A 300-year-old violin, reputed to have been played on the Oscar-winning “Wizard of Oz” score, will go on the auction block next month and could fetch as much as 20 million.
The rare Stradivarius belonged to Odessa-born Toscha Seidel, widely considered one of the greatest violinists of the 20th century, famed for his rich tone and emotional intensity.
Estimates are that the violin could bring between 16 million and 20 million at auction, partly because of its excellent condition and partly because of its history. There are about 600 Stradivarius violins in existence worldwide; the highest price paid for a Strad was 15.9 million in 2011, so the Seidel instrument could mark a new world record.
Seidel made his American debut at New York’s Carnegie Hall in 1918 and toured the U.S., Europe and Australia throughout the 1920s. He was a frequent performer on New York-based CBS Radio in the early 1930s but moved to...
The rare Stradivarius belonged to Odessa-born Toscha Seidel, widely considered one of the greatest violinists of the 20th century, famed for his rich tone and emotional intensity.
Estimates are that the violin could bring between 16 million and 20 million at auction, partly because of its excellent condition and partly because of its history. There are about 600 Stradivarius violins in existence worldwide; the highest price paid for a Strad was 15.9 million in 2011, so the Seidel instrument could mark a new world record.
Seidel made his American debut at New York’s Carnegie Hall in 1918 and toured the U.S., Europe and Australia throughout the 1920s. He was a frequent performer on New York-based CBS Radio in the early 1930s but moved to...
- 5/4/2022
- by Jon Burlingame
- Variety Film + TV
Few ’30s classics have held up as well as this MGM blockbuster, a costume thriller that in spirit is quite faithful to the great Charles Dickens novel. Heroes don’t come more sophisticated or noble than Ronald Colman’s Sydney Carton, nor as vile as Basil Rathbone’s Marquis St. Evrémonde. David O. Selznick’s impeccable production hits all the right notes and even downplays the ‘save the royals’ sentiments. This is the one where the Bastille gets stormed and a chortling hag cheers every drop of a guillotine blade. The show even has a connection to producer Val Lewton. Just remember that activities like capitol-storming and public executions need to stay back in the 18th century where they belong.
A Tale of Two Cities
Blu-ray
Warner Archive Collection
1935 / B&w / 1:37 Academy / 126 min. / Street Date February 9, 2021 / available through the WBshop / 21.99
Starring: Ronald Colman, Elizabeth Allan, Edna May Oliver, Donald Woods,...
A Tale of Two Cities
Blu-ray
Warner Archive Collection
1935 / B&w / 1:37 Academy / 126 min. / Street Date February 9, 2021 / available through the WBshop / 21.99
Starring: Ronald Colman, Elizabeth Allan, Edna May Oliver, Donald Woods,...
- 2/6/2021
- by Glenn Erickson
- Trailers from Hell
MGM in 1940 was just the movie factory to turn out a smart, compact version of the Jane Austen novel, with Greer Garson in fine form and Laurence Olivier possibly slumming but also contributing a flawless performance. Robert Z. Leonard’s direction is invisible but does no harm; adaptors Aldous Huxley and Jane Murfin telescope events and concoct an even happier ending, all with great skill. Sorry, despite persistent rumors, the story hasn’t a single zombie.
Pride and Prejudice
Blu-ray
Warner Archive Collection
1940 / B&w / 1:37 Academy / 118 min. / Street Date July 14, 2020 / available through the WBshop / 21.99
Starring: Greer Garson, Laurence Olivier, Mary Boland, Edna May Oliver, Maureen O’Sullivan, Ann Rutherford, Frieda Inescort, Edmund Gwenn, Heather Angel, Marsha Hunt.
Cinematography: Karl Freund
Film Editor: Robert Kern
Original Music: Herbert Stothart
Written by Aldous Huxley, Jane Murfin from the book by Jane Austen
Produced by Hunt Stromberg
Directed by Robert Z. Leonard
I...
Pride and Prejudice
Blu-ray
Warner Archive Collection
1940 / B&w / 1:37 Academy / 118 min. / Street Date July 14, 2020 / available through the WBshop / 21.99
Starring: Greer Garson, Laurence Olivier, Mary Boland, Edna May Oliver, Maureen O’Sullivan, Ann Rutherford, Frieda Inescort, Edmund Gwenn, Heather Angel, Marsha Hunt.
Cinematography: Karl Freund
Film Editor: Robert Kern
Original Music: Herbert Stothart
Written by Aldous Huxley, Jane Murfin from the book by Jane Austen
Produced by Hunt Stromberg
Directed by Robert Z. Leonard
I...
