Edward Robinson

JANE SEYMOUR 3rd wife of Henry VIII; died in childbirth; mother of Edward VI .

Victoria Cross awarded to Edward Robinson (1839-93), Able Seaman RN. The medal comprises a bronze Maltese Cross fitted with a loop, ring and a blue ribbon suspended from a bar of ornamental laurel leaves by a V. In the centre of the obverse face is a Royal Crown surmounted by a lion, crowned passant, guardant, both within a ribbon, together with the inscription, .

Victoria Cross awarded to Edward Robinson (1839-93), Able Seaman RN. The medal comprises a bronze Maltese Cross fitted with a loop, ring and a blue ribbon suspended from a bar of ornamental laurel leaves by a V. In the centre of the obverse face is a Royal Crown surmounted by a lion, crowned passant, guardant, both within a ribbon, together with the inscription, .

Get two gangster-movie icons for the price of one as tough police detective Edward G. Robinson faces off for the first time against Humphrey Bogart, the ambitious enforcer for a big-time racketeer. Bogart's effectively the co-star--virtually a one-man crime wave--though he rates only fourth billing behind Eddie G., Joan Blondell, and Barton MacLane. Still, no question it's Robinson's movie; the former "Little Caesar" walks the line beautifully as an honest cop who, unjustly jettisoned from the force, agrees to go to work for the mobster (MacLane) he's long pursued. A fascinating air of fatalism attaches to Robinson's character, whether shrugging off his betrayal by the new police commissioner (and his oldest friend), trading polite threats with his new criminal colleagues, or dismissing the possibility of happiness with the nightclub operator (Blondell) who clearly cares for him. The title is a bit of a misnomer: Despite a rhetorical reference to "ballots" as the public's means of expressing outrage over the costs of crime, it's bullets that get the job done. Bullets and fists: the movie makes clear that Robinson has beaten confessions out of people on many occasions, and in best hardnosed Warner Bros. tradition, it has no illusions about the empty symbolism of crime commissions and grand juries. There's a nice subplot involving Blondell creating the numbers racket as off-hours distraction from her main occupation; her territory is Harlem, and Louise Beavers, usually relegated to maid roles, has spirited fun with the chance to strut as Blondell's partner. William Keighley directed. --Richard T. Jameson

After he's thrown off the force for hitting his superior, ex-cop Edward G. Robinson is hired as an "advisor" by city crime boss Barton MacLane, but gunman Humphrey Bogart doesn't trust him. Top-notch Warner Bros. crime drama also stars Joan Blondell, Joseph King. 82 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English, French, Spanish; audio commentary; featurette; bonus shorts "George Hall and His Orchestra" (1936), "I'm a Big Shot Now" (1936), "How I Play Golf By Bobby Jones #10: Trouble Shots" (1931); newsreel footage; radio show; theatrical trailer. NOTE: This Title Is Out Of Print; Limit One Per Customer.

It's said politics makes strange bedfellows. But it's got nothing on the peculiar marriage of art and history inspired by the tragic events of 9/11/01. Before that day, Daniel Rodriguez was a member of New York's finest, working as an NYPD security officer at the Manhattan South precinct. If it seemed an odd calling for a gifted, operatically trained tenor, it was employment many a journeyman artist could relate to: the proverbial "day job." As it turns out, no police academy in the world could have trained Rodriguez for the crucial role his city's darkest hour thrust upon him. While his colleagues mourned their staggering losses and toiled around the clock in rescue efforts, Rodriguez delivered renditions of "God Bless America" that rallied both his city and his country, much as Kate Smith's version of the Irving Berlin patriotic standard had done at the dawn of WWII. Contemporary jazz great-producer Tom Scott took it from there, showcasing Rodriguez's powerful voice in this deftly arranged album focused sharply on personal and national inspiration. Taking his cue from his own hero, Mario Lanza, Rodriguez instills no small amount of drama in his performances, and it serves him well on tracks like the American folk classic "Shenandoah," a rousing take on Scarlet Pimpernel's "Into the Fire," and the relative Sinatra rarity "The House I Live In." The "God Bless America" here varies from the original single release, with Rodriguez reading the spoken intro once delivered by Mayor Rudolph Giuliani. Is Rodriguez the greatest tenor of modern times? No. But it's hard to imagine a talent better suited to the challenge history has thrust upon him; we're lucky--make that blessed--to have him. --Jerry McCulley

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Packed with more goodies than the latest Acme catalog, this two-disc compilation boasts all of your favorite Warner cartoon cut-ups in classic comedies. Twenty-six shorts--including "Baseball Bugs," "Beep, Beep," "Scrambled Aches," "Daffy Duck and the Dinosaur," "Birds Anonymous," and "Walky Talky Hawky"--are featured. 180 min. total. Standard; Soundtrack: English Dolby Digital mono; Subtitles: English (SDH). NOTE: All of these shorts are included in the "Looney Tunes Golden Collection, Vols. 1-3."

