This is classic British comedy at it's best! This DVD box set contains all 30 hilarious Carry On movies plus a host of DVD extras! Starring: Kenneth Williams Charles Hawtrey Jim Dale Joan Sims Barbara Windsor Hattie Jacques Windsor Davies Valerie Leon Peter Butterworth Bernard Bresslaw Terry Scott Bill Maynard Phil Silvers Patsy Rowlands and Frankie Howerd. Episodes Comprise: Carry On Sergeant Carry On Nurse Carry On Teacher Carry On Constable Carry On Regardless Carry On Cruising Carry On Cabby Carry On Jack Carry On Spying Carry On Cleo Carry On Cowboy Carry On Screaming! Carry On Don't Lose Your Head Carry On Follow That Camel Carry On Doctor Carry On Up the Khyber Carry On Camping Carry On Again Doctor Carry On Up the Jungle Carry On Loving Carry On Henry Carry On at Your Convenience Carry On Matron Carry On Abroad Carry On Girls Carry On Dick Carry On Behind Carry On England That's Carry On!' and 'Carry On Emmanuelle Special Features: 30 feature-length audio commentaries Trailers All 13 Episodes of the ATV situation comedy series: 'Carry On Laughing' Archive interviews with Sid James Terry Scott and Phil Silvers On location featurette hosted by June Whitfield The official 40th anniversary documentary: 'What's A Carry On?' Textless footage from 'Carry On Jack' and 'Carry On Spying' An alternative Director's cut presentation of 'Carry On England' Extensive production notes for all 30 films Stills Gallery
Film buffs and critics can argue until their faces turn blue about whether this lavish Dickensian musical deserved the Academy Award for Best Picture of 1968, but the movie speaks for itself on grandly entertaining terms. Adapted from Dickens's classic novel, it's one of the most dramatically involving and artistically impressive musicals of the 1960s, directed by Carol Reed with a delightful enthusiasm that would surely have impressed Dickens himself. Mark Lester plays the waifish orphan Oliver Twist, who is befriended by the pick-pocketing Artful Dodger (Jack Wild) and recruited into the gang of boy thieves led by Fagin (played to perfection by Ron Moody). The villainous Bill Sikes (Oliver Reed) casts his long shadow over Oliver and his friends, but the young orphan is still able to find loving care in the most desperate of circumstances. Full of memorable melodies and splendid lyrics, Oliver! is a timeless film, prompting even hard-to-please critic Pauline Kael to call it "a superb demonstration of intelligent craftsmanship," and to further observe that "it's as if the movie set out to be a tribute to Dickens and his melodramatic art as well as to tell the story of Oliver Twist". --Jeff Shannon, Amazon.com
The most widely seen movie produced by a Hollywood studio, The Sound of Music grows fresher with each viewing. Though it was planned meticulously in pre-production (save for the scene where Maria and the children take a dipping in an Austrian lake that nearly cost a life), on each viewing one is struck anew by the spontaneous almost improvisatory air of the acting, notably of Julie Andrews under Robert Wise's direction. There are also the little human touches he brings to, for instance, the scene where Maria leads the children to the hills, over bridges and along tow paths where the smallest boy trips up and momentarily gets left behind: it creates a feeling that most of us have encountered. From the opening pre-credit sequence of muted excitement as the camera roves over the Austrian Alps (photographed in magnificent colour), where little phrases from the wind instruments on the soundtrack are flung as if on the breeze, foreshadowing the title song to follow, the production never puts a foot wrong. On the DVD: On the first disc the film itself has never looked or sounded better since its original presentation in Todd AO (prints of which are said to have disappeared forever). The disc also contains a separate audio guide that takes the viewer through the film sequence by sequence, with director Robert Wise commenting on the weather, the production design by Boris Leven, the sequences filmed on location and in Hollywood (like the interiors of the Von Trapp villa), and the naming of other actors who were eager for the lead roles, notably Doris Day and Yul Brynner. On the second disc there are the documentaries. "Salzburg Sight and Sound" was Charmian Carr's own record of her time on location in the summer of 1964, playing Liesl, the eldest Von Trapp daughter. "From Fact to Fiction", running two hours, begins with the birth of Maria in 1905 who inspired the film, charts her subsequent marriage to Captain Von Trapp, their escape from Nazi Germany not across the Alps but via a train across the Italian boarder, their home in Vermont and thence to the German film of the family that was brought to the attention of Rodgers and Hammerstein as an ideal vehicle for a stage musical. A second group of documentaries covers previews, television and radio commercials and a 1973 interview with Wise and Andrews. Overall, this is a marathon package but in its way is as compelling as the film itself. --Adrian Edwards
Classic musical adaptation of the L. Frank Baum novel starring Judy Garland, Ray Bolger, Bert Lahr and Jack Haley. A tornado whisks Dorothy (Garland) and her house from Kansas to Munchkin City, squashing the Wicked Witch of the East upon landing. The Wicked Witch of the West (Margaret Hamilton) vows revenge, while Dorothy sets off on the yellow brick road to see the Wizard of Oz (Frank Morgan), hoping he can tell her how to get home. On the way she makes friends with a scarecrow (Bolger), a t.
