James Caan

Grilling is serious business. "Don" this apron and make them a hot dog they can't refuse! With double pocket in front and waist ties. 65/35 poly/cotton blend; imported. Machine washable.

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From the film that places Midler in The Andrews Sisters' milieu of WWII and showcases her abilities on period material.

1995 reissue of Tangerine Dream's terrific soundtrack to director Michael Mann's 1981 action/ adventure starring James Caan, Tuesday Weld, James Belushi and Willie Nelson. Eight tracks. A Virgin release.

1995 reissue of Tangerine Dream's terrific soundtrack to director Michael Mann's 1981 action/ adventure starring James Caan, Tuesday Weld, James Belushi and Willie Nelson. Eight tracks. A Virgin release.

This original soundtrack to Michael Mann's crime / action flick of the same name was initially released in 1981 on Virgin Records. Remastered & rereleased in 1995 (also by Virgin), this version contains an informative retrospective essay on the Dream's career. Features the tracks 'Beach Theme', 'Dr. Destructo' & six more.

Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh

this product comes ith to vhs tapes

El Dorado doesn't quite have the scope or ambition of Howard Hawks's greatest Westerns, Red River and Rio Bravo. But this relaxed picture, made near the end of Hawks's marvelous career, still shows the steady, sure hand of a master. Hawks reunites with John Wayne, playing a hired gun mixed up in a range war; Robert Mitchum is Wayne's old pal, now a sheriff in the midst of a hopeless drunken bender. James Caan, in one of his first sizable roles, plays a kid who can't shoot straight and wears a funny hat (every character in the movie makes fun of this hat). As the plot moves along, it begins to resemble Rio Bravo rather closely ("I steal from myself all the time," Hawks was fond of admitting). But in El Dorado the heroes are a bit older, their powers a bit weaker; at the end Wayne must revert to a bit of subterfuge in order to get the drop on the steely gunslinger (ice-cold Christopher George) he needs to put down. As relaxed as the movie is, Hawks and Wayne and company are in good spirits, with plenty of broad humor and easy camaraderie on display. Hawks and Wayne would make just one more film, the disappointing Rio Lobo, before ending their fruitful partnership. --Robert Horton

Four-disc boxed set includes "The Godfather," "The Godfather, Part II" and "The Godfather, Part III," and a disc of special features.

Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release as The Godfather Saga. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. --Bruce ReidOn the DVDPeople used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather: Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

People used to say this was Frank Sinatra's world, and the rest of us just lived in it. After watching the multiple special features in the box set The Godfather - Coppola Restoration, one might conclude it's actually time for a cultural and historical revision: This is the Corleone family's world. The rest of us better tread lightly. Actually, the point of the half-dozen or so features crammed onto a disc accompanying the beautifully restored The Godfather, The Godfather II and The Godfather III, is that The Godfather movies have penetrated popular culture in such a deep and meaningful way that they are second-nature to everything. David Chase, creator of and writer on The Sopranos, for example, describes in the featurette "Godfather World" that his hit HBO series was intended to be the story of the first generation of mobsters actually influenced by Francis Ford Coppola's hit trilogy. Joe Mantegna calls the three films "the Italian Star Wars." (Mantegna co-stars in The Godfather III.) Alec Baldwin says no matter what one is doing, one is compelled to stop and watch the films if they're on television. Richard Belzer calls the films "a religion." And so on. A number of people similarly testify in "Godfather World" to the importance and ubiquitousness of The Godfather and its sequels in American life. There's no point in arguing, so its best to move on to the other featurettes, including "The Masterpiece That Almost Wasn't," reviewing in detail much of what has been said about Paramount's mistreatment of Coppola, about casting fights (Steve McQueen as Michael?), about the studio's assumption they were getting a quick-and-dirty B-movie, and about producer Robert Evans' determination to keep his choice of director and unlikely actors under his wing. Fresh information within the special features, however, begins with "… When the Shooting Stopped," a fine study of post-production on The Godfather, with several surprising and fascinating facts. Among emerging details is an explanation of why Michael Corleone's scream toward the end of The Godfather III is silenced out. (Hint: it was meant to be the inverse of a sound effect in the first movie.) "Emulsional Rescue: Revealing The Godfather" talks about the painstaking work of restoring the first two films, beginning with a phone call from Coppola to Steven Spielberg (after the latter's DreamWorks studio became part of the Viacom family) asking if he'd request money from Paramount for restoration work. "The Godfather On the Red Carpet is a negligible series of fawning statements about the movie from hot young actors, while "Four Short Films" are brief and enjoyable takes on different aspects of The Godfather's impact on modern living. --Tom Keogh Stills from The Godfather - The Coppola Restoration Giftset (Click for larger image)

