Stockard Channing

The movie is a 1970s take on 1950s musicals, providing all the kitsch anyone could hope for. It's John Travolta as Danny Zuko as Olivia Newton-John's pompadoured main squeeze, and the kids go crazy. Fresh from his astronomical success with Travolta in Saturday Night Fever, Bee Gee Barry Gibb penned the title track (sung by Frankie Valli). Sha Na Na is over-represented, and actress Stockard Channing struts her, um, versatility, singing a couple of tracks. This has become a touchstone in American culture, and so isn't likely to improve our standing in the world's eyes. Maybe the point is that it's supposed to sound amateurish, but it does manage to eke out some fun, most notably on the hit "You're the One That I Want." --Scott Wilson

CD

Magnificent! What the Universe Tells Me is probably the deepest, most painstakingly detailed but also approachable attempt to decipher the inner dynamics of a complex work of art ever entrusted to any recording medium. And Mahler's Third Symphony deserves such careful. loving attention; one of the many commentators in this production calls it an attempt "to capture the human condition in a work of music." All the commentators contribute precious insights from their specialized disciplines to help viewers see this masterpiece whole. Besides Stockard Channing, the primary narrator, and Thomas Hampson, who discusses the music and sings a song whose melody is an important element in the symphony's structure, commentators include Henry Louis de la Grange, author of the definitive Mahler biography, and a fine array of musicologists, music historians, philosophers, and a theologian. A theologian? Yes; this symphony is, among other things, a vast theological stattement about man's place in the universe. Philosophers are needed, too, to explore Mahler's relations to Nietzsche and Schopenhauer. But they all do it in easy-to-understand terms. Mahler gave six working titles to the symphony's movements: "Pan Awakes; Summer Marches In"; "What the Flowers in the Meadow Tell Me"; "What the Animals in the Forest Tell Me"; "What Humanity Tells Me"; "What the Angels Tell Me"; and "What Love Tells Me." These were left out when he published the symphony, but they give useful hints to the commentators and justify some breathtaking visuals shown with the music: landscapes, flowers, paintings and sculptures and churches. The music, of course, is magnificent, and it is presented twice on two discs, once with voice-over commentary and once in a live, unedited performance. Special features include 11 "mini-documentaries" on subjects related to the music. --Joe McLellan

WHAT THE UNIVERSE TELLS ME:UNRAVELING THE MYSTERIES OF MAHLER'S THIRD SYMPHONY is a documentary that explores how philosophy, mythology and music combine in Mahler's Third Symphony to create an all-encompassing panoramic experience. From the volcanoes of the South Pacific to the Alpine peaks and meadows where Mahler composed, in WHAT THE UNIVERSE TELLS ME dramatic images from the natural world give shape to the Symphony's evolutionary saga. Performances combine with illustrative artwork, computer animation, historical film clips and the insights of world-renowned historians, philosophers and biographers. Thinkers such as Howard Gardner, Stan Brakhage and Catherine Keller join Mahler experts Henry Louis de La Grange, Donald Mitchell, Peter Franklin and Morten Solvik to introduce this masterpiece to new audiences and to celebrate the 100th anniversary of its premiere.

There's no better example of American pop culture's hall-of-mirrors ethos than producer Alan Carr's relentlessly buoyant 1978 film adaptation of the stage musical Grease. Inspired by that decade's rampant 50's nostalgia, it now paradoxically evokes the campy 70's excesses that spawned it. That sense of recycled decades in collision is underscored repeatedly on this deluxe, double-disc Grease-fest, especially on the set's second disc of bonus materials that spans vintage singles of the title track (its instrumental B-side) and "Greased Lightnin'," some sing-along karaoke tracks, and a handful of alternately slick/techo-savvy remixes (originally produced for the film's 20th anniversary) that are testament to its enduring, era-defying appeal. The original soundtrack itself has been treated to a stellar digital remastering that fills disc one, and remains a joyous monument to camp, sheer ambition, and exuberant nostalgic illusions. Includes a slip-cased, double-fold-out case and new booklet with complete song lyrics. --Jerry McCulley