From the moment they met, it was murder. When an insurance man with commission on his mind meets a suburban blond with murder in her heart, it's lust at first sight. Barbara Stanwyck and Fred MacMurray conspire to trick her husband into signing a policy that pays double for accidental death-then push him from a train without leaving tracks. It's a perfect crime until their claim goes to Edward G. Robinson, an insurance investigator who puts a premium on not being swindled. He won't be railroaded into paying until he's sure. And he's a long way from sure. It's all too neat. Too perfect. Something troubles him. He becomes obsessed with the case, trying to find the flaw, stalking the couple, waiting for just one slip. Director Billy Wilder wrote the script with Raymond Chandler from James M. Cain's whiplash novel, and Ms. Stanwyck won an Academy Award nomination. Double Indemnity is a movie so malicious, so satisfying, that it has become one of Hollywood's all-time best suspense thrillers.

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Product Details Actors: Gregory Peck, Omar Sharif, Telly Savalas, Camilla Sparv, Keenan Wynn Directors: J. Lee Thompson Writers: Carl Foreman, Heck Allen Producers: Carl Foreman, Dimitri Tiomkin Format: Color, HiFi Sound, NTSC Rated: NR (Not Rated) Number of tapes: 1 Studio: Sony Pictures VHS Release Date: August 6, 1996 Run Time: 128 minutes

Attempting to do for Westerns what his Guns of Navarone had done for World War II action epics, director J. Lee Thompson crafted Mackenna's Gold as a lavish, absurdly ambitious variation on Erich Von Stroheim's Greed, resulting in a last-gasp Western so eager to encompass the genre's traditions that it turns into a big, silly, wildly entertaining mess. Gregory Peck surely had more serious intentions when he signed on, and he brings prestigious gravitas to his glum role as Marshall Mackenna, who gets shanghaied into searching for the gold-filled canyon of an elusive Apache legend. The rest of the 1969 film labors to undermine Peck's respectable demeanor; how else to explain Omar Sharif as a Mexican villain, Julie Newmar as a hot-blooded Apache temptress (with underwater nude scenes that were celebrated in Playboy magazine), and a jaw-dropping finale that's so ridiculous it's impressive in spite of itself? Formerly blacklisted screenwriter Carl Foreman and composer Dimitri Tiomkin joined up to coproduce the film, and one can only imagine how Anthony Mann or Howard Hawks might've handled Foreman's sensible script. Thompson goes for scenic splendor, heavy action, and heavier emotions, casting everything at a fever pitch that's wildly enjoyable without betraying his "serious" intentions. A stable of Hollywood veterans (Eli Wallach, Raymond Massey, Edward G. Robinson, and others) appear in lively supporting roles--they're all dispatched in a garish Apache ambush--and Camilla Sparv is an ingénue with plenty of fighting attitude. Gold fever reaches its peak, along with some awesome special effects, and divine intervention reaches new heights of intensity. Top it off with José Feliciano's theme song, and you'll be in zany Western heaven. --Jeff Shannon

Studio: Paramount Home Video Release Date: 03/29/2011 Run time: 231 minutes Rating: G

Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that. While graced with such 1950s niceties as VistaVision and Technicolor, The Ten Commandments (DeMille had already filmed an earlier version in 1923) has an anachronistic, impassioned style that finds lead actors Charlton Heston and Yul Brynner expressively posing while hundreds of extras writhe either in the presence of God's power or from orgiastic heat. DeMille, as always, plays both sides of the fence as far as sin goes, surrounding Heston's Moses with worshipful music and heavenly special effects while also making the sexy action around the cult of the Golden Calf look like fun. You have to see The Ten Commandments to understand its peculiar resonance as an old-new movie, complete with several still-impressive effects such as the parting of the Red Sea. --Tom Keogh

