Lillian Gish

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Heartwarming Disney tale stars Fred MacMurray as a travelling musician who dreams of becoming a lawyer. After settling in a sleepy small town, he decides to become a scoutmaster for a newly formed Boy Scouts troop. As MacMurray leads the youths, he decides to put aside his career plans and instead focus on helping his community. With Vera Miles, Lillian Gish, David Bailey. 133 min. Standard; Soundtrack: English Dolby Digital mono; Subtitles: Spanish; photo gallery; documentary.

John McGlinn's sprawling, monumental three-CD set is about all the Show Boat any listener could ever ask for. In an obvious labor of love, McGlinn reconstructs the show as it ran on opening night, November 15, 1927, including every song, the original orchestrations, and all underscored dialogue. The most significant restoration is the dark choral number "Mis'ry's Comin' Aroun'," as Show Boat's serious subject matter helped establish its place as the most important turning point in the history of American musical theater. McGlinn also adds an appendix that includes songs cut before opening night and every song subsequently written for the show's many productions, most notably the love duet "I Have the Room Above Her," written for the 1936 film. (The recording is also available in a one-disc reduction called the "Broadway Show Album.") Rest assured this 221-minute blockbuster is not just dry scholarship; it's also terrific listening, with McGlinn conducting a dynamic London Sinfonietta and a strong cast including Frederica von Stade as Magnolia, Jerry Hadley as Ravenal, Teresa Stratas as the tragic Julie, Bruce Hubbard as the worldly wise Joe, Karla Burns as Queenie, and David Garrison and Paige O'Hara as the comic couple Frank and Ellie. And of course the songs by Jerome Kern and Oscar Hammerstein II are among the most glorious ever written: "Ol' Man River," "Can't Help Lovin' Dat Man," "Make Believe," "Why Do I Love You," "Bill," "You Are Love," and "Life upon the Wicked Stage." Also included are exhaustive production notes, a history of the show, a detailed synopsis, and a libretto. John McGlinn's Show Boat is a staggering achievement and a recording for the ages. --David Horiuchi

Kritzerland is proud to present the first ever CD release of the Original Cast Recording of Anya, with a score by Robert Wright and George Forrest (based on themes by Sergei Rachmaninoff). Anya, the musical version of Anastasia, opened on Broadway at the end of 1965 at the Ziegfeld Theater and lasted a mere fifteen performances. Nobody would have predicted that a new musical by the team that wrote Kismet (here doing to Rachmaninoff what in Kismet they did to Borodin), written by George Abbott and Guy Bolton, and direction by George Abbott would end up being such a troubled production and such a huge flop. Happily, United Artists Records went ahead and recorded the cast album and just as happily we're thrilled to finally bring it to CD. Whatever the show's problems (it's been revised several times since), the album is filled with glorious music, excellent performances, and is indeed a most musical musical. The Rachmaninoff "themes" are masterfully used by Wright and Forrest (no one was better at that sort of thing than they were), and Don Walker's orchestrations and Harold Hastings' musical direction make the most out of all of those gorgeous melodies. The wonderful cast includes Constance Towers, Michael Kermoyan, Lillian Gish, and Irra Petina, as well as the still alive and kicking George S. Irving. New liner notes are by Walter Willison (Tony-nominee for Two By Two), who was very close to Wright and Forrest. 1. Choral Prelude: Anya/Song From Somewhere 2. Vodka Vodka 3. So Proud 4. Homeward 5. Snowflakes and Sweethearts 6. Six Palaces 7. Hand In Hand 8. On That Day 9. This Is My Kind Of Love 10. Reprise: On That Day 11. That Prelude 12. A Quiet Land 13. Here Tonight, Tomorrow Where? 14. Leben Sie Wohl 15. If This Is Goodbye 16. Little Hands 17. All Hail The Empress/Choral Finale: Anya

Vincent Canby of The New York Times called The Whales of August "a cinema event." His generosity is understandable, given the film's main draw: two of the greatest actresses in movie history, whose careers extend back to the very beginnings of narrative. They are Lillian Gish and Bette Davis, and they are two of cinema's lovely, essential people... so it is painful to report that Mr. Canby's gallant review is not really justified by this trifle, a once-round-the-Golden Pond-lightly. Demanding Bette and dutiful Lillian are sisters living on the Maine coast; Vincent Price is a courtly suitor, and Ann Sothern and Harry Carey Jr. (the liveliest performers in the picture) are local folk. Directed by a great student of film, Lindsay Anderson (O Lucky Man!), the material is fatally soppy. In truth, this isn't a movie, it's a shrine to two giants in winter--well-intended, and best seen as a tribute. --Robert Horton

