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George Cukor's The Women (1939) Joan Crawford Rosalind Russell Paulette Goddard
Set in a 1930s Manhattan milieu of idle socialites and gossip, George Cukor's THE WOMEN is an opulent rendition of the Clare Boothe Luce play. While no men appear in the film, they are grist for the mill in the social circle of Mary Haines (Norma Shearer) and her catty clique of high-society wives. However, Mary's tidy world is turned upside down when she accidentally learns of her husband's philandering. Crystal Allen (Joan Crawford), a vicious vixen and ruthless gold digger, has set her sights on Mary's husband; Mary initially plays right into her hands, but soon, with the advice and support of comrades experienced in the art of woman-to-woman combat, Mary decides she won't give up without a fight. The tale's semiregressive premise has been criticized for this reason, yet this does not overshadow the host of exceptional performances and the range of complex relationships the film presents. As a fantasy of a women-only world of glamour, idle pleasures, and raw sexual competition, the film has enjoyed a cult
The Women
Set in a 1930s Manhattan milieu of idle socialites and gossip, George Cukor's THE WOMEN is an opulent rendition of the Clare Boothe Luce play. While no men appear in the film, they are grist for the mill in the social circle of Mary Haines (Norma Shearer) and her catty clique of high-society wives. However, Mary's tidy world is turned upside down when she accidentally learns of her husband's philandering. Crystal Allen (Joan Crawford), a vicious vixen and ruthless gold digger, has set her sights on Mary's husband; Mary initially plays right into her hands, but soon, with the advice and support of comrades experienced in the art of woman-to-woman combat, Mary decides she won't give up without a fight. The tale's semiregressive premise has been criticized for this reason, yet this does not overshadow the host of exceptional performances and the range of complex relationships the film presents. As a fantasy of a women-only world of glamour, idle pleasures, and raw sexual competition, the film has enjoyed a cult
![The Women [VHS]](http://di109.shopping.com/images/di/6b/5a/6a/59304c3959436f527652597671503062597051-259x475-0-0.jpg?p=p9.502e9900bda30d9f6fc0&a=1&c=1&l=8002754&t=120525061000&r=3)
The Women [VHS]
George Cukor, Hollywood's legendary "woman's director," had his hands full with the all-female cast of this 1939 film adaptation of the Clare Boothe play. The story finds a group of catty, competitive friends destroying reputations at social gatherings. The dialogue sparkles, Joan Crawford's performance as a husband stealer is still a classic, the film looks wonderful in Cukor's hands, and the Technicolor fashion-show scene is a one-of-a-kind Hollywood experience. --Tom Keogh
![The Women [VHS]](http://di101.shopping.com/images/di/6d/4e/58/66545268777770376554554c6a306372764777-262x475-0-0.jpg?p=p9.502e9900bda30d9f6fc0&a=1&c=1&l=8002754&t=120525061000&r=4)
The Women [VHS]
George Cukor, Hollywood's legendary "woman's director," had his hands full with the all-female cast of this 1939 film adaptation of the Clare Boothe play. The story finds a group of catty, competitive friends destroying reputations at social gatherings. The dialogue sparkles, Joan Crawford's performance as a husband stealer is still a classic, the film looks wonderful in Cukor's hands, and the Technicolor fashion-show scene is a one-of-a-kind Hollywood experience. --Tom Keogh
The Women (Snap case)
This scorching comedy finds Norma Shearer, Joan Crawford, Rosalind Russell, Joan Fontaine and Paulette Goddard fighting with no-holds-barred cattiness for their own (and each other's) husbands and lovers.