Grease Grease Soundtrack [25th Anniversary Deluxe Edition] UK 2-CD album set

Not to be confused with the 1990 comedy flop featuring Uma Thurman, this Where the Heart Is boasts a winning performance from Natalie Portman. Novalee Nation (Portman), a pregnant teenager from Tennessee, is bound for California with her worthless boyfriend, Willy Jack (Dylan Bruno). A pit stop at an Oklahoma Wal-Mart proves fateful when Willy Jack abandons her there. She secretly sets up camp at the megastore and spends her days meeting with kindly booster Sister Husband (Stockard Channing) and eccentric librarian Forney Hall (James Frain). Her life takes another turn after she gives birth in the store (clean up, aisle six!) and finds a best friend in sassy nurse Lexie Coop (Ashley Judd). Meanwhile, Willy Jack has found a talent agent (Joan Cusack) and tries to make some life changes of his own. Where The Heart Is offers charming, folksy fun; homespun wisdom; and an obstacle course of plot development (if the Wal-Mart angle weren't enough, there's also a kidnapping, a tornado, and at least half a dozen other major events thrown in). Director Matt Williams, who produced the popular sitcoms Roseanne and Home Improvement, takes television's cut-to-commercial route to make giant leaps in space and time from scene to scene. It's disorienting, but the remarkable female cast (which includes Sally Field in a cameo) lends plausiblilty to the muddle, even when you don't think anything more could possibly happen. --Shannon Gee

Most fans of everything-but-the-kitchen-sink comedies like The Naked Gun and Hot Shots probably think the genre started with Airplane!, but Neil Simon's The Cheap Detective came two years earlier. It's a camp parody of Humphrey Bogart's 1940s detective flicks (particularly The Maltese Falcon and The Big Sleep), with a big dose of Casablanca thrown in for good measure. There's no point in describing the plot--it's little more than a series of cameos by just about every actor working in the 1970s, including Ann-Margaret, Eileen Brennan, Stockard Channing, James Coco, Scatman Crothers, Dom DeLuise, John Houseman, Marsha Mason, and Nicol Williamson. Peter Falk plays the detective and does a fine Bogey impression. Unfortunately, it's not Neil Simon's best work--he's better at character comedy such as The Odd Couple and The Goodbye Girl than this kind of slapstick--but there are a few good lines and the cast gives it their best. Louise Fletcher, not usually known for comedy, does a sharp satire of Ingrid Bergman in Casablanca, and Madeline Kahn never fails to entertain in a variety of disguises. --Bret Fetzer

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. While this 2002 DVD release contains retrospective interviews with the cast and director Randal Kleiser, it's unfortunately full screen. As a result, the widescreen dance numbers are instead panned and scanned, destroying the symmetrical, lively choreography. A widescreen version is also available and is highly recommended because without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film has to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately, while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. --Dave McCoy

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. For its video and laser disc re-release, Grease lovers can also now see it in the correct 2:35 to 1 Panavision aspect ratio, and see retrospective interviews with cast members and director Randal Kleiser. All these stylistic touches are essential to the film's success. Without the fabulously choreographed, widescreen musical numbers; vibrant colors; and unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), the film would have to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately; while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. --Dave McCoy

The Original Grease (Aniv) [VHS] (1978) John Travolta (Actor), Olivia Newton-John (Actor), Randal Kleiser

John Travolta solidified his position as the most versatile and magnetic screen presence of the decade in this film version of the smash hit play Grease. Recording star Olivia Newton-John made her American film debut as Sandy Travolta's naive love interest. The impressive supporting cast reads like a "who's who" in this quintessential musical about the fabulous '50s. Grease is not just a nostalgic look at a simpler decade--it's an energetic and exciting musical homage to the age of rock 'n' roll!System Requirements:Running Time: 110 minsFormat: DVD MOVIE Genre: COMEDY Rating: PG UPC: 097361183947 Manufacturer No: 118394

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. While this 2002 DVD release contains retrospective interviews with the cast and director Randal Kleiser, it's unfortunately full screen. As a result, the widescreen dance numbers are instead panned and scanned, destroying the symmetrical, lively choreography. A widescreen version is also available and is highly recommended because without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film has to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately, while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. --Dave McCoy

Riding the strange '50s nostalgia wave that swept through America during the late 1970s (caused by TV shows like Happy Days and films like American Graffiti), Grease became not only the word in 1978, but also a box-office smash and a cultural phenomenon. Twenty years later, this entertaining film adaptation of the Broadway musical received another successful theatrical release, which included visual remastering and a shiny new Dolby soundtrack. While this 2002 DVD release contains retrospective interviews with the cast and director Randal Kleiser, it's unfortunately full screen. As a result, the widescreen dance numbers are instead panned and scanned, destroying the symmetrical, lively choreography. A widescreen version is also available and is highly recommended because without the vibrant colors, unforgettably campy and catchy tunes (like "Greased Lightning," "Summer Nights," and "You're the One That I Want"), and fabulously choreographed, widescreen musical numbers, the film has to rely on a silly, cliché-filled plot that we've seen hundreds of times. As it is, the episodic story about the romantic dilemmas experienced by a group of graduating high school seniors remains fresh, fun, and incredibly imaginative. The young, animated cast also deserves a lot of credit, bringing chemistry and energy to otherwise bland material. John Travolta, straight from his success in Saturday Night Fever, knows his sexual star power and struts, swaggers, sings, and dances appropriately, while Olivia Newton-John's portrayal of virgin innocence is the only decent acting she's ever done. And then there's Stockard Channing, spouting sexual double-entendres as Rizzo, the bitchy, raunchy leader of the Pink Ladies, who steals the film from both of its stars. Ignore the sequel at all costs. --Dave McCoy

