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Classic Coming Attractions by Barrie Maxwell

Back to Part One

Barrie Maxwell - Main Page

A Few Reviews and the Latest New Classic Release Announcements (continued)


It Happened to Jane (1959)
(released on DVD by Columbia on February 22nd, 2005)

Before Doris Day changed the direction of her film career with the light sex comedy Pillow Talk in 1959, she appeared in a popular concoction at Columbia with that studio's rising star Jack Lemmon. The film was It Happened to Jane. In it, Doris stars as neophyte Maine lobster producer, Jane Osgood. Jane's first shipment of lobsters to a country club is rejected when the train company is late in delivering them. Jane seeks compensation from the railroad, but she considers its offer insufficient and a mounting conflict develops between her and the company, exacerbated by the cheapness and mean-mindedness of the company's owner Harry Foster Malone. With the help of local lawyer George Denham (Jack Lemmon) and a publicity campaign organized by the New York press, Jane wages a spirited campaign against Malone, but big business seems as though it may be too powerful for the resources of Jane and the small town she lives in.

It Happened to Jane

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With its innocuous title and rather predictable plot line, it would be easy to dismiss this film, but its execution is so assured and the stars are so likable that it becomes a very amiable time passer indeed. Not to mention that any film with a steam locomotive in it has part of my vote already. For those who are somewhat indifferent to Doris Day in romantic comedy, this one is liberally laden with gentle comedy and with Doris's character already married once, light on the usual virginity-protecting verbal and physical calisthenics characteristic of her later films. Similarly, Jack Lemmon's standard comedy routine is polished here, but still fresh enough and his character free of false-seeming urban sophistication that we find him an appealing small-town character. His speech to the townspeople at the film's climax is folksy yet stirring enough to suggest that his character really does have enough substance to make his dream of being elected the town's Select Man reality. Ernie Kovacs gives a suitably broad performance as the boorish Malone, and the rest of the cast includes a number of familiar faces such as Mary Wickes as the town telephone switchboard operator, Steve Forrest as a smooth big city newspaperman, Gene Rayburn as a TV reporter, and TV personalities such as Dave Garroway, Garry Moore, and Henry Morgan in cameos playing themselves. Director Richard Quine ushers everybody through their paces in a brisk but unobtrusive fashion. A nice piece of light entertainment.

Columbia presents the film on DVD in a 1.85:1 anamorphic transfer that offers a fairly film-like experience. The image is quite sharp overall with colour that for Eastman Color is reasonably bright and accurate-looking. There are some exteriors and process shots that are softer and exhibit more though still modest grain. The mono sound is in good shape, offering clear dialogue and little background hiss. Doris's one main musical number (fairly forgettable) has little sonic pizzazz to it. English, French, and Japanese subtitles are provided, but not the Portuguese and Spanish ones also listed on the back of the case. Supplements consist of the usual three previews, begging the question: Has Columbia misplaced trailers for all its classic films except Gilda, It Should Happen to You, and You Were Never Lovelier? Recommended.


Strangers When We Meet (1960)
(released on DVD by Columbia on February 22nd, 2005)

It's perhaps something to do with the age of many veteran film buffs who were too young to experience most of The Hollywood Golden Age first hand, but did grow up during rapidly increasing permissiveness of succeeding years that contemporary dramas of the late 1950s and early 1960s appear more-dated looking than do earlier and later films. Films of that period reside in that uneasy time that signaled the first breaking down of the Production Code. Upon their initial release, they seemed slightly daring, but mere years later, exceedingly tame. Strangers When We Meet is a typical example from 1960 - a glossy soap opera that explores marital infidelity and the secret desires of men and women in suburbia. The story focuses on architect Larry Coe who has lost interest in standard design work. He gets a commission for a new house from successful writer Roger Altar whose hill-top property offers scope for new ideas. Coe's unhappiness with his career extends to his marriage with wife Eve and he soon falls for neighbour Maggie Gault who is also unhappy in her marriage. As the construction of the new house proceeds, so does Larry and Maggie's affair. Then Larry is offered a commission to design a whole city in Hawaii, bringing his relationship with Maggie and the future of his marriage to Eve both to a head.