Would you like to play Monopoly? It's an offer you can't refuse! Here's your chance to expand your family's interest and muscle your way into some of the most iconic locations from The Godfather film trilogy. Set forth on your quest to own it all, but watch your back! Monopoly The Godfather Collector's Edition includes: game board with film locations 6 collectible tokens (including the horse head and dead fish) 28 title deed cards Friends and Enemies cards (replaces Chance and Community Chest Mob money 32 hideouts (houses) and 12 compounds (hotels) 6 Don cards 2 dice

3D WALL ART: THE GODFATHER. Now, McFarlane Pop Culture Masterworks presents a re-creation of The Godfather's original one-sheet poster in an 8 ½ by 12 ¾ by 2-inch format. Display it on a wall or on any flat surface as a tribute to one of the most powerful films ever made. Ages 13 and up. From McFarlane Toys

Spenser is a wisecracking former boxer turned private investigator and he is just settling into his new office when enters Harv Shepard, a beleaguered businessman who is looking for someone to help locate his runaway wife. So begins Promised Land, the fourth novel by Robert Parker, that follows the exploits of his cerebral but tough character, detective Spenser. Why Harv Shepard's wife abandoned her family and exactly where she has gone comprise only half the intrigue in this story, though Spenser soon discovers that Harv is a man in deep trouble, involved with a crooked loan shark and tangled in an ailing business venture.The real reason we keep turning the pages of Promised Land is because of the compelling figure cut by detective Spenser. The way in which he gets the information he gets about the case from police detectives, bartenders, and local thugs—Spenser’s unique bracing blend of irony and sincerity that almost never encourages the people he encounters to really like him--is as interesting as the information he gets.Spenser is clever, often hilarious and his quips have something more than self-amusement as their end. Beneath the air of insouciant detachment and irony is a quixotic concern, as witnessed by his often self-sacrificing actions. The people Spenser meets often made predictable mistakes, falling into the same traps he has seen countless others fall into, and out of which they are mistakenly sure they can get out. Although he is weary of watching this pageant of human weakness and failure time and again, Spenser cannot help but become emotionally entangled in his cases, no matter how numbingly predictable they may be.ABOUT THE AUTHORRobert B. Parker was one of contemporary fiction's most popular and respected detective writers. Best known for his portrayal of the tough but erudite investigator Spenser, Parker wrote over twenty-five novels over the course of his career, which began in 1973. Parker's acclaim and his thorough background in classic detective literature helped earn him the somewhat unusual commission of completing a Philip Marlowe novel that the great Raymond Chandler had left unfinished.Promised Land and the other Spenser novels spawned the movie Spenser: For Hire and a string of made-for-TV movies.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.

Spenser is a wisecracking former boxer turned private investigator and he is just settling into his new office when enters Harv Shepard, a beleaguered businessman who is looking for someone to help locate his runaway wife. So begins Promised Land, the fourth novel by Robert Parker, that follows the exploits of his cerebral but tough character, detective Spenser. Why Harv Shepard's wife abandoned her family and exactly where she has gone comprise only half the intrigue in this story, though Spenser soon discovers that Harv is a man in deep trouble, involved with a crooked loan shark and tangled in an ailing business venture.The real reason we keep turning the pages of Promised Land is because of the compelling figure cut by detective Spenser. The way in which he gets the information he gets about the case from police detectives, bartenders, and local thugs-Spenser's unique bracing blend of irony and sincerity that almost never encourages the people he encounters to really like him--is as interesting as the information he gets.Spenser is clever, often hilarious and his quips have something more than self-amusement as their end. Beneath the air of insouciant detachment and irony is a quixotic concern, as witnessed by his often self-sacrificing actions. The people Spenser meets often made predictable mistakes, falling into the same traps he has seen countless others fall into, and out of which they are mistakenly sure they can get out. Although he is weary of watching this pageant of human weakness and failure time and again, Spenser cannot help but become emotionally entangled in his cases, no matter how numbingly predictable they may be.ABOUT THE AUTHORRobert B. Parker was one of contemporary fiction's most popular and respected detective writers. Best known for his portrayal of the tough but erudite investigator Spenser, Parker wrote over twenty-five novels over the course of his career, which began in 1973. Parker's acclaim and his thorough background in classic detective literature helped earn him the somewhat unusual commission of completing a Philip Marlowe novel that the great Raymond Chandler had left unfinished.Promised Land and the other Spenser novels spawned the movie Spenser: For Hire and a string of made-for-TV movies.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.