Beautiful Character

The Camden Black Entertainment center 64 by American Drew is manufactured in traditional style. The Camden Black homeentertainment center accents simple forms with quiet traditional reference gentle curves and a beautiful rustic black finish that lets the character of the wood show through.This black TV stand and media storage consoleis usually in stock and ships to you at no additional charge.Features:Black Color finishPoplar solids, maple and ash veneersSelect hardwoodsTraditional styleBrushed nickel finish hardware2 doors w/1 adj. shelf on each side, 2 adj.shelves in center, 1 fixed shelf,Outside opening: w19 d21 h19,Center opening: w20 d21h19Finish:Rustic BlackDimension:Entertainment Center 64" (American Drew Model# 919-586 ): W64 D24 H28"

Add this beautiful buffet to your dining room for stylish storage that you will love. This contemporary design, available in two distinct finishes, will look great in a dining room for casual or formal dining. The buffet base features two drawers that are ideal for storage of silverware and small linens, while three doors below offer plenty of enclosed storage for larger dining items. Simple hardware accents the piece for a lovely finishing touch. Clean lines and a shaped apron give this buffet just enough character, making it the perfect choice for your home. Dimensions:34H x 49W x 18D Some assembly may be required. Please see product details.

SOUNDTRACK LA BELLA Y LA BESTIA

Way back in 1991, many of us saw the single-handed salvation and revival of the old-fashioned American-style Broadway musical comedy. True, it was in the form of a feature-length Disney cartoon, but Beauty and the Beast had it all: a wonderful, tuneful score (including a huge hit title-song), off-the-wall choreography, a great opposites-attract love story with an ultimately happy ending, comic subplots, colorful period costumes, a romantic location in small-town France, and an irresistible cast, including Angela Lansbury as the voice of a teapot. Alan Menken's songs, with lyrics by Howard Ashman and Tim Rice, literally introduced the characters ("Belle" and "Gaston") and carried them gracefully through the old fairy tale with its new animated twists. Disney understandably decided to transpose this cinematic miracle to the Broadway stage in 1992. Beauty and the Beast at the fabled Palace Theatre has done as much as anything to revive New York's theatre district; it led to a similar animated film-to-stage transfer of The Lion King, which allowed for the magnificent restoration of the 1902 New Amsterdam Theatre, which was the cornerstone of the cleanup of 42nd Street, which in turn transformed Times Square and "Broadway" into the world's number-one tourist destination. And we're all terribly grateful. But, on stage, Beauty and the Beast was flat, and most of that lack of fizz is, alas, captured on compact disc. The good songs are all here, such as "Be Our Guest," but the performances of them are mostly perfunctory--the exception being the vocal renderings of Susan Egan as Belle, the Beauty. Further, the Disneyfication of the Broadway musical seems to extend to faceless and interchangeable (read: cheap to hire) players, a practice that extends to The Lion King. The only "names" in the original Beauty and the Beast cast were Beth Howland as the teapot and Tom Bosley, a mere shadow of his former Fiorello, as Belle's father. Even worse, unlike The Lion King, Beauty and the Beast was not reinvented for the stage. It's my theory that the kids who made up the live audience (and many of their parents) were filling in the blanks from repeated viewings of the cartoon on video. If you're willing to do the same when only listening, this CD might do. But why, when the movie soundtrack album is available? --Robert Windeler

17 tracks from the Broadway show.

The cast recording for the Broadway musical of John Waters's 1988 paean to dance, music, big beautiful women, and integration is a sheer delight. It's wonderfully upbeat all the way through, with a classic feel that's in keeping with the story's setting in the early 1960s. The characters come alive in these songs, from Marissa Jaret Winokur's (Tracy Turnblad) opening lines in "Good Morning Baltimore" to the stunningly upbeat finale, "You Can't Stop the Beat." The music is by Marc Shaiman, whose recent projects include South Park: Bigger, Longer & Uncut, as well as a number of film soundtracks, and his compositions are simultaneously solid and exuberant. Shaiman and Scott Wittman's lyrics brim over with the unreserved passions and primary-color emotions that made the film so successful. Regardless of one's familiarity with the story or the stage production, it's hard to avoid the appeal of this recording; even the less cheerful songs are awash in bright colors, without disrespect for their subjects. --Genevieve Williams