- 7/18/2020
- by Glenn Erickson
- Trailers from Hell
Burbank, CA, August 22, 2019 – Warner Bros. Home Entertainment announced today that 1939’s acclaimed and beloved classic The Wizard of Oz will be released on Ultra HD Blu-ray Combo Pack and Digital on October 29th. Directed by Victor Fleming (Gone With the Wind) and starring Judy Garland as Dorothy Gayle, The Wizard of Oz is widely considered to be one of the most influential films in cinematic history.
Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow, The Wizard of Oz officially premiered at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Ray Bolger appeared as the Scarecrow; Bert Lahr as the Cowardly Lion, Jack Haley as the Tin Woodman.
Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow, The Wizard of Oz officially premiered at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Ray Bolger appeared as the Scarecrow; Bert Lahr as the Cowardly Lion, Jack Haley as the Tin Woodman.
- 8/24/2019
- by ComicMix Staff
- Comicmix.com
Updated: Following a couple of Julie London Westerns*, Turner Classic Movies will return to its July 2017 Star of the Month presentations. On July 27, Ronald Colman can be seen in five films from his later years: A Double Life, Random Harvest (1942), The Talk of the Town (1942), The Late George Apley (1947), and The Story of Mankind (1957). The first three titles are among the most important in Colman's long film career. George Cukor's A Double Life earned him his one and only Best Actor Oscar; Mervyn LeRoy's Random Harvest earned him his second Best Actor Oscar nomination; George Stevens' The Talk of the Town was shortlisted for seven Oscars, including Best Picture. All three feature Ronald Colman at his very best. The early 21st century motto of international trendsetters, from Venezuela's Nicolás Maduro and Turkey's Recep Erdogan to Russia's Vladimir Putin and the United States' Donald Trump, seems to be, The world is reality TV and reality TV...
- 7/28/2017
- by Andre Soares
- Alt Film Guide
Author: Dave Roper
With Actors, Directors, Actresses and Screenwriters under our collective belt and Cinematographers still to come, we presently turn our eye towards Composers, whose music lends so much to the films they work on.
As with the other lists, credit is given for not merely one or two sterling scores, but rather a consistently excellent body of work with specific stand-out films. To be blunt, this is a trickier prospect than it at first appears. Just because a film is terrific or well-loved doesn’t necessarily mean that the score is itself a standout. We begin with perhaps the most obvious and celebrated film composer of them all…..
John Williams – Star Wars
Goodness me. The Poseidon Adventure, The Towering Inferno, Earthquake, Jaws, Raiders of the Lost Ark, The Long Goodbye, Catch Me If You Can, Star Wars, Close Encounters, Star Wars, Superman, Et, Born on the Fourth of July,...
With Actors, Directors, Actresses and Screenwriters under our collective belt and Cinematographers still to come, we presently turn our eye towards Composers, whose music lends so much to the films they work on.
As with the other lists, credit is given for not merely one or two sterling scores, but rather a consistently excellent body of work with specific stand-out films. To be blunt, this is a trickier prospect than it at first appears. Just because a film is terrific or well-loved doesn’t necessarily mean that the score is itself a standout. We begin with perhaps the most obvious and celebrated film composer of them all…..
John Williams – Star Wars
Goodness me. The Poseidon Adventure, The Towering Inferno, Earthquake, Jaws, Raiders of the Lost Ark, The Long Goodbye, Catch Me If You Can, Star Wars, Close Encounters, Star Wars, Superman, Et, Born on the Fourth of July,...
- 5/10/2017
- by Dave Roper
- HeyUGuys.co.uk
John Ford's best war movie does a flip-flop on the propaganda norm. It's about men that must hold the line in defeat and retreat, that are ordered to lay down a sacrifice play while someone else gets to hit the home runs. Robert Montgomery, John Wayne and Donna Reed are excellent, as is the recreation of the Navy's daring sideshow tactic in the Pacific Theater, the 'speeding coffin' Patrol Torpedo boats. They Were Expendable Blu-ray Warner Archive Collection 1945 / B&W / 1:37 flat Academy / 135 min. / Street Date June 7, 2016 / available through the WBshop / 21.99 Starring Robert Montgomery, John Wayne, Donna Reed, Jack Holt, Ward Bond, Marshall Thompson, Cameron Mitchell, Paul Langton, Leon Ames, Donald Curtis, Murray Alper, Harry Tenbrook, Jack Pennick, Charles Trowbridge, Louis Jean Heydt, Russell Simpson, Blake Edwards, Tom Tyler. Cinematography Joseph H. August Production Designer Film Editor Douglass Biggs, Frank E. Hull Original Music Earl K. Brent, Herbert Stothart, Eric Zeisl Writing credits Frank Wead, Comdr. U.S.N. (Ret.), Based on the book by William L. White Produced and Directed by John Ford, Captain U.S.N.R.
