Yul Brynner

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Compared with the Broadway cast recording, the 1956 soundtrack to the film version of The King and I wins hands down. Yul Brynner is the king (literally and figuratively) in both formats (how could anyone else own such a role?), but the movie's score has better sonics, Brynner's voice is stronger, and the tunes are more memorable (thanks to Alfred Newman's conducting and Ken Darby's scoring) than on any of the various cast recordings. Marni Nixon sings the role of Anna (played onscreen by Deborah Kerr), Brynner delivers his hallmark performance, and the best-loved tunes--"Hello, Young Lovers," "Getting to Know You," and "I Whistle a Happy Tune" are the versions we'll always remember. A classic. --James Hendrickson

A history of the American musical theater with compilation of archival material featuring performanaces by original cast members.Genre: MusicalsRating: NRRelease Date: 28-OCT-2003Media Type: DVD

Broadway's Lost Treasures delivers what the title promises: 21 historic performances of great moments in American musical theater televised on the Tony Awards between 1967 and 1986. (Five were not included when the program was broadcast on PBS in 2003.) Unlike some other arts, theater has rarely been well-documented, so it's a treat to see these numbers performed by the original artists rather than experience them through audio recordings or tepid movie adaptations. Sure, sound and picture quality are only adequate, some of the numbers are minimally staged and some appear to be lip-synched, and some of the performances that do have excellent film counterparts (Yul Brynner in The King and I, Robert Preston in The Music Man, Joel Grey in Cabaret) seem rather lackluster here. But those are minor drawbacks compared to the chance to see Gwen Verdon and Chita Rivera perform "All That Jazz" and "Nowadays" from Chicago, or John Raitt, a stage legend who's woefully underrepresented on film, singing The Pajama Game's "Hey There." The most electrifying excerpt is from Evita, anchored by the powerhouse trio of Patti LuPone, Mandy Patinkin, and Bob Gunton, the most surprising is Julie Andrews singing "Send in the Clowns" (she wasn't in the cast of A Little Night Music), and the most touching is a 12-year-old Andrea McArdle breaking hearts in Annie's "Tomorrow." An indispensable record of a quintessential American art form. --David Horiuchi

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention. The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music. For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video, but in its full-frame, pan-and- scan version the formatting downsizes far too much of the splendor, losing some sharpness to the imagery. For viewing on all but the smallest screens, the widescreen edition is vastly superior. But, in either version, the glorious music is reason enough to hit "play." --Sam Sutherland

The King and I. Won Academy Awards in 1956.

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention. The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music. For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets. Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video, but in its full-frame, pan-and- scan version the formatting downsizes far too much of the splendor, losing some sharpness to the imagery. For viewing on all but the smallest screens, the widescreen edition is vastly superior. But, in either version, the glorious music is reason enough to hit "play." --Sam Sutherland

Ingrid Bergman gives one of her memorable, haunting, and haunted performances as an amnesiac chosen by a White Russian general (Yul Brynner) in 1928 to play the part of Anastasia, the long-rumored but missing survivor of the Bolsheviks' murderous attack on the czar's family. The twist is that Bergman's mystery woman seems to know more about the lost Anastasia than she is told. Based on the play by Marcelle Maurette and Guy Bolton, this film--directed by Anatole Litvak (Out of the Fog)--really does get under one's skin, not least of all because of its intriguing story but even more because of the strong chemistry between Bergman and Brynner. --Tom Keogh

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

Akira Kurosawa's rousing Seven Samurai was a natural for an American remake--after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all. The gunmen are cool and capable, with most of the actors playing them just on the cusp of '60s stardom: Steve McQueen, James Coburn, Charles Bronson, Robert Vaughn. The man who brings these warriors together is Yul Brynner, the baddest bald man in the West. There's nothing especially stylish about the approach of veteran director John Sturges (The Great Escape), but the storytelling is clear and strong, and the charisma of the young guns fairly flies off the screen. If that isn't enough to awaken the 12-year-old kid inside anyone, the unforgettable Elmer Bernstein music will do it: bum-bum-ba-bum, bum-ba-bum-ba-bum.... Followed by three inferior sequels, Return of the Seven, Guns of the Magnificent Seven, and The Magnificent Seven Ride! --Robert Horton

Star-studded cowboy classic based on the Japanese favorite "The Seven Samurai." Gunslinger Yul Brynner, at the request of Mexican peasants, recruits a band of his fellow mercenaries (Charles Bronson, Horst Buchholz, James Coburn, Brad Dexter, Steve McQueen, and Robert Vaughn) to defend their town from bandit Eli Wallach and his gang. Directed by John Sturges. 128 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, Dolby Digital mono, Spanish Dolby Digital mono, French Dolby Digital mono; Subtitles: French, Spanish; audio commentary by Wallach, Coburn, others; "making of" documentary; theatrical trailers; photo gallery.