Filmed before (and quite nicely) in 1949, Frances Hodgson Burnett's classic children's story was remade for this admirable 1993 release, executive produced by Francis Ford Coppola and directed by acclaimed Polish filmmaker Agnieszka Holland. Splendidly adapted by Edward Scissorhands screenwriter Caroline Thompson, the film opens in India during the early 1900s, when young Mary Lennox (Kate Maberly) is orphaned and sent to England to live in Misselthwaite Manor, the gloomy estate of her brooding and melancholy uncle, Lord Craven (John Lynch). Because the uncle is almost always away on travels, struggling to forget the death of his beloved wife, Mary is left mostly alone to explore the estate. Eventually she befriends the young brother of a staff maid and Lord Craven's apparently crippled son, who has been needlessly bedridden for years. Together the three children restore a neglected garden on the estate grounds, and in doing so they set the stage for a moving reaffirmation of life and love. Filmed with graceful style and careful attention to the intelligence and cleverness of young children, The Secret Garden is that rarest breed of family film that transcends its own generic category, encouraging a sense of wonder and optimism to become a rewarding experience for viewers of any age. --Jeff Shannon

Filmed before (and quite nicely) in 1949, Frances Hodgson Burnett's classic children's story was remade for this admirable 1993 release, executive produced by Francis Ford Coppola and directed by acclaimed Polish filmmaker Agnieszka Holland. Splendidly adapted by Edward Scissorhands screenwriter Caroline Thompson, the film opens in India during the early 1900s, when young Mary Lennox (Kate Maberly) is orphaned and sent to England to live in Misselthwaite Manor, the gloomy estate of her brooding and melancholy uncle, Lord Craven (John Lynch). Because the uncle is almost always away on travels, struggling to forget the death of his beloved wife, Mary is left mostly alone to explore the estate. Eventually she befriends the young brother of a staff maid and Lord Craven's apparently crippled son, who has been needlessly bedridden for years. Together the three children restore a neglected garden on the estate grounds, and in doing so they set the stage for a moving reaffirmation of life and love. Filmed with graceful style and careful attention to the intelligence and cleverness of young children, The Secret Garden is that rarest breed of family film that transcends its own generic category, encouraging a sense of wonder and optimism to become a rewarding experience for viewers of any age. --Jeff Shannon

Filmed before (and quite nicely) in 1949, Frances Hodgson Burnett's classic children's story was remade for this admirable 1993 release, executive produced by Francis Ford Coppola and directed by acclaimed Polish filmmaker Agnieszka Holland. Splendidly adapted by Edward Scissorhands screenwriter Caroline Thompson, the film opens in India during the early 1900s, when young Mary Lennox (Kate Maberly) is orphaned and sent to England to live in Misselthwaite Manor, the gloomy estate of her brooding and melancholy uncle, Lord Craven (John Lynch). Because the uncle is almost always away on travels, struggling to forget the death of his beloved wife, Mary is left mostly alone to explore the estate. Eventually she befriends the young brother of a staff maid and Lord Craven's apparently crippled son, who has been needlessly bedridden for years. Together the three children restore a neglected garden on the estate grounds, and in doing so they set the stage for a moving reaffirmation of life and love. Filmed with graceful style and careful attention to the intelligence and cleverness of young children, The Secret Garden is that rarest breed of family film that transcends its own generic category, encouraging a sense of wonder and optimism to become a rewarding experience for viewers of any age. --Jeff Shannon

Our reclaimed wood style louvered cafe doors are master crafted from exotic wood and come unfinished - ready to paint or stain. The cafe door's wood grain & color is akin to a cross between American Ash & Patagonian Maple with the beautiful characteristics of reclaimed wood. Cafe Door set comes as a pair with cafe doors hinges and installation instructions. Please allow up to 15 days for custom cafe doors to ship. If you need your order sooner, contact us to see if we can accommodate your request. ::::: For questions or custom cafe doors contact us at 1-630-355-1145 or email us: customerservice@ddcindustry.com :::::

Our reclaimed wood style louvered cafe doors are master crafted from exotic wood and come unfinished - ready to paint or stain. The cafe door's wood grain & color is akin to a cross between American Ash & Patagonian Maple with the beautiful characteristics of reclaimed wood. Cafe Door set comes as a pair with cafe doors hinges and installation instructions. Please allow up to 15 days for custom cafe doors to ship. If you need your order sooner, contact us to see if we can accommodate your request. ::::: For questions or custom cafe doors contact us at 1-630-355-1145 or email us: customerservice@ddcindustry.com :::::

Director Franco Zeffirelli's exceptional version of Shakespeare's immortal tale casts young unknowns Olivia Hussey and Leonard Whiting as the teenage lovers crossed by the stars and doomed by the animosity felt between their families, the Montagues and the Capulets. Co-stars Michael York, Milo O'Shea, John McEnery; narrated by Laurence Olivier. 138 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital mono; Subtitles: English; theatrical trailer.