Strangers When We Meet

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The film was a joint effort of Kirk Douglas's production company Bryna and independent producer Richard Quine (who also directed), and was released through Columbia with whom Quine had an agreement at the time. The material is pretty standard soap opera stuff, but the production resources brought to bear on it impart a gloss beyond what the content would normally rate. Both Kirk Douglas and Kim Novak as Larry and Maggie respectively offer earnest and realistic performances in roles that could just as easily have been mailed in. Strong support is provided by Barbara Rush as Eve, Walter Matthau as a neighbour who knows what's going on, and Ernie Kovacs as Altar. The performances are enhanced by some excellent location work in upscale Los Angeles neighborhoods and by the production's overall art design. I suspect the film would be a guilty pleasure for some. Certainly it's an easy watch of an afternoon, but offers little repeat value.

Columbia's DVD release provides a 2.35:1 anamorphic transfer of the CinemaScope production filmed in Eastmancolor. Colours seem accurate, and the image is quite sharp most of the time. There are, however, a few instances where softness intrudes and the film's natural grain seems accentuated providing a tired-looking air to the transfer on those occasions. The source material betrays some speckling and few scratches. The overall impact is quite positive, however. The mono sound is in good shape, offering clear dialogue free of background hiss. English and Japanese subtitles are provided. The supplements consist of the usual three-trailer preview package that Columbia offers on its classic titles. This time we get Gilda, You Were Never Lovelier, and In the Cut. Recommended as a rental.


Satan Never Sleeps (1962)
(released on DVD by Fox on February 22nd, 2005)

Forgive me if you've heard this one before, but it seems there was an old priest and a young priest at a church in peril. The young priest is looked on with some skepticism by the old priest, partly due to the affection that a young woman seems to have for him. The young woman eventually becomes involved with a young man who partly holds the future of the church property in his hand. The young priest slowly manages to win over the old priest but not before the church is destroyed in a fire. Redemption, however, comes to all in the end. Most movie buffs will recognize the basic story of Going My Way, director Leo McCarey's heart-warming 1944 film with Bing Crosby and Barry Fitzgerald as the two priests.

Satan Never Sleeps

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Skip forward nearly two decades, take the same director, set events in a remote mission in China instead of a church in New York City, replace mortgage problems with the Communist Revolution, and out pops Satan Never Sleeps - surely an effort that all involved wished they'd passed on. Of course this tale is supposedly a more mature and dramatic presentation than the original, even apparently based on Pearl Buck's "The China Story". That may be, but the material has obviously been slanted to invoke McCarey's earlier work. That's to the new film's detriment, for McCarey, his best films behind him, manages to remove any vestiges of heart from the material. Nor does the casting prove helpful. William Holden as the young priest O'Banion looks somewhat lost throughout, probably realizing early on that a pious role such as this isn't exactly suited to his more-worldly real-life persona. Clifton Webb as the old priest fares no better. His usually waspish nature is barely fettered here, and one keeps expecting him to suddenly announce that it's all a big mistake and that he's actually an author in disguise gathering material for his next book. Only France Nguyen (also in South Pacific and Diamond Head) as Siu Lan, the young woman who loves O'Banion, comes out of this one unscathed. She gives an earnest and truly touching performance in what could easily have been a disaster of a role.

Aside from the film's ill-advised invoking of the glory of past films, there's a disturbing element to it as well. It expects us to believe that a Communist leader can desecrate the mission chapel, rape the young woman who admires Holden, stand by while his parents are gunned down, and then marry the girl in the end with a smiling Holden on hand to baptize their child. Talk about your happy Hollywood ending - this one is so objectionable that it's sickening. No wonder Holden has a shame-faced look as the curtain goes down. Ridiculous!

This is a CinemaScope film with colour by Deluxe that Fox has issued in a nice 2.35:1 anamorphic transfer. The opening credits with red lettering over a bamboo-textured background are rock-solid, suggesting that some care has been taken and that proves to be the case. Colours are bright and natural, as are flesh tones throughout. The image is quite sharp with good shadow detail, although there is minor evidence of edge effects. The English stereo track provides clear dialogue although there are no obvious separation effects. English and Spanish mono tracks and subtitles are also provided. Supplements comprise the theatrical trailer and trailers for six other Fox DVD releases (all classic titles with religious themes except perversely some teen horror nonsense called Hangman's Curse).