This clunky road movie about three drag queens (Patrick Swayze, Wesley Snipes, and John Leguziamo) who get stranded in a sleepy Nebraska town on their way to a beauty contest, is too uplifting for its own good. Released during drag's mid-'90s heyday when RuPaul and the Wigstock documentary were all the rage, To Wong Foo aimed straight for the mainstream with its inoffensive camp and "can't we all get along" moralism. While gay-activist groups howled about straights getting the lead roles in To Wong Foo, in the end the filmmakers really couldn't have done better than this trio of actors. John Leguziamo provides real sass and bite as a Latino (or should we saw Latina?) drag queen, and Wesley Snipes is surprisingly fierce as the imposing leader of the pack. Saddled with a cloying Southern accent and off-kilter wig, Patrick Swayze barely holds his own with his costars, though. To Wong Foo is best viewed as a cultural artifact of a time when it seemed as though drag could rule all tomorrow's parties. --Ethan Brown

Patrick Swayze, Wesley Snipes and John Leguizamo kick up their (high) heels as a trio of New York drag queens whose cross-country road trip to an L.A. pageant takes a surprise detour when their car breaks down in a sleepy Midwest town whose residents are crying for a "makeover." Alternately outrageous and touching hit comedy also stars Stockard Channing, Blythe Danner, Chris Penn. 109 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital 5.1, Spanish Dolby Digital 5.1; deleted scenes.

Includes : Rizzo Doll with Red Sleeveless Dress, Accessories, Doll Stand and Certificate of Authenticity. For age 6 and up

A new series inspired by the favorite female characters of Rydell High and the enduring movie musical, Grease, this Barbie doll captures summer nights of drive-in movies, rock 'n roll and drag races at Thunder Road. And, for the first time ever, Grease Barbie dolls include a doll stand featuring music!

From the first day of third grade, when Ramona Quimby meets her eventual nemesis Yard Ape, life moves on at its usual wild pace--usual for the boisterous Ramona, that is. Soon she is accidentally squashing a raw egg into her hair at the school cafeteria, being forced to play Uncle Rat with her annoying young neighbor, and, worst of all, throwing up in her classroom. The responsibilities of an 8-year-old are sometimes daunting, especially in a family that is trying to squeak by while the father goes back to school. But Ramona is full of too much vim and vigor to ever be down for long. In her second Newbery Honor Book about Ramona (the first was Ramona and Her Father), Beverly Cleary presents another slice of the Quimby family life. Author of more than two dozen children's books, Cleary has a true knack for understanding the tangle of thoughts and emotions in a child's mind and heart. Empathic, witty, and astute, she has earned many other awards, including the Newbery Medal for Dear Mr. Henshaw. Alan Tiegreen's clever line drawings have charmed countless readers of Cleary's books over the years, and his style is now inextricably tied to hers. (Ages 8 to 12) --Emilie Coulter

Ramona's job is to be nice to fussy Mrs. Kemp, who watches her while her mother works. If Mrs. Quimby didn't work, Mr. Quimby couldn't return to college. On top of all that, third grade isn't turning out as Ramona expected, even though she enjoys her class's new reading program, D.E.A.R. Danny the Yard Ape teases her, and, on one horrible day, she throws up—at school. Being eight isn't easy, but it's never dull!

From the moment Howie Kemp's mysterious "rich" Uncle Hobart arrives from Saudi Arabia, everything around Ramona Quimby seems to be changing. Howie and his sister, Willa Jean, talk only about Uncle Hobart. Ramona's mother and Aunt Bea seem to be keeping secrets. Life for Ramona, now a grown-up third-grader is full of beginnings and discoveries and surprises – one very big surprise and one very small, but just as special!Through all the happiness and confusion, and some small moments of sadness too, Ramona tries hard to be pleasant and helpful. Whether she's pleasant or pesty, brave or blunderful, she's always wonderful Ramona – forever!

Ramona feels this is the awkward age—too little to stay by herself after school when her mother is at work, but too big to enjoy playing with pesty Willa Jean at her sitter's house. These days, all Ramona really wants is to twitch her nose and be her mother's little rabbit like she used to be. Can't she be her mother's little girl forever?

Signed 8x10 B&W (P) comes with powers collectibles coa and matching holograms