Lee Marvin, Jim Brown, John Cassavetes, Charles Bronson, Donald Sutherland, and Ernest Borgnine star in this highly entertaining WWII saga about 12 criminals who receive a chance to redeem themselves by taking on a dangerous mission behind enemy lines; directed by Robert Aldrich. 150 min. Widescreen; Soundtracks: English Dolby Digital Surround stereo, French Dolby Digital Surround stereo; Subtitles: English, French, Spanish; featurette; theatrical trailer.

A model for dozens of action films to follow, this box-office hit from 1967 refined a die-hard formula that has become overly familiar, but it's rarely been handled better than it was in this action-packed World War II thriller. Lee Marvin is perfectly cast as a down-but-not-out army major who is offered a shot at personal and professional redemption. If he can successfully train and discipline a squad of army rejects, misfits, killers, prisoners, and psychopaths into a first-rate unit of specialized soldiers, they'll earn a second chance to make up for their woeful misdeeds. Of course, there's a catch: to obtain their pardons, Marvin's band of badmen must agree to a suicide mission that will parachute them into the danger zone of Nazi-occupied France. It's a hazardous path to glory, but the men have no other choice than to accept and regain their lost honor. What makes The Dirty Dozen special is its phenomenal cast including Charles Bronson, Donald Sutherland, Telly Savalas, George Kennedy, Ernest Borgnine, John Cassavetes, Richard Jaeckel, Jim Brown, Clint Walker, Trini Lopez, Robert Ryan, and others. Cassavetes is the Oscar-nominated standout as one of Marvin's most rebellious yet heroic men, but it's the whole ensemble--combined with the hard-as-nails direction of Robert Aldrich--that makes this such a high-velocity crowd pleaser. The script by Nunnally Johnson and Lukas Heller (from the novel by E.M. Nathanson) is strong enough to support the all-star lineup with ample humor and military grit, so if you're in need of a mainline jolt of testosterone, The Dirty Dozen is the movie for you. --Jeff Shannon

This 7.5" round mousepad of the image shown is made of a durable heat-resistant polyester fabric top, will keep your mouse rolling in style. Backed with a neoprene rubber non-slip backing, keeps the mousepad from sliding. The mousepad is 1/4" thick. It will not discolor or fade, machine washable.

Photo Puzzle, YUL BRYNNER (1920-1985). American actor. Photographed c1971. YUL BRYNNER (1920-1985). American actor. Photographed c1971. Chosen by Granger Art on Demand. 10x14 Photo Puzzle with 252 pieces. Packed in black cardboard box of dimensions 5 5/8 x 7 5/8 x 1 1/5. Puzzle image 5x7 affixed to box top. Puzzle pieces printed on RA4 paper at 300 dpi. This item is shipped from our American lab.

The True story of Anna Leonowens from Wales and who she served for six years in the Royal Palace in Bangkok Siam (modern Thailand) This is one of the most famous stories and was made into the Richard Rodgers and Oscar Hammerstein musical "The King and I" as well as the movie "Anna and the King of Siam" with Jody Foster.

The True story of Anna Leonowens from Wales and who she served for six years in the Royal Palace in Bangkok Siam (modern Thailand) This is one of the most famous stories and was made into the Richard Rodgers and Oscar Hammerstein musical "The King and I" as well as the movie "Anna and the King of Siam" with Jody Foster.

The elegant male nude photographs of George Platt Lynes, many never before published, from a newly discovered archive of negatives. George Platt Lynes was the preeminent celebrity portraitist of his day, shooting for Vogue and Harper’s Bazaar and creating distinctive photographs of iconic cultural figures such as Diana Vreeland, Salvador Dalí, and Orson Welles. But he also produced a separate body of work, kept largely hidden during his lifetime: photographs of the male nude. Many of these photos were shot in the studio and, like his fashion and dance work, were painstakingly posed and lit. They have a cinematic allure that evokes 1940s Hollywood and the lost era of New York’s café society. Many seem to illustrate some unwritten mythology. Others reveal private obsessions of the photographer, who was always alert to the sculptural qualities of a young man at his most vital. This is the only Platt Lynes book to focus on the male nude images in a comprehensive and carefully considered manner. It is the first book to be published with the cooperation of the artist’s estate, which has provided unprecedented access to institutional and private collections, including the Kinsey Institute and the Guggenheim Museum. The result: a trove of unpublished images that are sure to cause a sensation.