Behold a Pale Horse (1964)
(released on DVD by Columbia on February 22nd, 2005)

In 1961, Columbia had a lot of success teaming Gregory Peck and Anthony Quinn in The Guns of Navarone. The following year, Lawrence of Arabia featured Omar Sharif and Anthony Quinn in an even bigger success for the company. So why not put all three actors together in a movie, line up the well-regarded Fred Zinnemann to direct, and mix in a score by Lawrence of Arabia composer Maurice Jarre? The result was Columbia's 1964 production Behold a Pale Horse. Based on a novel by Emeric Pressburger, the film tells the story of Manuel Artiguez, a former revolutionary in the Spanish Civil War who, once exiled to France following the end of that conflict, continued to lead guerrilla raids into Spain for many years. Artiguez has been sought by Spanish police captain Vinolas because of these raids, but he has always managed to elude him. Now retired, Artiguez is brought word by an old friend that his mother is dying in St. Martin where Vinolas is headquartered. Fearing that the news may simply be a ploy by Vinolas to entrap him, Artiguez hesitates to take action. Then, a priest from the town conveys the news that in fact his mother is dead. Faced with these conflicting stories, Artiguez must try to determine the truth and take action accordingly.

Behold a Pale Horse

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Behold a Pale Horse is a very earnest effort. It begins promisingly with some urgent newsreel footage from the actual Spanish Civil War and then merges into its story, as the revolutionaries are disarmed and sent into France. But almost immediately thereafter, it begins to lose steam and meanders along gradually introducing characters but hesitating to develop the obvious conflicts between them with any urgency. It focuses most strongly on the Artiguez character who is played by Gregory Peck in a low-key but fairly convincing fashion even if the make-up and rumpled clothes can't quite make one forget the Peck leading-man persona. As a consequence of the focus on Artiguez, the other main players are somewhat wasted. Anthony Quinn's character (Vinolas) is basically one-dimensionally bad while Omar Sharif's priest never suggests much beyond blank-eyed neutrality. Director Zinnemann photographs everything in a harsh, gray light creating a somewhat depressing atmosphere of decay and lost dreams. It works well with the Artiguez character's air of self pity and inability to take action, but when combined with the film's rather talky screenplay the overall impact is one of sucking the life out of the film. The brief flurry of action at the film's resolution is insufficient to compensate for this. As I said, an earnest effort, but one whose air of self-importance is not reflected in what is ultimately a rather slight story.

Columbia provides a 1.85:1 anamorphic transfer that captures the gritty nature of the cinematography quite well, but seems somewhat dark overall. It's also a little inconsistent, with some scenes that are incredibly crisp and full of image detail. Others, particularly at night and in dimly-lit rooms are a bit murky, as they tend to emphasize the film's natural grain. There are some intermittent instances of mild edge effects. A few speckles are in evidence. The mono sound is adequate and English, Spanish, and Korean sub-titles are provided. There is the usual package of trailers as a supplement, this time including one for the film itself. Note that Columbia's packaging is rather shoddy in this instance, with an incredibly garbled plot synopsis on the back and poor cover art that makes Omar Sharif look like one of the Dead End Kids in clerical garb.


The Agony and the Ecstasy (1965)
(released on DVD by Fox on February 22nd, 2005)

Biographical novelist Irving Stone, well known for his successful book on Vincent Van Gogh ("Lust for Life"), had perhaps his greatest success with "The Agony and the Ecstasy", a 1961 epic on the life of Michelangelo. For its 1965 filming of the book, Fox chose to focus on the four-year period during which Michelangelo painted the ceiling of the Sistine Chapel at the command of Pope Julius II, the warrior pope. Shooting was carried out in Italy in mid-1964 and utilized a full-scale replica of the Sistine Chapel constructed at the Dino de Laurentiis Studios in Rome. Aside from the mechanics of the actual painting, the film focused on the relationship between Julius ("Michelangelo, when will you make an end?") and the reluctant Michelangelo ("When I am finished").

The Agony and the Ecstasy

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Given the era and his track record at the time, it came as no surprise that Charlton Heston was signed up to play Michelangelo. For Pope Julius, Laurence Olivier was first considered but was not available, so the producers turned to Rex Harrison who had just won the Academy Award for My Fair Lady. Both do quite well in their roles. Heston certainly looks the part (even if technically too tall for it) and manages to convey Michelangelo's mental and physical turmoils effectively. Harrison's work is perhaps the more impressive though, as he provides a bit of a worldly edge to the pope that contrasts with the more overtly pious characterizations that one might be accustomed to. Of course, the warrior nature of this pope is part of that. The film also benefits from some good supporting performances from Diane Cilento as a spurned love interest and Harry Andrews as the pope's architect.