An ingenue insinuates herself in to the company of an established but aging stage actress and her circle of theater friends.
Throughout film history, Hollywood has produced a number of sweeping epics and generation-defining movies. However, one film – Cecil B. DeMille's The Ten Commandments – has stood the test of time. Universally recognised among critics as a cinematic masterpiece, this unforgettable motion picture has also been recognised by The American Film Institute as one of the 'Top Ten' epics of all time. From its Academy Award-winning director* and revolutionary Oscar-winning special effects** to its memorable music score and all-star cast, The Ten Commandments presents the story of Moses in all of its stunning glory. Starring Charlton Heston, Yul Brynner, Anne Baxter and a 'who's who' of legendary screen talent, the film was nominated for seven Academy Awards, including Best Picture of 1956***. Special Features: 3 Theatrical Trailers 1956, 1966 and 1989 (1959 - PAL 4272459, NTSC 4272457) *Winner: Best Director (Cecil B. DeMille), The Greatest Show On Earth, 1952. **Winner: Best Special Effects (John Fulton), 1956. ***Additional Oscar nominations (1956): Picture; Cinematography – Colour; Art Direction/Set Decoration; Costume Design – Colour; Film Editing; and Sound Recording.
The girl's first live concert at the Royal Albert Hall is in just five day's time. With trusty bus driver Dennis (Meatloaf) at the wheel they hurtle from guest appearances to parties photoshoots and even dance camp! But when evil tabloid editor Kevin McMaxford steps up his campaign against them their best friend goes into labour and their manager collapses in hysterics the girls must draw on all their Girl Power to make it to the show on time...
Billy Liar was the multimedia phenomenon of its era. Starting out as a novel by Yorkshire writer Keith Waterhouse, it rapidly became a long-running stage play, adapted by Waterhouse with playwright Willis Hall, which lead to the movie, scripted by Waterhouse and Hall for John Schlesinger to direct, then a stage musical and finally a spin-off TV series. Do you get the feeling it caught the mood of the times? The basic set-up owes a lot to James Thurber's classic short story The Secret Life of Walter Mitty. Our hero, Billy Fisher, lives at home in a Bradford semi with his nagging parents and works as a lowly clerk in an undertaker's parlour. But, in his imagination he lives a rich and varied fantasy life as gallant military leader, suave socialite, best-selling novelist and so forth. Trouble is, he can't always keep fantasy and reality apart, any more than he can the keep two girls he's engaged to separate. Not to mention his other problems . Schlesinger's direction brings out the desperation behind the comedy, and Tom Courtenay, at once defiant and hangdog, slips perfectly into the role created on stage by Albert Finney. But the whole cast's a joy, not least the great Leonard Rossiter as undertaker Mr Shadrach, Billy's saturnine boss. And then there's Julie Christie--the luminous spirit of the Swinging 60s--in her first starring role as the girl who offers Billy a chance of real escape. At the end, when she takes the train to London, away from the smoke and the grimness "oop" north, the whole British New Wave went with her. On the DVD: just the theatrical trailer which is a fairly crass affair. There's been no remastering, it seems, but both sound and vision are clean enough and the print preserves the original's full 2.35:1 widescreen ratio. --Philip Kemp
Joseph Mankiewicz's moody classic is less ghost story than romantic fantasy, a handsome 1947 drama of impossible love. Independent young widow Lucy Muir (the luminous Gene Tierney), desperate to escape her uptight in-laws, falls in love with a grand seaside house and moves in, only to discover the cantankerous ghost of the hot-tempered Captain Gregg (a histrionically flamboyant performance by Rex Harrison). Lucy refuses to let the bombastic captain frighten her away, earning his respect, his friendship, and later his love. They team up to turn the captain's salty memoirs into a bestseller, but as his affection grows he fades away, leaving Lucy free to undertake a more worldly suitor, notably a charismatic children's author (George Sanders at his smarmy smoothest) with his own guarded secret. Charles Lang's melancholy black-and-white photography and Bernard Herrmann's haunting score set the tone for this sublime adult drama, and Tierney delivers one of her most understated performances as the resolute Mrs. Muir. Mankiewicz turns this ghost story into a refreshingly mature and down-to-earth romance. --Sean Axmaker