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/11/2016
- by Glenn Erickson
- Trailers from Hell
Viewers expecting to see a lighthearted 'Cisco Kid' swashbuckler got a surprise with William Wellman's movie: it's a tragedy about a genuine historical California bandit who may have been an outlaw terrorist, avenging murderous discrimination against Mexican-Americans in the Gold Rush days. Hangings, rape and massacres -- not your average popcorn matinee fare for 1936. The Robin Hood of El Dorado DVD-r The Warner Archive Collection 1936 / B&W / 1:37 flat Academy / 85 min. / Street Date May 26, 2015 / available through the WBshop / 18.49 Starring Warner Baxter, Ann Loring, Bruce Cabot, Margo, J. Carrol Naish, Soledad Jimenez, Carlos De Valdez, Eric Linden, Edgar Kennedy, Charles Trowbridge, Harvey Stephens, Marc Lawrence. Cinematography Chester Lyons Film Editor Robert J. Kern Original Music Herbert Stothart Written by William A. Wellman, Joseph Calleia, Melvin Levy, from a book by Walter Noble Burns Produced by John W. Considine Jr. Directed by William A. Wellman
Reviewed by Glenn Erickson
I'm always...
Reviewed by Glenn Erickson
I'm always...
- 9/1/2015
- by Glenn Erickson
- Trailers from Hell
The Oscars have paid tribute to movie classic The Wizard of Oz with a live musical performance from Pink.
Whoopi Goldberg wore a pair of Ruby slippers as she introduced the on-stage rendition.
Wizard of Oz star Judy Garland's three children - Liza Minnelli, Lorna Luft and Joseph Luft - were all in the audience to witness the performance.
2014 marks the 75th anniversary of The Wizard of Oz, which won Oscars for Herbert Stothart's Original Score and Best Original Song for 'Over the Rainbow'.
Oscars 2014: Academy Awards winners list in full
Oscars 2014: 86th Academy Awards - live blog
Oscars red carpet pictures:...
Whoopi Goldberg wore a pair of Ruby slippers as she introduced the on-stage rendition.
Wizard of Oz star Judy Garland's three children - Liza Minnelli, Lorna Luft and Joseph Luft - were all in the audience to witness the performance.
2014 marks the 75th anniversary of The Wizard of Oz, which won Oscars for Herbert Stothart's Original Score and Best Original Song for 'Over the Rainbow'.
Oscars 2014: Academy Awards winners list in full
Oscars 2014: 86th Academy Awards - live blog
Oscars red carpet pictures:...
- 3/3/2014
- Digital Spy
This is the premiere article for Speakerfone, a new column that focuses on music in film.
The melody came to Harold Arlen while he was driving down Sunset Boulevard. It was 1939, and he and E.Y. Harburg were tasked with writing songs for the upcoming L. Frank Baum adaptation, "The Wizard of Oz." At the time, the two were in need of a ballad, so Arlen wrote down his idea immediately. Afterward, he handed it over to Harburg, who came up with the lyrics and a title: "Over the Rainbow."
The rest, of course, is history: "Rainbow" helped turn "Oz" into a phenomenon, and Judy Garland was left singing the song for the rest of her career. But the songwriting duo's lasting legacy of syrupy-sweet Munchkin singalongs and Dorothy's aforementioned ballad weren't the only musical moments that helped prop up this classic film, which hits theaters once again this Friday, in IMAX and 3D.
The melody came to Harold Arlen while he was driving down Sunset Boulevard. It was 1939, and he and E.Y. Harburg were tasked with writing songs for the upcoming L. Frank Baum adaptation, "The Wizard of Oz." At the time, the two were in need of a ballad, so Arlen wrote down his idea immediately. Afterward, he handed it over to Harburg, who came up with the lyrics and a title: "Over the Rainbow."
The rest, of course, is history: "Rainbow" helped turn "Oz" into a phenomenon, and Judy Garland was left singing the song for the rest of her career. But the songwriting duo's lasting legacy of syrupy-sweet Munchkin singalongs and Dorothy's aforementioned ballad weren't the only musical moments that helped prop up this classic film, which hits theaters once again this Friday, in IMAX and 3D.