With that cast and the directorial pedigree of Carol Reed (Odd Man Out, The Third Man, Oliver!), it all should have been better and probably would have had the film really focused in on the pope/artist conflict and been content to be a tight character study. But instead, it attempts to make the whole story into an epic on the scale of a Ben-Hur. A few battle scenes and an admittedly effective rendering of Michelangelo's revelatory inspiration for the ceiling design are not sufficient to compensate for the fact that this is too much about a man lying on his back high above the floor of a chapel. That doesn't mean it's a poor film, just that it's not a great one, though still worth your time seeing.

Fox's release of the film on DVD was fairly unheralded and thus it came as a distinct surprise to find that substantial restoration work was carried out on this title. Based on a new interpositive derived from the cleaned up original 65mm camera negative, the 2.20:1 anamorphic transfer is excellent, providing a sharp image, accurate colours, very good shadow detail, and is virtually free of any source material defects. Fox has also produced a new Dolby Digital 5.0 surround audio track that provides very clear dialogue and imparts some impressive fidelity to Alex North's pleasing score. Included are a French stereo track, English and Spanish mono tracks, and English and Spanish subtitles. The supplements consist of a restoration comparison which mainly demonstrates a substantial improvement in the film's colour, a teaser and trailer, and trailers for five other Fox releases. Recommended.


The Latest Classic Release Announcements

It's become standard of late to find that it's Warner Bros. that provides us with the most exciting and extensive classic release news. The past few weeks have been no exception, so I'll start with the latest announcements from Warners and then go through the rest alphabetically by studio. Note that our Classic Coming Attractions Database has been updated accordingly (click the link to download it in zipped Word.doc format).

April will be Errol Flynn and Doris Day month as far as Warners is concerned. The 19th will bring us a six-disc set - Errol Flynn: The Signature Collection. Included will be Captain Blood, The Private Lives of Elizabeth and Essex, The Sea Hawk, They Died with their Boots On, and Dodge City. These titles will be available separately as well. Each disc includes a Warner Night at the Movies program of shorts hosted by Leonard Maltin and a new making-of featurette. In addition, exclusive to the set will be a new documentary The Adventures of Errol Flynn. The eight-title Doris Day Collection will appear on the 26th. This includes six films new to DVD: Young Man With a Horn, Lullaby of Broadway, Love Me or Leave Me, Billy Rose's "Jumbo", Please Don't Eat the Daisies, and The Glass Bottom Boat as well as repackaged versions of the previously available Pajama Game and Calamity Jane. All titles will also be available separately, and vintage shorts and featurettes, cartoons, and trailers will be included with each.

With this head of steam built up, Warners' May offerings are even more prolific. May 3rd will bring the John Wayne Legendary Heroes Collection. This will include five titles: Blood Alley, McQ, The Sea Chase, Tall in the Saddle and The Train Robbers - all of which will also be available separately. May 10th will bring The Controversial Classics Collection of seven films: I Am a Fugitive From a Chain Gang (1932), Fury (1936), Bad Day at Black Rock (1955), Blackboard Jungle (1955), A Face in the Crowd (1957), Advise and Consent (1962), and The Americanization of Emily (1964). Each will contain a commentary and/or a feature about the film's impact and legacy. As usual, all will be available separately as well. Then on May 31st, we'll get The Complete James Dean Collection which will include East of Eden (1955), a new 2-disc Rebel Without a Cause: Special Edition (1955), and the previously released 2-disc Giant: Special Edition (1956). The set will feature new documentaries, audio commentaries, deleted scenes, "behind-the-scenes" featurettes, screen test footage and more. All three titles will also be available separately.

Other Warner news of interest includes the release of Battle of the Bulge (1965, Henry Fonda) on May 3rd and though not classic titles, for Samuel Fuller and Burt Lancaster fans, the appearance respectively of The Big Red One: Special Edition (1980) on May 3rd and Go Tell the Spartans (1978) on the 24th. There are now suggestions that Ben Hur (1959) will see a four-disc Collector's Edition appear this coming September. It will apparently also include the 1925 version of the film. Other expectations are the anticipated new Ultra Resolution restoration of The Wizard of Oz (1939) in October (two-discs) and the long-anticipated King Kong (1933) special edition (two discs) in November. Supplements are unconfirmed at this time, but knowing Warners' track record, should be extensive. There is also a suggestion that a William Powell collection may be in the works and may include a new documentary on Powell's career. Such a set would likely be a Warners product since most of Powell's films were originally produced by Warners or MGM. There is no information on what exact titles might be involved, and it is possible that this may just be an allusion to an expected set of the Thin Man films not yet released on DVD.

