THIS DVD IS NEW & FACTORY SEALED - BECOMING VERY COLLECTABLE - RARE TO FIND IN THIS CONDITION

MGM's bold idea to remake George Cukor's Oscar-winning upper-class romantic farce, The Philadelphia Story , into a star-studded technicolor musical with Cole Porter tunes somehow works splendidly and remains an underrated gem. Even the plot and character names--and some bits of dialogue--all remain the same as the original. Crooning Bing Crosby replaces Cary Grant as the wealthy ex-husband trying to win back his soon-to-be-remarried ex-wife, spoiled ice queen Tracy Lord (Grace Kelly, stunning and aloof in her last film role, originated in the earlier comedy by Katherine Hepburn). Unlike Grant, however, Crosby has jazz great Louis Armstrong, playing himself, in his corner for quixotic persuasion. Frank Sinatra (cocky in James Stewart's former role) and Celeste Holm add support as the nosy reporters covering, and subsequently complicating, the upcoming wedding. Sure, High Society lacks the original's witty satire, sarcasm and character complexity; but it's assuredly paced and wonderfully acted, and contains enough romantic chemistry to keep the plot engaging. And then there's the music. Unlike the grandiose production numbers of many 40s and 50s musicals, High Society 's musical sequences are considerably low-key and intimate, focusing on Porter's lyrical content and the style in which it's delivered by the charismatic performers. Armstrong kicks the film off in telling style: he sings the title track, a calypso tune outlining the plot like a Greek chorus--not as an elaborately choreographed song-and-dance number, but instead stuffed claustrophobically in the back of a limousine with his jazz band. Other musical standouts include Sinatra and Crosby playfully tossing barbs during"Well, Did You Evah?"; Crosby and Armstrong teaming up for an energetic clash of styles in"Now You Has Jazz"; the two soaring, archetypal ballads by the leads--Crosby's"I Love You, Samantha" and Sinatra's superior"You're Sensational"; and, finally, the satirical Sinatra/Holm duet,"Who Wants to Be a Millionaire?", the closest High Society ever comes to social or class-commentary. -- Dave McCoy, Amazon.com

Like the Tin Man's heart, the true test of a real classic is how much it is loved by others. The enduring charms of The Wizard of Oz have easily weathered the vicissitudes of changing fashions making the film one of the world's best-loved, most-quoted and frequently imitated movies.

It's now as ubiquitous an American pop-cultural icon as McDonald's, making judging the movie purely on its own merits an almost impossible task. Judy Garland's tragic later life, for example, makes her naïve and utterly beguiling Dorothy seem all the more poignant in retrospect. But this at least is clear: much of this movie's success depends on the winning appeal of Garland's"Everygirl" figure, who creates the vital identification and empathy necessary to carry the audience with her into the land of Oz. We always care deeply about Dorothy, her quest for home and the strength of her friendship with her companions. Garland's assured dancing and singing routines with her ideally cast Broadway comedy co-stars Ray Bolger, Bert Lahr and Jack Haley are still endlessly delightful, of course, and the songs and score (by Arlen, Harburg and Stothart) are as good as anything in the Hollywood musical canon. It is Garland's deeply felt rendition of"Over the Rainbow" that is both the film's emotional core and the reason why adults as much as children the world over still respond so strongly to this movie. So long as people long for home and the love of their friends and family, the nostalgic appeal of Oz will never fade.

On the DVD: another splendid digital restoration from the MGM vaults keeps this wonderful classic as vivid and alive as it was back in 1939, if not more so. The 1.33:1 picture is clear and defined, bursting with the vibrant colours of Oz (you can even see the wires holding up the Lion's tail). Even more remarkably, because the original microphone tapes have been preserved the soundtrack has been remastered in 5.1 stereo, thereby accentuating the lush tones of the MGM orchestra and Garland's famous singing.

The disc is also chock full of extras, including outtakes, audio sequences, composer Harold Arlen's backstage movies, extracts from earlier silent Oz films, clips from the Academy Awards and interviews with the stars among many other fascinating nuggets. The new 50-minute documentary hosted by Angela Lansbury, and irritatingly narrated in the present tense, is oddly the weakest part, with too little hard information and too much padding about how everyone loves the movie. The only gripe is Warners' trademark cardboard slipcase, which is awkward and easily damaged. But this is still an essential disc for the young at heart everywhere. -- Mark Walker

After the tight plotting and quirky intensity of Fargo, this casually amusing follow-up from the prolifically inventive Coen (Ethan and Joel) brothers seems like a bit of a lark, and the result was a box-office disappointment. The good news is, The Big Lebowski is every bit a Coen movie, and its lazy plot is part of its laidback charm. After all, how many movies can claim as their hero a pot-bellied, pot-smoking loser named Jeff"The Dude" Lebowski (Jeff Bridges) who spends most of his time bowling and getting stoned? And where else could you find a hairnetted Latino bowler named Jesus (John Turturro) who sports dazzling purple footgear, or an erotic artist (Julianne Moore) whose creativity consists of covering her naked body in paint, flying through the air in a leather harness, and splatting herself against a giant canvas? Who else but the Coens would think of showing you a camera view from inside the holes of a bowling ball, or an elaborate Busby Berkely-styled musical dream sequence involving a Viking goddess and giant bowling pins? The plot--which finds Lebowski involved in a kidnapping scheme after he's mistaken for a rich guy with the same name--is almost beside the point. What counts here is a steady cascade of hilarious dialogue, great work from Coen regulars John Goodman and Steve Buscemi, and the kind of cinematic ingenuity that puts the Coens in a class all their own. Be sure to watch with snacks in hand, because The Big Lebowski might give you a giddy case of the munchies. -- Jeff Shannon