- 9/20/2013
- by Alex Suskind
- Moviefone
So it’s a bit early, but if any motion picture deserves a year-long celebration it’s this one. This weekend, film goers are getting a true treat. The 1939 (August to be exact) classic The Wizard Of Oz is back on Imax screens and in 3D for the very first time. Sure most of you have seen it on cable TV or on home video, but an opportunity to see this gem on the big screen should not be passed up. I mean this is a film that has become a huge part of our culture . The movie itself is legendary as are the stories about its making. There’s even a feature film comedy (Under The Rainbow) that’s set backstage (but I wouldn’t consider that Chevy Chase flick a classic).
Since I’m sure you’re familiar with the plot, lets’ talk about some of the backstage stories.
Since I’m sure you’re familiar with the plot, lets’ talk about some of the backstage stories.
- 9/20/2013
- by Jim Batts
- WeAreMovieGeeks.com
With IMAX’s re-rerelease of the Warner Brothers classic The Wizard Of Oz, check out this special Behind the Frame featurette. This particular episode goes behind-the-scenes with both IMAX and Warner Brothers to shed light on the iconic classic brought back to life.
Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow,The Wizard of Oz™ opened at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Dorothy™ was portrayed by a 4’11″ sixteen-year-old girl who quickly earned her reputation as “the world’s greatest entertainer”—the incomparable Judy Garland. Ray Bolger appeared as the Scarecrow™; Bert Lahr as the Cowardly Lion™, Jack Haley as the Tin Man™. Frank Morgan...
Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow,The Wizard of Oz™ opened at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Dorothy™ was portrayed by a 4’11″ sixteen-year-old girl who quickly earned her reputation as “the world’s greatest entertainer”—the incomparable Judy Garland. Ray Bolger appeared as the Scarecrow™; Bert Lahr as the Cowardly Lion™, Jack Haley as the Tin Man™. Frank Morgan...
- 9/10/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Go behind-the-scenes with Warner Bros.’ Chief Preservation Officer, Ned Price and IMAX’s Svp Film Production, Lorne Orleans to see how one of the most iconic films of all time was re-mastered into IMAX® 3D in this exclusive IMAX featurette. Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow, The Wizard of Oz opened at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Dorothy™ was portrayed by a 4'11" sixteen-year-old girl who quickly earned her reputation as “the world’s greatest entertainer”—the incomparable Judy Garland. Ray Bolger appeared...
- 9/10/2013
- by Pietro Filipponi
- The Daily BLAM!
Adapted from L. Frank Baum’s timeless children’s tale about a Kansas girl’s journey over the rainbow, The Wizard of Oz™ opened at Grauman’s Chinese Theater on August 15, 1939. The film was directed by Victor Fleming (who that same year directed Gone With the Wind), produced by Mervyn LeRoy, and scored by Herbert Stothart, with music and lyrics by Harold Arlen and E.Y. Harburg. Dorothy™ was portrayed by a 4’11″ sixteen-year-old girl who quickly earned her reputation as “the world’s greatest entertainer”—the incomparable Judy Garland. Ray Bolger appeared as the Scarecrow™; Bert Lahr as the Cowardly Lion™, Jack Haley as the Tin Man™. Frank Morgan was seen in six different roles, including that of the wonderful “Wizard of Oz™” himself.
The film was an overwhelmingly popular and critical success upon its initial release and repeated its ability to captivate audiences when M-g-m reissued the film in 1949 and...
The film was an overwhelmingly popular and critical success upon its initial release and repeated its ability to captivate audiences when M-g-m reissued the film in 1949 and...
- 9/4/2013
- by Movie Geeks
- WeAreMovieGeeks.com
Here’s your first look at the trailer for The Wizard Of Oz which will be presented in the immersive IMAX 3D format. It will return to the big screen for an exclusive one-week engagement in IMAX theatres across North America beginning September 20, 2013.
Marking the 75th anniversary of The Wizard of Oz, Warner Bros. has produced a 3D remastered version of the film which will launch a comprehensive, cross-divisional campaign encompassing theatrical, home entertainment, consumer products and a number of promotional partnerships.
“We couldn’t be happier to partner with IMAX® as we celebrate the 75th anniversary of this iconic film,” said Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. “The Wizard of Oz IMAX® 3D Experience is an integral part of our studio-wide anniversary initiative and we are excited to give fans the rare opportunity to see this stunning version on the big screen.”
“The Wizard of Oz is...