Alpha has its usual slates of releases, one set for March 29th and the next for April 26th. Each includes 35 new titles, some of which will be compilations of TV series episodes. The March feature film offerings have a strong emphasis on B westerns and also include two serials (Custer's Last Stand [1936] and Winners of the West [1940]). April's releases cover just about every genre and include four serials (Phantom of the West [1931], Mystery Mountain [1934], Overland Trail [1941], and Riders of Death Valley [1941]). See the coming releases data base for a complete listing of titles.

Anchor Bay's Ealing Comedy Collection (The Titfield Thunderbolt, A Run for Your Money, Tight Little Island, Passport to Pimlico, The Maggie) is now set for an April 5th release.

On April 5th and kicking off the traditional spring release time for westerns, Columbia will offer eight new titles: Bonanza Town (1951), The Desperados (1943), A Good Day For A Hanging (1958), Jubal (1956), Lust for Gold (1949), Texas (1941), The Texican (1966), and The Violent Men (1955) - all apparently in the OAR and anamorphically enhanced as appropriate. Also being released then is a new special edition of The Professionals (1966) to include an anamorphic transfer (not known if it's a new one, although the old one was quite good) and three featurettes.

Criterion's April offerings include Three War Films (1954-1958) by Andrzej Wajda on the 26th. The individual titles are Ashes and Diamonds, Kanal, and A Generation. Among the extensive supplements will be new interviews with Wajda on each film and an audio commentary on Ashes and Diamonds by film scholar Annette Insdorf. The same date will also see the appearance of two-disc editions of F for Fake (1974) and Divorce Italian Style (1961).

On May 3rd, Disney will release In Search of the Castaways (1962), Summer Magic (1963) and That Darn Cat! (1965). May 31st will bring three more Disney Cartoon Classic Favorites: Volume 5 - Extreme Sports Fun, Volume 6 - Extreme Music Fun, and Volume 7 - Extreme Adventure Fun. It appears that the fifth wave of Walt Disney Treasures tins, expected December 6th, will include Disney Rarities, Legendary Heroes (likely includes the Swamp Fox series), Spin and Marty, and The Chronological Donald, Volume 2.

Fox's second wave of Studio Classics for 2005, due May 24th, will include Anna and the King of Siam (1946), The Best of Everything (1959), and The Razor's Edge (1946). Each should have the usual blend of audio commentary, newsreel footage, biographical material, and trailers. Actually May 24th is quite a busy day for Fox, as it will also offer its spring sets of western and war releases then too. The westerns are: Drums Along the Mohawk (1939), Buffalo Bill (1944), Broken Lance (1954), Forty Guns (1957), The Bravados (1958), Warlock (1959), and In Old Arizona (1929). The war films are: The Frogmen (1951) and A Farewell to Arms (1957). Fox also confirmed its May 24th release of The Frank Sinatra Collection, previously announced in this column.

Image will release the Carl Theodor Dreyer silent film Leaves from Satan's Book (1920) courtesy of David Shepard on April 5th. The 19th brings two more Gene Autry westerns - Blue Canadian Rockies (1952) and Wagon Team (1952), while the 26th will see the release of My Name Is Nobody (1973, anamorphic) and Paris Underground (1945). On May 3rd, expect Naked City: Box Set #1 (12 episodes). On May 24th, we'll get The Dick Van Dyke Show: Complete Series (25 discs) and the Mission Mars Collection (Flight to Mars, Attack from Mars, and Invaders from Mars). The Naked City and Dick Van Dyke offerings are repackagings of previously-released individual discs or box sets.

Kino's Josephine Baker films (Siren of the Tropics, Princess Tam Tam, Zou Zou) are apparently now scheduled for a June release.

Marengo's plans include the release of three further double bills, but no specific date is yet set. The titles are: Father's Little Dividend/Last Time I Saw Paris, British Intelligence/Code of Scotland Yard, and Renfrew of the Royal Mounted/Renfrew on the Great White Trail.