Charlton Heston seemed fond of starring in apocalyptic science-fiction films in the late 1960s and early '70s. There was Planet of the Apes, of course, and The Omega Man. But there was also 1973's Soylent Green, a strange detective film (based on Harry Harrison's Make Room! Make Room!) set in 2022 and starring Heston as a Manhattan cop trying to solve a murder in the overpopulated, overheated city. His roommate (a necessity in the overcrowded metropolis), played by Edward G. Robinson, tries telling him about a better time on Earth before there were no more resources or room left; but Heston doesn't care. Directed by Richard Fleischer (The Vikings), the film has a curious but largely successful mix of mystery and bleak futuristic vision, somewhat like Blade Runner but without the extraordinary art direction. This was Robinson's last film and he's easily the best thing about it; his final scene seems terribly appropriate in retrospect. Joseph Cotten makes an appearance as the man whose murder results in the revelation of a shocking secret. --Tom Keogh

Studio: Warner Home Video Release Date: 03/25/2008 Rating: Pg

Legendary silent film director Cecil B. DeMille didn't much alter the way he made movies after sound came in, and this 1956 biblical drama is proof of that. While graced with such 1950s niceties as VistaVision and Technicolor, The Ten Commandments (DeMille had already filmed an earlier version in 1923) has an anachronistic, impassioned style that finds lead actors Charlton Heston and Yul Brynner expressively posing while hundreds of extras writhe either in the presence of God's power or from orgiastic heat. DeMille, as always, plays both sides of the fence as far as sin goes, surrounding Heston's Moses with worshipful music and heavenly special effects while also making the sexy action around the cult of the Golden Calf look like fun. You have to see The Ten Commandments to understand its peculiar resonance as an old-new movie, complete with several still-impressive effects such as the parting of the Red Sea. --Tom Keogh

Cecil B. DeMille's final film was this grand-scale religious epic starring Charlton Heston as Moses, an adopted Egyptian prince chosen by God to abandon a life of luxury and lead his fellow Israelites out of slavery. The flight from Egypt, the parting of the Red Sea, and Moses' receiving of the Commandments are among this classic film's many highlights. With Edward G. Robinson, Yul Brynner, Anne Baxter, Yvonne De Carlo, and a cast of thousands. 3 3/4 hrs. Widescreen; Soundtracks: English DTS HD 5.1 Master Audio, Dolby Digital stereo Surround, French Dolby Digital mono, Portuguese Dolby Digital stereo Surround, Spanish Dolby Digital mono; Subtitles: English (SDH), French, Portuguese, Spanish; audio commentary; newsreel footage; theatrical trailers. Two-disc set.

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W.R. Burnett's brutally wise novel The Asphalt Jungle (1949) tells how the perfect crime can go easily awry when human nature is a factor, as it always is. Told in short, richly atmospheric chapters, the novel details the planning and execution of a major jewel heist. The robbery is devised by Doc Reimenschneider, a master criminal who has just been released from prison and will require the involvement of a number of people--including the muscle and itinerant hood named Dix, an overgrown country boy, andthe fence, a successful but sleazy lawyer named Alonzo Emmerich. The cast of characters will ultimately be the scheme's very downfall in an atmosphere rife with suspicion and double-crossing.The spelling out of the planning in The Asphalt Jungle is fascinating, but what truly grips the audience is the people who are involved and why they come to this point and what the chemistry of the situation does to them. The point of view shifts throughout the novel, providing surprising and deep insights into the characters and our culture at large.The Asphalt Jungle finds an "honest man" in Dix, the petty crook, who in his own way is as decent as the so-called "good guys," the commissioner and the reporter. A man who always seems out of his element, Dix longs to leave the rat race and return to the country setting of his childhood. With that in mind, Dix undertakes involvement in the heist, believing this is the way to make his dream a reality. He comes close--painfully, wistfully close, with punishing irony.ABOUT THE AUTHORWilliam Riley Burnett (1899-1981) was a master of fiction, a skillful writer, contemporary to James M. Cain, Raymond Chandler, and Dashiell Hammett. Burnett authored some 36 novels and either wrote alone or in collaboration 60 screenplays. His novels Little Caesar, High Sierra, The Asphalt Jungle represent a rich vein of thought in contemporary American literature and culture.After he began his career as a writer, Burnett moved to Chicago in the late 1920s at the height of Al Capone's power and sway over the city. It was this atmosphere, Chicago in the '20s and notably the St. Valentine's Day Massacre (Burnett was one of the first people on the scene) that inspired Burnett's first great success Little Caesar, which was made into a film by the same name starring Edward G. Robinson.After this initial success, Burnett had a strong, close working relationship with Hollywood as both a novelist and screenwriter, and eventually found a champion in writer/director John Huston. Burnett collaborated with Huston on the adaptation of High Sierra in 1941 in which Humphrey Bogart redefined himself in the role of Roy Earle. The two men's paths crossed again when Huston filmed The Asphalt Jungle in 1950. The Mystery Writers of America awarded Burnett their highest honor--the prestigious title of Grand Master--at the 1980 Edgar Awards.SERIES DESCRIPTIONSFrom classic book to classic film, RosettaBooks has gathered some of most memorable books into film available. The selection is broad ranging and far reaching, with books from classic genre to cult classic to science fiction and horror and a blend of the two creating whole new genres like Richard Matheson's The Shrinking Man. Classic works from Vonnegut, one of the greatest writers of the twentieth century, meet with E.M. Forster's A Passage to India. Whether the work is centered in the here and now, in the past, or in some distant and almost unimaginable future, each work is lasting and memorable and award-winning.