Marking the 75th anniversary of The Wizard of Oz, Warner Bros. has produced a 3D remastered version of the film which will launch a comprehensive, cross-divisional campaign encompassing theatrical, home entertainment, consumer products and a number of promotional partnerships.
“We couldn’t be happier to partner with IMAX® as we celebrate the 75th anniversary of this iconic film,” said Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. “The Wizard of Oz IMAX® 3D Experience is an integral part of our studio-wide anniversary initiative and we are excited to give fans the rare opportunity to see this stunning version on the big screen.”
“The Wizard of Oz is...
- 7/1/2013
- by Michelle McCue
- WeAreMovieGeeks.com
Marking the 75th anniversary of The Wizard of Oz, Warner Bros. has produced a 3D remastered version of the film which will launch a comprehensive, cross-divisional campaign encompassing theatrical, home entertainment, consumer products and a number of promotional partnerships.
Kicking off the celebration, The Wizard of Oz 3D will be presented in the immersive IMAX® 3D format and return to the big screen for an exclusive one-week engagement in IMAX® theatres across North America beginning September 20, 2013.
“We couldn’t be happier to partner with IMAX® as we celebrate the 75th anniversary of this iconic film,” said Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. “The Wizard of Oz IMAX® 3D Experience is an integral part of our studio-wide anniversary initiative and we are excited to give fans the rare opportunity to see this stunning version on the big screen.”
“The Wizard of Oz is one of the most beloved films...
Kicking off the celebration, The Wizard of Oz 3D will be presented in the immersive IMAX® 3D format and return to the big screen for an exclusive one-week engagement in IMAX® theatres across North America beginning September 20, 2013.
“We couldn’t be happier to partner with IMAX® as we celebrate the 75th anniversary of this iconic film,” said Dan Fellman, President, Domestic Distribution, Warner Bros. Pictures. “The Wizard of Oz IMAX® 3D Experience is an integral part of our studio-wide anniversary initiative and we are excited to give fans the rare opportunity to see this stunning version on the big screen.”
“The Wizard of Oz is one of the most beloved films...
- 6/4/2013
- by Michelle McCue
- WeAreMovieGeeks.com
As today's Google doodle celebrates 71 years of The Wizard of Oz, we present 71 things you might not know about the musical classic starring Judy Garland
1) So frightening was Margaret Hamilton's performance as the Wicked Witch of the West that most of her scenes were heavily edited or cut entirely.
2) When the script was written, the part of the Wizard had been earmarked for Wc Fields.
3) Judy Garland's white dress was actually pink as it was easier to shoot in Technicolor.
4) A sequel using the original cast was mooted, but scrapped after Garland became such a big star and Hamilton expressed doubts over the feasibility of such a project.
5) The film has numerous lines in Premiere magazine's poll to find the 100 Greatest Movie Lines. "Pay no attention to that man behind the curtain" came in at No 24.
6) "There's no place like home" came in at No 11.
7) "Toto, I have...
1) So frightening was Margaret Hamilton's performance as the Wicked Witch of the West that most of her scenes were heavily edited or cut entirely.
2) When the script was written, the part of the Wizard had been earmarked for Wc Fields.
3) Judy Garland's white dress was actually pink as it was easier to shoot in Technicolor.
4) A sequel using the original cast was mooted, but scrapped after Garland became such a big star and Hamilton expressed doubts over the feasibility of such a project.
5) The film has numerous lines in Premiere magazine's poll to find the 100 Greatest Movie Lines. "Pay no attention to that man behind the curtain" came in at No 24.
6) "There's no place like home" came in at No 11.
7) "Toto, I have...
- 8/13/2010
- by Catherine Shoard
- The Guardian - Film News
A feature that will incorporate graphical novels in its production is "Dark Oz," a feature from creator and film enthusiast Pearry Teo. From this director, producer, and writer Pearry Teo is "Dark Oz," which puts a dark spin on the classic tale of Dorothy and the Wizard of Oz. This time the chips are stacked in favour of the Nome King with many of Dorothy's comrades out of the picture through black magic. "Dark Oz," will take its influences from graphical novels and already several comic style stills are available to check out while the film moves farther along in production. Have a look at the first synopsis for "Dark Oz," here and check out the homepage for more information, including drawings, on this stylistic film project.
A synopsis for "Dark Oz," here...
Dorothy returns to Oz for another adventure, but this time what she remembers of Oz is not the same.
A synopsis for "Dark Oz," here...
Dorothy returns to Oz for another adventure, but this time what she remembers of Oz is not the same.
- 5/5/2009
- by Michael Ross Allen
- 28 Days Later Analysis
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