Spinning off from the incredibly popular 1960s sitcom and its BAFTA-winning 1970s sequel, James Bolam and Rodney Bewes star as Terry Collier and Bob Ferris, two life-long friends with vastly different outlooks on life! Written by comedy legends Dick Clement and Ian la Frenais - who would go on to further success with series like Porridge and Auf Wiedersehen, Pet - The Likely Lads is presented here as a brand-new High Definition transfer from the original film elements in its original theatrical aspect ratio. Thelma's continued annoyance at her husband Bob's disruptive friend shows no sign of abating. But when Terry lands himself a new girlfriend Thelma sees her chance to finally get Terry married off and out of her and Bob's life forever! Her solution of touring the north of England in a caravan, however, leaves a lot to be desired...
The Robe was designed by 20th Century-Fox to show off the wonders of CinemaScope, and taken simply as a vehicle for widescreen photography the movie is undeniably a visual treat. Perhaps the clumsy early 'Scope cameras were partly to blame, but from any other perspective--plot, dialogue and acting--The Robe is a flat, overly reverential and turgid piece of film making. Richard Burton is the Roman Centurion on duty at Christ's crucifixion who bets on and wins Jesus' robe, then spends the rest of the movie agonising about becoming a Christian. Victor Mature is his sanctimonious slave Demetrius. So confident were the producers of box-office success that they commissioned the sequel, Demetrius and the Gladiators, even before The Robe had been released. --Mark Walker
An iconic film of the German expressionist cinema and one of the most famous of all silent movies F. W. Murnau's Nosferatu: A Symphony of Horror continues to haunt - and indeed terrify - modern audiences with the unshakable power of its images. By teasing a host of occult atmospherics out of dilapidated set-pieces and innocuous real-world locations alike Murnau captured on celluloid the deeply-rooted elements of a waking nightmare and launched the signature Murnau-style that would change cinema history forever. In this first-ever screen adaptation of Bram Stoker's Dracula a simple real-estate transaction leads an intrepid businessman deep into the superstitious heart of Transylvania. There he encounters the otherworldly Count Orlok - portrayed by the legendary Max Schreck in a performance the very backstory of which has spawned its own mythology - who soon after embarks upon a cross-continental voyage to take up residence in a distant new land... and establish his ambiguous dominion. As to whether the count's campaign against the plague-wracked populace erupts from satanic decree erotic compulsion or the simple impulse of survival - that remains perhaps the greatest mystery of all in this film that's like a blackout... Remade by Werner Herzog in 1979 (and inspiring films as diverse as Abel Ferrara's King of New York and The Addiction and E. Elias Merhige's Shadow of the Vampire) F. W. Murnau's surreal 1922 cine-fable remains the original and landmark entry in the entire global tradition of the horror film. The Masters of Cinema Series is proud to present newly restored on 1080p Blu-ray at long last Nosferatu: A Symphony of Horror in its definitive restoration complete with original intertitles and accompanied by the score that played with the film at the time of its initial release. Special Features: Brand new high-definition restoration by Friedrich-Wilhelm-Murnau-Stiftung Two audio commentaries: one newly recorded by film historian David Kalat; the second by historian R. Dixon Smith and critic Brad Stevens The Language of Shadows a 53-minute documentary on Murnau's early years and the filming of Nosferatu New video interview with BFI Film Classics Nosferatu author Kevin Jackson Newly translated English subtitles with original German intertitles More surprises to be revealed closer to release date! PLUS: a 56-page booklet featuring writings and rare imagery
Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder. Photographer L.B. "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered. Hitchcock scholar Donald Spoto convincingly argues that the crime at the center of this mystery is the MacGuffin--a mere pretext--in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbors (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbours' lives. At minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humour, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. --Sam Sutherland
Sister sister oh so fair why is there blood all over your hair? The film that paired two of the greatest screen-actresses not only lived up to its promise but provided years of Hollywood gossip at the expense of the two warring stars! Baby Jane (Davis) was a child star. When she grows up she is forgotten by the public. Instead her sister Blanche (Crawford) becomes famous as a Hollywood actress overshadowing her sister who is increasingly bitter. After a mysterious car ac
In this poignant and humorous love story nominated for four Academy Awards, Cary Grant and Deborah Kerr meet on an ocean liner and fall deeply in love. Though each is engaged to someone else, they agree to meet six months later at the Empire State Building if they still feel the same way about each other. But a tragic accident prevents their rendezvous and the lovers' future takes an emotional and uncertain turn.
Blarney and bliss, mixed in equal proportions. John Wayne plays an American boxer who returns to the Emerald Isle, his native land. What he finds there is a fiery prospective spouse (Maureen O'Hara) and a country greener than any Ireland seen before or since--it's no surprise The Quiet Man won an Oscar for cinematography. It also won an Oscar for John Ford's direction, his fourth such award. The film was a deeply personal project for Ford (whose birth name was Sean Aloysius O'Fearna), and he lavished all of his affection for the Irish landscape and Irish people on this film. He also stages perhaps the greatest donnybrook in the history of movies, an epic fistfight between Wayne and the truculent Victor McLaglen--that's Ford's brother, Francis, as the elderly man on his deathbed who miraculously revives when he hears word of the dustup. Barry Fitzgerald, the original Irish elf, gets the movie's biggest laugh when he walks into the newlyweds' bedroom the morning after their wedding and spots a broken bed. The look on his face says everything. The Quiet Man isn't the real Ireland but as a delicious never-never land of Ford's imagination, it will do very nicely. --Robert Horton
One of several features pairing British screen sweetheart Anna Neagle with the ever-popular Michael Wilding, this jaunty 'upstairs-downstairs' romantic comedy could hardly have failed to triumph at the box-office, and Spring in Park Lane would indeed prove the most successful British film of 1948 - its fairytale scenes and witty reversal of social roles offering cinemagoers a welcome antidote to post-war austerity. The film, which also marked another major success for Neagle's husband, direct.
With her husband Tim off at war Anne Hilton (Colbert) struggles to be a pillar of strength for her daughters Jane (Jones) and Bridget (Temple). During America's darkest hours she bravely steers her girls through heartbreak and hardships as she eagerly awaits news from overseas and wonders if life will ever be the same.
Full Circle: The TARDIS falls through a CVE into E-Space and arrives on the planet Alzarius. There the inhabitants of a crashed Starliner and a group of young rebels called the Outlers led by a boy named Varsh and including his brother Adric are being terrorised by a race of Marshmen who emerge from the marshes at a time known as Mistfall. State Of Decay The Doctor Romana K9 and Adric - an Outler from Alzarius who has stowed away aboard the TARDIS - arrive on a planet where the native villagers live in fear of 'the Wasting' and of three Lords named Zargo Camilla and Aukon who rule from an imposing Tower. The Lords are soon revealed to be vampire servants of the last of the Great Vampires a race referred to in Time Lord mythology. Warrior's Gate: The TARDIS is hijacked in the vortex by a time sensitive Tharil named Biroc and brought to a strange white void. Biroc wants to free the others of his race who are being transported in a slave ship captained by Rorvik which is also trapped in the void. The only other thing present in the void is an ancient gateway leading to a decrepit banqueting hall.
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