Newman seems suitably aroused, and yet the whole premise of the picture is that for some reason, and what could it be, he's just not up to having sex with her. It's a very funny movie despite its torrid plotline and the sterling performances of all concerned. While Taylor received the Oscar for BUTTERFIELD 8, the final movie of our quartet, she really should have been handed the statuette for her superior work in CAT. As Maggie she created an indelible image that ranks with her finest work (such as PLACE IN THE SUN and WHO'S AFRAID OF VIRGINIA WOOLF). This DVD set is a good bargain and the films themselves have rarely looked better, though there is some flaking around the edges during early reels of BUTTERFIELD 8.


Price: $25.66

FRED ASTAIRE & GINGER ROGERS SIGNATURE COLLECTION, Vol. 1
(Top Hat / Swing Time / Follow the Fleet / Shall We Dance / The Barkleys of Broadway) (1935)

Fans of classic movie musicals will be in heaven with Astaire & Rogers Collection, Vol. 1, featuring the DVD debut of five films of Fred Astaire and Ginger Rogers, the quintessential dancing duo. The two gems of the set are Top Hat (1935), generally considered their definitive movie, and Swing Time (1936), which many consider their most enjoyable. Follow the Fleet (1936), Shall We Dance (1937), and The Barkleys of Broadway (1949) fill out the set, each with its own charms. Follow the Fleet The Astaire-Rogers films mix light romantic comedy (usually centered around mistaken identities and ending, inevitably, in blissful wedding promises) with elegant dinner wear and surreal sets intended to transport '30s audiences away from the Depression to such locales as Rio, Paris , and Venice . The two stars are also aided by a recurring stable of RKO players such as Edward Everett Horton (master of the double-take), Eric Blore, and Helen Broderick. And then there's that sensational dancing set to great songs by the likes of Irving Berlin, George and Ira Gershwin, and Jerome Kern, numbers that are not merely entertaining but also innovative for their time in that they reveal character and advance the plot. Add it all up, and you have a recipe for an irrepressible joie de vivre that practically defines the movie musical. With a score by Irving Berlin, Top Hat is most famous for two numbers, Astaire's definitive tuxedo setting "Top Hat, White Tie, and Tails" and the feathery duet "Cheek to Cheek." But other joys include Astaire's "Fancy Free" declaration, "Isn't It a Lovely Day," and the grand finale "The Piccolino." Favorite musical moments in Swing Time include the set-piece "Pick Yourself Up," in which Rogers "teaches" Astaire to dance before they break into a spectacular number; the farewell ode "Never Gonna Dance," and the Oscar-winning "Just the Way You Look Tonight," from the team of Jerome Kern and Dorothy Fields. Swing Time Follow the Fleet changes the pace a bit, with Astaire playing a sailor, and it suffers from making him and Rogers the second-banana couple to the dull Randolph Scott and Harriet Hilliard. But it still has plenty of laughs and some classic Irving Berlin numbers, including "Let Yourself Go," which Rogers sings before she and Astaire compete in a dance contest; a Rogers solo tap number; "I'm Putting All My Eggs in One Basket," their best comic dance. The pièce de résistance is "Let's Face the Music and Dance," a show within a show in which the pair dons their customary evening formals. Effortlessly flowing from pantomime to song to dance, this sublime piece of storytelling is one of the series' defining moments. Shall We Dance has a complex plot that has Astaire and Rogers actually getting married before the final credits roll, and turns George and Ira Gershwin's brilliant "They Can't Take That Away from Me" into a heartbreaking ode. Other great songs include "Slap That Bass," "They All Laughed," and "Let's Call the Whole Thing Off," unforgettably performed on roller skates. The Barkleys of Broadway is the oddity, reuniting the stars 10 years after their last RKO picture when Judy Garland had to be replaced due to health problems. It's trademark MGM: splashy colors, Fred in a gimmicky solo number (playing sorcerer's apprentice to a line of unoccupied shoes), Oscar Levant providing his usual dynamic pianism and acerbic personality, and a score that is at its best when it borrows songs from a previous generation (including the big ballroom number set to "They Can't Take That Away from Me"). The film falls short of their best work, but serves as a fond remembrance of the most glorious partnership in film history.


Price: $53.88

Ronald Reagan - The Signature Collection
Ronald Reagan

The movie star who would be president is remembered with his own DVD five-pack, all culled from Warner Bros. titles made between 1940 and 1952. It's a good sampling of Reagan's relatively brief movie-star prime: a second lead in good movies and leading man in lesser properties. Athletic, cornfed, and energetic, Reagan's persona in these movies foreshadows the qualities that voters would later see in the politician. Will this collection convince anybody he was a great actor? Unlikely. But he knew how to embody an idea. The earliest film here is Knute Rockne, All-American, the 1940 biopic of Notre Dame's legendary football coach. Pat O'Brien has the title role in this boilerplate Hollywoodization, and although Reagan's part is small it is pivotal--and it would follow him for the rest of his life. He plays ill-fated Notre Dame player George Gipp, whose deathbed plea to Rockne--"Win just one for the Gipper"--became a national catchphrase. It's an efficient, cornball picture, and a fond childhood memory for anybody who encountered it at an early age. Kings Row (1942) is consensus pick for Reagan's finest screen hour. A big, juicy, and really quite weird melodrama, the film cruises through the creepier side of small-town life, with Reagan in a very appealing groove. He plays the more rascally of the two male leads (Robert Cummings is the sensitive hero), a breezy charmer whose talent with the ladies gets him in trouble. The most lurid twist in the movie leads to Reagan's line, "Where's the rest of me?", which became the title of his autobiography. An extremely entertaining movie, with director Sam Wood inestimably aided by J ames Wong Howe's lush cinematography and Erich Wolfgang Korngold's classic music score. Reagan's career cooled after the Second World War, and he plays a second lead in 1949's The Hasty Heart, an adaptation of a hit play. Set in a military hospital in Burma just after the war, the story hinges on a group of patients concealing a fatal prognosis from an ailing Scotsman (Richard Todd). The creaking of the play is all too apparent, although Todd's performance is expert. Patricia Neal, still new to movies, plays the nurse in charge. Reagan gets to display his photographic memory by reeling off the books of the Old Testament by rote. This one has the sole commentary track in the package, which has the (possibly unique) feature of having the director, Vincent Sherman, begin weeping as he's talking about the film. Storm Warning (1951) is an effective but odd hybrid: part film noir, part socially conscious picture. Ginger Rogers witnesses a Ku Klux Klan killing as she's stopping off in a small town to visit younger sis Doris Day; Day's hubby Steve Cochran is one of the killers. In one of his best roles, a laid-back Reagan plays the uncompromising local district attorney. The film has some superb noir shots in it, but the expose of the KKK is truly tame: although the word "lynching" is used, there's no racial angle to the movie at all. It's more like the Klan is a crime syndicate that needs to be cleaned up. In The Winning Team Reagan plays famed baseball pitcher Grover Cleveland Alexander, whose struggles with illness and alcoholism form the spine of the tepid plot. Doris Day, now top-billed, co-stars as Alexander's supportive wife. The movie pays proper tribute to a legendary baseball moment: Alexander's heroic performance in the 1926 World Series. It's another win for the Gipper.


Price: $46.74