1999 ANCHOR BAY ENTERTAINMENT.DIGITALLY MASTERED.

A pivotal moment in film history. After The Birth of a Nation, nothing was the same: not the way audiences watched movies, not the way filmmakers created them. D.W. Griffith's jumbo-size saga of the Civil War expanded the boundaries of storytelling on the screen, conveying a richer, more complicated (and certainly longer) tale than anyone had seen in a movie before. The delicate relationships, the sad passage of time, the spectacular battle scenes all look as fresh and innovative today as they did in 1915. So do Griffith's brilliant actors, most of them--including favorite leading lady Lillian Gish--drawn from his regular stock company. What has become increasingly problematic about The Birth of a Nation is Griffith's condescending attitude toward black slaves, and the ringing excitement surrounding the founding of the Ku Klux Klan. Griffith, whose political ideas were naive at best, seemed genuinely surprised by the criticism of his masterwork, and for his next project he turned to the humanist preaching of the massive Intolerance. Despite protests, Birth sold more tickets than any other movie, a record that stood for decades, and President Woodrow Wilson famously compared it to "history written in lightning." That judgment has lasted. --Robert Horton

In the entire history of American movies, The Night of the Hunter stands out as the rarest and most exotic of specimens. It is, to say the least, a masterpiece--and not just because it was the only movie directed by flamboyant actor Charles Laughton or the only produced solo screenplay by the legendary critic James Agee (who also cowrote The African Queen). The truth is, nobody has ever made anything approaching its phantasmagoric, overheated style in which German expressionism, religious hysteria, fairy-tale fantasy (of the Grimm-est variety), and stalker movie are brought together in a furious boil. Like a nightmarish premonition of stalker movies to come, Night of the Hunter tells the suspenseful tale of a demented preacher (Robert Mitchum, in a performance that prefigures his memorable villain in Cape Fear), who torments a boy and his little sister--even marries their mixed-up mother (Shelley Winters)--because he's certain the kids know where their late bank-robber father hid a stash of stolen money. So dramatic, primal, and unforgettable are its images--the preacher's shadow looming over the children in their bedroom, the magical boat ride down a river whose banks teem with fantastic wildlife, those tattoos of LOVE and HATE on the unholy man's knuckles, the golden locks of a drowned woman waving in the current along with the indigenous plant life in her watery grave--that they're still haunting audiences (and filmmakers) today. --Jim Emerson

Robert Mitchum, Shelley Winters, Lillian Gish. Charles Laughton's only directorial effort comes together in this remastered edition of the gripping story about a psychotic preacher on the hunt for a dead man's money. 1955/b&w/93 min/NR/fullscreen.

The multi-character drama "The V.I.P.s" (1963) looks at the lives and loves of a group of people waiting at a London airport. Elizabeth Taylor is caught between the husband she has recently fled (Richard Burton) and a suave Lothario (Louis Jourdan); Orson Welles is a filmmaker; Rod Taylor an Australian businessman; and Oscar-winning Margaret Rutherford a dotty duchess. Next, Vincente Minnelli directs Taylor and Burton in "The Sandpiper" (1965), about a liberated artist who begins a torrid romance with a conservative (and married) minister. Contains the Oscar-winning theme "The Shadow of Your Smile." And, political and romantic intrigue ensue in Duvalier-ruled Haiti in "The Comedians" (1967), with Taylor as a South American diplomat's wife who gets involved with naive businessman-turned-anti-government rebel Burton. Peter Ustinov, Alec Guinness, Lillian Gish also star in Graham Greene's story. Five-disc set also includes "Who's Afraid of Virginia Woolf?" (Special Edition). 8 1/2 hrs. total. Widescreen; Soundtrack: English.

The British-born Elizabeth Taylor was the quintessential Hollywood screen goddess. The Welsh-born Richard Burton was one of the most compelling British actors of his generation. Together, they were a perfect storm of talent, glamour, and offscreen scandal, which made even their lesser films essential viewing for those fascinated by cinema's royal couple. This four-film set captures the prolific couple at the height of their 1960s heyday. The essential entry is Who's Afraid of Virginia Woolf (1966), which earned Taylor an Academy Award, and launched the film directing career of Mike Nichols. This adaptation of Edward Albee's searing play was ahead of its time for its use of profanity, as chronicled in bonus featurettes on this two-disc Special Edition. Taylor and Burton star as the braying Martha, a college president's daughter, and her husband George, an associate history professor. An ambitious teacher (George Segal) and his mousy wife (a heartbreaking Sandy Dennis) arrive for an unforgettable night of such emasculating sport as "Humiliate the Host," "Get the Guests," and "Hump the Hostess." The V.I.P.s (1963) is a star-studded soap opera about a group of notables stranded at a fog-shrouded airport, each desperate to get off the ground. In addition to Orson Welles as a film director trying to stay one step ahead of the British tax man and Margaret Rutherford (who earned an Academy Award) as a financially strapped duchess, we have Taylor as the unhappy wife of magnate Burton, set to elope with a reformed (?) gigolo (Louis Jordan). The Sandpiper (1965) is one of those vaunted enjoyable "golden turkeys" that at least has the beautiful Big Sur coast and the Oscar-winning song "The Shadow of Your Smile" as consolation for the silly illicit romance between Taylor, an unconvincing bohemian artist, and Burton, the tortured Episcopalian reverend to whose school Taylor's illegitimate son has been sent. The Comedians (1967) is hardly a laughing matter. Graham Greene adapted his novel of upheaval in Papa Doc-run Haiti. You have to jump 40 years to Brad Pitt and Angelina Jolie to find another couple with Taylor and Burton's wattage. This collection gives a time capsule glimpse at what all the fuss was about. --Donald Liebenson

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