The Shooting
The Shooting, perhaps the most famous Western hardly anybody ever saw, takes deadpan survey of the fallout from a casual atrocity, or perhaps only a ludicrous accident, in a nameless town. We never see the atrocity/accident, or even the town. Word simply reaches a prospector's camp, a wood-and-canvas pimple on the blankness of the wasteland, that someone "rode down a man and a little person... maybe a child." Was the someone Willett Gashade's brother Coin, who has gone missing? Was it Leland Drum, Coin's companion, who gets shot from ambush at his fireside--perhaps by an unknown avenger, perhaps by Coin? The death of Drum explains the film's title, but there's a long list of things we never know in The Shooting, and most (all?) of the characters in the movie never know them either. Still, the small, relentlessly enigmatic cast of characters gets into motion and keeps moving--chasing something, running from something, headed for somewhere that may turn out to be nowhere, or deep inside themselves. Monte Hellman made The Shooting (and a second movie, Ride in the Whirlwind) during one brief trip into the desert, anonymously financed by Roger Corman, in the summer of 1966. His material was a script by Adrien Joyce (later of Five Easy Pieces fame), the patient camera of Gregory Sandor, and the faces, voices, and brazenly modern presences of Warren Oates (Gashade), Jack Nicholson (a white-collar killer), and Millie Perkins (a pinched Medusa, freckled with trail dirt, bitchy light years from Anne Frank). Over the intervening decades the Beckettian movie has been sporadically available only on late-night TV or via scrappy 16-millimeter prints at film societies. That now triumphantly changes with this crisp, color-saturated DVD release, whose modest letterboxing eloquently enhances the unsettling power of Hellman's compositions and eerie long takes. --Richard T. Jameson
The Shooting
The Shooting, perhaps the most famous Western hardly anybody ever saw, takes deadpan survey of the fallout from a casual atrocity, or perhaps only a ludicrous accident, in a nameless town. We never see the atrocity/accident, or even the town. Word simply reaches a prospector's camp, a wood-and-canvas pimple on the blankness of the wasteland, that someone "rode down a man and a little person... maybe a child." Was the someone Willett Gashade's brother Coin, who has gone missing? Was it Leland Drum, Coin's companion, who gets shot from ambush at his fireside--perhaps by an unknown avenger, perhaps by Coin? The death of Drum explains the film's title, but there's a long list of things we never know in The Shooting, and most (all?) of the characters in the movie never know them either. Still, the small, relentlessly enigmatic cast of characters gets into motion and keeps moving--chasing something, running from something, headed for somewhere that may turn out to be nowhere, or deep inside themselves. Monte Hellman made The Shooting (and a second movie, Ride in the Whirlwind) during one brief trip into the desert, anonymously financed by Roger Corman, in the summer of 1966. His material was a script by Adrien Joyce (later of Five Easy Pieces fame), the patient camera of Gregory Sandor, and the faces, voices, and brazenly modern presences of Warren Oates (Gashade), Jack Nicholson (a white-collar killer), and Millie Perkins (a pinched Medusa, freckled with trail dirt, bitchy light years from Anne Frank). Over the intervening decades the Beckettian movie has been sporadically available only on late-night TV or via scrappy 16-millimeter prints at film societies. That now triumphantly changes with this crisp, color-saturated DVD release, whose modest letterboxing eloquently enhances the unsettling power of Hellman's compositions and eerie long takes. --Richard T. Jameson
![The Shooting [VHS]](http://di107.shopping.com/images/di/77/49/38/356578327047456d6c483446384b4872564367-78x140-0-0.jpg?p=p9.502e9900bda30d9f6fc0&a=1&c=1&l=8002754&t=120525061000&r=3)
The Shooting [VHS]