May 17th will be a busy day for MGM. A new edition of The Thomas Crown Affair (1968) will be released as well as a Steve McQueen Giftset (includes the Thomas Crown Affair disc as well as three previously released McQueen titles - The Magnificent Seven, The Great Escape, Junior Bonner). There will also be several comedy titles released as well as a lengthy list of spring western releases. Comedies Dance with Me Henry, The Noose Hangs High (both Abbott and Costello), and The Princess and the Pirate (Bob Hope) will feature full-frame transfers while I'll Take Sweden (Bob Hope) will arrive with a non-anamorphic 1.66:1 transfer. The westerns will be: Escort West (2.35:1 anamorphic and pan and scan), Invitation to a Gunfighter (1.66:1 non-anamorphic), Sam Whiskey (1.85:1 non-anamorphic and pan and scan), The Scalphunters (2.35:1 anamorphic), Hour of the Gun (2.35:1 anamorphic), More Dead Than Alive (1.85:1 anamorphic and pan and scan), and The Hunting Party (1.85:1 anamorphic and pan and scan). MGM's June offerings start off with four Peter Sellers titles on the 7th: The Blockhouse (1973), Never Let Go (1960), What's New Pussycat (1965), and The Naked Truth [aka Your Past is Showing] (1957). Other expected releases in 2005 are Midnight Cowboy: 35th Anniversary Collector's Edition (1970) and a Pink Panther Classic Cartoons gift set.

Several titles from Milestone previously expected in February will appear in April and May, as usual via Image Entertainment. These include three Mary Pickford double bills: Heart O' the Hills/M'Liss, Suds/Birth of a Legend, and Through the Back Door/Cinderella on May 3rd, and Hindle Wakes (1927) on April 12th. On April 26th, the Olive Thomas Collection: The Flapper/Olive Thomas: Everybody's Sweetheart (1920, 2004) should appear, again via Image. Milestone will also be collaborating with the Gloria Swanson Collection housed in Austin Texas to bring a DVD of the recently discovered 1921 film Beyond the Rocks (with Swanson and Rudolph Valentino) to market in early 2006.

MPI will release The Rifleman: Box Set #4 on May 31st.

Paramount has two Doris Day films in the works - with Clark Gable in Teacher's Pet (1958) for April 19th, and her last film, With Six You Get Eggroll (1968) on May 3rd. Also on the 3rd, expect I Love Lucy: The Complete Fourth Season, A special edition of The Longest Yard (1974) will be released on May 10th. The previously announced special editions of The High and the Mighty (1954) and Island in the Sky (1953) are now expected in June, and June 14th should see a new collector's edition of The War of the Worlds (1953).

PPI Entertainment has two April 26th releases: Gods of War (The Giant of Marathon/The Last Glory of Troy) (1960/1962, both with Steve Reeves) and Return to Troy (Lion of Thebes/Fury of Achilles) (1964/1962, with Mark Forest/Gordon Mitchell).

On March 29th, the Roan Group will offer The Vagabond Lover (1929, with Rudy Vallee) and His Private Secretary (1933, with John Wayne).

Universal will release two 2-disc sets on May 31st. The Gary Cooper Collection will include Design for Living (1933), Peter Ibbetson (1935), The General Died at Dawn (1936), Beau Geste (1939), and The Lives of a Bengal Lancer (1935). Supplementary content, if any, is unknown. The Marlon Brando Collection will include The Night of the Following Day (1969), The Ugly American (1963), A Countess From Hong Kong (1967), and The Appaloosa (1966). Each film will be presented in anamorphic widescreen and include the theatrical trailer. Night of the Following Day will also include a director audio commentary. Bedtime for Bonzo (1951, Ronald Reagan) is also expected on the 31st. Universal has indicated that complete seasons of the Leave It to Beaver TV series will begin to appear on DVD later this year.

Among Region 2 releases of interest are reportedly remastered editions (from Paramount) of Beat the Devil (1953), I Wake Up Screaming [as Hot Spot] (1941), Port of New York (1949), Scarlet Street (1945), and Jamaica Inn (1939), coming on February 24th. MGM will have an anamorphic version of Man of the West (1958) on March 14th.

Once again, that's it for now. See you all again soon!

Barrie Maxwell
barriemaxwell@thedigitalbits.com


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