Roman Polanski's adaptation of the Shakespearean tragedy Macbeth remains one of the most infamous for a number of reasons: the copious amounts of bloody gore, its expert use of location settings (filmed in North Wales) and Lady Macbeth's nude sleepwalking scene. Despite its notoriety, though, this does remain one of the more compelling film adaptations of the Scottish tragedy, if one of the more pessimistic takes on the story of Macbeth and his overreaching ambition. If you think the play is normally a bit of a downer, you haven't seen Polanski's bleak version of it, made in reaction to the murder of his wife, Sharon Tate, by the Manson"family". Jon Finch (Hitchcock's Frenzy ) is a forceful Macbeth, bringing out the Scot's warrior instincts, and Francesca Annis is a memorable Lady Macbeth but the main thrust of the film belongs to Polanski's and noted British playwright and critic Kenneth Tynan's take on the play: extremely violent, nihilistic and visceral; this is down-in-the-dirt, no-holds-barred Shakespeare, not fussy costume drama. Pay close attention to the end, a silent coda that puts a chilling twist on all the action that has come beforehand and foreshadows more tragedy to come. --Mark Englehart

A film which regularly charts high in critics' polls of the best films of all time, director Marcel Carné and screenwriter Jacques Prévert's masterpiece Les Enfants du Paradis is as solid a landmark in French film history as the Eiffel Tower is on the Parisian landscape. And at 187 minutes running time, it's a massy edifice indeed, built from a rambunctious cast of characters--ranging from pickpockets and prostitutes to aristocrats and actors--whose lives intersect around the Theatre des Funambules, a popular Parisian theatre on the Boulevard du Crime, during the 1840s. (The title refers to the poor who can only afford seats in the upper galleries of the theatre.)

The heart of the plot is a love story between mime artiste Baptiste (Jean-Louis Barrault) and streetwalker Garance (the magnificent, sand-paper-voiced Arletty). When Garance is falsely accused of pickpocketing, Baptiste provides a mimed alibi for her to the police (one of the film's most famous set pieces). The rose she later throws him in gratitude sets off a romantic obsession, one of several that structure the film, as do love triangles, duels, and tortured confessions of feeling.

Thematically, Les Enfant du Paradis gnaws over typically French cinematic preoccupations: illusion and reality, the nature of performance, the indomitable spirit of the proletariat and so on, all made the more charged and poignant when you know the film was shot during the Nazi occupation. (One actor, Robert Le Vigan, was reportedly a Nazi collaborator and disappeared during the filming under mysterious circumstances and so had to be replaced by Pierre Renoir.) -- Leslie Felperin

United Kingdom released, PAL/Region 2 DVD: LANGUAGES: English ( Dolby Digital 5.1 ), English ( Mono ), English ( Subtitles ), ANAMORPHIC WIDESCREEN (2.35:1), SPECIAL FEATURES: Anamorphic Widescreen, Interactive Menu, Remastered, Scene Access, SYNOPSIS: Eighteen year-old Polly decides to turn her back on her wealthy background in Chelsea and undertake a more `down to earth' lifestyle. She moves to Battersea and gets a job in a sweet factory where she is initiated into a way of life she had previously been sheltered from. She later meets Peter, a nineteen year old second-hand furniture assistant, who aspires to be part of the world she has just left. The film centres on the relationship between two young people with conflicting ambitions. Based on the novel of the same name by Nell Dunn. ...Up the Junction

Be aware, you should ensure your DVD is in a proper Disney blue box - those in clear boxes are inferior seconds and should be avoided. If it doesn't say so in the listing notes, you should always contact the Amazon Marketplace seller to check.

Throughout his long, wandering, often distinguished career Francis Ford Coppola has made many films that are good and fine, many more that are flawed but undeniably interesting, and a handful of duds that are worth viewing if only because his personality is so flagrantly absent. Yet he is and always shall be known as the man who directed the Godfather films, a series that has dominated and defined their creator in a way perhaps no other director can understand. Coppola has never been able to leave them alone, whether returning after 15 years to make a trilogy of the diptych, or re-editing the first two films into chronological order for a separate video release, as is the case here. The films are our very own Shakespearean cycle: they tell a tale of a vicious mobster and his extended personal and professional families (once the stuff of righteous moral comeuppance), and they dared to present themselves with an epic sweep and an unapologetically tragic tone. Murder, it turned out, was a serious business. The first film remains a towering achievement, brilliantly cast and conceived. The entry of Michael Corleone into the family business, the transition of power from his father, the ruthless dispatch of his enemies--all this is told with an assurance that is breathtaking to behold. And it turned out to be merely prologue; two years later The Godfather, Part II balanced Michael's ever-greater acquisition of power and influence during the fall of Cuba with the story of his father's own youthful rise from immigrant slums. The stakes were higher, the story's construction more elaborate, and the isolated despair at the end wholly earned. (Has there ever been a cinematic performance greater than Al Pacino's Michael, so smart and ambitious, marching through the years into what he knows is his own doom with eyes open and hungry?) The Godfather, Part III was mostly written off as an attempted cash-in, but it is a wholly worthy conclusion, less slow than autumnally patient and almost merciless in the way it brings Michael's past sins crashing down around him even as he tries to redeem himself. -- Bruce Reid