Franco Zeffirelli's 1968 adaptation of Shakespeare's Romeo and Juliet was unique in its day for casting kids in the play's pivotal roles of, well, kids. Seventeen-year-old Leonard Whiting and 15-year-old Olivia Hussey play the titular pair, the Bard's star-crossed lovers who defy a running feud between their families in order to be together in love. Typically played on stage and in previous film productions by adult actors, the innocent look and rawness of Whiting and Hussey resonated at the time with a burgeoning youth movement from San Francisco to Prague. The tragic romance at the center of the story also clicked with anti-authority sentiments, but even without that, Zeffirelli scores points by validating the ideals and passions of strong-willed adolescents. Less successful are scenes requiring the actors to have a fuller grasp of the text, though the best thing going remains the unambiguous duel between Romeo and Tybalt (Michael York). Lavishly photographed by Pasquale de Santis on location in Italy, this Romeo and Juliet brought a different tone and dimension to a story that had become tiresome in reverential presentations. --Tom Keogh

Beautiful adventure based on William Farley's best-selling series. A young boy is shipwrecked off the African coast with a magnificent horse and gains its trust. Later the pair become champion racers. Mickey Rooney, Teri Garr, and Kelly Reno star. 117 min. Standard and Widescreen; Soundtracks: English Dolby Digital Surround, French Dolby Digital mono, Spanish Dolby Digital mono; Subtitles: English, French, Spanish; theatrical trailer.

Adapted from the beloved novel by Walter Farley, this 1979 family classic was hailed by no less than hard-to-please critic Pauline Kael, who wrote that "it may be the greatest children's movie ever made." A visual feast from start to finish, the timeless tale of The Black Stallion plays out on almost mythic terms. A young boy survives a shipwreck and is stranded on a deserted island with a graceful black stallion, with whom the boy develops an almost empathic friendship. After being rescued and returning home, the two make a winning team as jockey and lightning-fast racehorse under the tutelage of a passionate trainer, played by Mickey Rooney in an Oscar-nominated role. From its serenely hypnotic island sequence to the breathtaking race scenes, this delightful film is guaranteed to enthrall any viewer, regardless of age. The Black Stallion is a genuine masterpiece of family entertainment. --Jeff Shannon

Woody Allen's exotic romantic comedy finds Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) on holiday in Spain when they meet--and both fall for--a charismatic painter (Javier Bardem). As if this triangle didn't present enough neurotic difficulties, things take a turn for the stranger, and even more sensual, when the artist's ex-wife (Best Supporting Actress Oscar-winner Penelope Cruz) throws herself into the mix. Patricia Clarkson, Kevin Dunn, Chris Messina co-star. 97 min. Widescreen (Enhanced); Soundtrack: English Dolby Digital stereo; Subtitles: English (SDH), Spanish.

It must be true that getting out of town can do a fellow a lot of good, because Vicky Cristina Barcelona is the best movie Woody Allen has made in years. Okay, you're right, 2006's Match Point already claimed that honor and, as Allen's first film made in England, established the virtues of getting away from overfamiliar territory (namely Manhattan). But the Woodman's first film made in Spain matches the ice-cold Match Point for crisp authority, and yields a good deal more sheer pleasure besides. Rebecca Hall (Vicky) and Scarlett Johansson (Cristina) play two young Americans, best friends, spending a summer in Catalonia. Vicky is going for a master's in "Catalan identity" (though her Spanish is shaky); Cristina is going along for, oh, just about anything. That soon includes celebrated abstract artist Juan Antonio (Javier Bardem), who's anything but abstract in his forthright proposition that the two join him in his private plane, his travels, and his bed. That he has an insane ex-wife, Maria Elena (Penélope Cruz), who may or may not have tried to kill him is not really an issue until the wife reappears and ... well, consider the possibilities. Vicky Cristina Barcelona isn't exactly a comedy, at least not in the manner of Allen's "early, funny ones," but it's informed by a rueful wit that finds its fullest expression in reflective voiceover commentary. Spoken by Christopher Evan Welch, but surely on behalf of the 73-year-old auteur, this element of the film is neither (as some have charged) patronizing nor uncinematic; rather, it's integral to the movie's participation in a venerable European literary tradition, the sentimental education. Instead of Bergman or Fellini, this time Allen is invoking the François Truffaut of Jules and Jim and Eric Rohmer in his many meditations on the game of love. The entire cast is terrific (both Hall and Johansson get to play "the Woody part" at different points), with Bardem and Cruz especially delightful as exemplars of Old Worldliness. Cinematographer Javier Aguirresarobe honors every drop of Catalonian sunlight and glint of Gaudí architecture. --Richard T. Jameson Stills from Vicky Cristina Barcelona (Click for larger image)

The sweetie of the leader of the pack, Minnie Mouse adds character to any party. This life size stand up is made of cardboard and easy to assemble.