W.R. Burnett's brutally wise novel The Asphalt Jungle (1949) tells how the perfect crime can go easily awry when human nature is a factor, as it always is. Told in short, richly atmospheric chapters, the novel details the planning and execution of a major jewel heist. The robbery is devised by Doc Reimenschneider, a master criminal who has just been released from prison and will require the involvement of a number of people--including the muscle and itinerant hood named Dix, an overgrown country boy, andthe fence, a successful but sleazy lawyer named Alonzo Emmerich. The cast of characters will ultimately be the scheme's very downfall in an atmosphere rife with suspicion and double-crossing.The spelling out of the planning in The Asphalt Jungle is fascinating, but what truly grips the audience is the people who are involved and why they come to this point and what the chemistry of the situation does to them. The point of view shifts throughout the novel, providing surprising and deep insights into the characters and our culture at large.The Asphalt Jungle finds an "honest man" in Dix, the petty crook, who in his own way is as decent as the so-called "good guys," the commissioner and the reporter. A man who always seems out of his element, Dix longs to leave the rat race and return to the country setting of his childhood. With that in mind, Dix undertakes involvement in the heist, believing this is the way to make his dream a reality. He comes close--painfully, wistfully close, with punishing irony.ABOUT THE AUTHORWilliam Riley Burnett (1899-1981) was a master of fiction, a skillful writer, contemporary to James M. Cain, Raymond Chandler, and Dashiell Hammett. Burnett authored some 36 novels and either wrote alone or in collaboration 60 screenplays. His novels Little Caesar, High Sierra, The Asphalt Jungle represent a rich vein of thought in contemporary American literature and culture.After he began his career as a writer, Burnett moved to Chicago in the late 1920s at the height of Al Capone's power and sway over the city. It was this atmosphere, Chicago in the '20s and notably the St. Valentine's Day Massacre (Burnett was one of the first people on the scene) that inspired Burnett’s first great success Little Caesar, which was made into a film by the same name starring Edward G. Robinson.After this initial success, Burnett had a strong, close working relationship with Hollywood as both a novelist and screenwriter, and eventually found a champion in writer/director John Huston. Burnett collaborated with Huston on the adaptation of High Sierra in 1941 in which Humphrey Bogart redefined himself in the role of Roy Earle. The two men's paths crossed again when Huston filmed The Asphalt Jungle in 1950. The Mystery Writers of America awarded Burnett their highest honor--the prestigious title of Grand Master--at the 1980 Edgar Awards.SERIES DESCRIPTIONSFrom classic book to classic film, RosettaBooks has gathered some of most memorable books into film available. The selection is broad ranging and far reaching, with books from classic genre to cult classic to science fiction and horror and a blend of the two creating whole new genres like Richard Matheson's The Shrinking Man. Classic works from Vonnegut, one of the greatest writers of the twentieth century, meet with E.M. Forster’s A Passage to India. Whether the work is centered in the here and now, in the past, or in some distant and almost unimaginable future, each work is lasting and memorable and award-winning.

"A welcome change from the sloganeering, political mudslinging and products of spin doctors."--The Philadelphia Inquirer Based on the NPR series of the same name, This I Believe features eighty Americans--from the famous to the unknown--completing the thought that the book's title begins. Each piece compels readers to rethink not only how they have arrived at their own personal beliefs but also the extent to which they share them with others.Featuring many renowned contributors--including Isabel Allende, Colin Powell, Gloria Steinem, William F. Buckley Jr., Penn Jillette, Bill Gates, and John Updike--the collection also contains essays by a Brooklyn lawyer; a part-time hospital clerk in Rehoboth, Massachusetts; a woman who sells yellow pages advertising in Fort Worth, Texas; and a man who serves on Rhode Island's parole board.The result is a stirring and provocative trip inside the minds and hearts of a diverse group of people whose beliefs--and the incredibly varied ways in which they choose to express them--reveal the American spirit at its best.