The Shooting, perhaps the most famous Western hardly anybody ever saw, takes deadpan survey of the fallout from a casual atrocity, or perhaps only a ludicrous accident, in a nameless town. We never see the atrocity/accident, or even the town. Word simply reaches a prospector's camp, a wood-and-canvas pimple on the blankness of the wasteland, that someone "rode down a man and a little person... maybe a child." Was the someone Willett Gashade's brother Coin, who has gone missing? Was it Leland Drum, Coin's companion, who gets shot from ambush at his fireside--perhaps by an unknown avenger, perhaps by Coin? The death of Drum explains the film's title, but there's a long list of things we never know in The Shooting, and most (all?) of the characters in the movie never know them either. Still, the small, relentlessly enigmatic cast of characters gets into motion and keeps moving--chasing something, running from something, headed for somewhere that may turn out to be nowhere, or deep inside themselves. Monte Hellman made The Shooting (and a second movie, Ride in the Whirlwind) during one brief trip into the desert, anonymously financed by Roger Corman, in the summer of 1966. His material was a script by Adrien Joyce (later of Five Easy Pieces fame), the patient camera of Gregory Sandor, and the faces, voices, and brazenly modern presences of Warren Oates (Gashade), Jack Nicholson (a white-collar killer), and Millie Perkins (a pinched Medusa, freckled with trail dirt, bitchy light years from Anne Frank). Over the intervening decades the Beckettian movie has been sporadically available only on late-night TV or via scrappy 16-millimeter prints at film societies. That now triumphantly changes with this crisp, color-saturated DVD release, whose modest letterboxing eloquently enhances the unsettling power of Hellman's compositions and eerie long takes. --Richard T. Jameson
The Jerk - Dvd
Navin Johnson, a none-too-bright white boy raised by a family of black sharecroppers, somehow manages to reach adulthood without ever discovering he was adopted. His parents finally tell him the truth on his birthday and, shocked by the news, he decides to head off to the big city to seek his fortune. Although he embarks on his odyssey with Candide-like optimism, Navin soon learns the cruel ways of the world as his crazy invention--a device to stop one's glasses from sliding--leads him from rags to riches and back to rags. Steve Martin is riotous in this no-holds-barred broad slapstick comedy, with Bernadette Peters playing his accepting love interest. Jackie Mason, M. Emmet Walsh, and Bill Macy are excellent in small roles, but the focus is always on Martin, who is at his goofy best in a film loaded with hysterical sight gags and a dog whose name cannot be said on television.
Jerk 26th Anniversary Edition DVD
Navin Johnson a none-too-bright white boy raised by a family of black sharecroppers somehow manages to reach adulthood without ever discovering he was adopted. His parents finally tell him the truth on his birthday and shocked by the news he decides to head off to the big city to seek his fortune. Although he embarks on his odyssey with Candide-like optimism Navin soon learns the cruel ways of the world as his crazy invention--a device to stop one's glasses from sliding--leads him from rags to riches and back to rags. Steve Martin is riotous in this no-holds-barred broad slapstick comedy with Bernadette Peters playing his accepting love interest. Jackie Mason M. Emmet Walsh and Bill Macy are excellent in small roles but the focus is always on Martin who is at his goofy best in a film loaded with hysterical sight gags and a dog whose name cannot be said on television.
The Jerk
Navin Johnson, a none-too-bright white boy raised by a family of black sharecroppers, somehow manages to reach adulthood without ever discovering he was adopted. His parents finally tell him the truth on his birthday and, shocked by the news, he decides to head off to the big city to seek his fortune. Although he embarks on his odyssey with Candide-like optimism, Navin soon learns the cruel ways of the world as his crazy invention--a device to stop one's glasses from sliding--leads him from rags to riches and back to rags. Steve Martin is riotous in this no-holds-barred broad slapstick comedy, with Bernadette Peters playing his accepting love interest. Jackie Mason, M. Emmet Walsh, and Bill Macy are excellent in small roles, but the focus is always on Martin, who is at his goofy best in a film loaded with hysterical sight gags and a dog whose name cannot be said on television.
![Jerk [VHS]](http://di105.shopping.com/images/di/74/6f/50/37454b6b6e324f446c49634436365966567667-258x475-0-0.jpg?p=p9.502e9900bda30d9f6fc0&a=1&c=1&l=8002754&t=120525061000&r=4)
Jerk [VHS]
Carl Reiner (Where's Poppa?) brought comic Steve Martin to the screen in this mostly funny 1979 movie about a relentlessly stupid but innocent man, whom we get to know from childhood (where it never occurred to him that he was white as he was raised by a family of black sharecroppers) to romance (where he doesn't quite know what to do with Bernadette Peters). Martin is game as the moron, and this is the kind of film with funny moments people still talk about. --Tom Keogh
- The Restless
As evil forces and vicious demons run rampant upon the end of the United Shilla Dynasty in the year 924, a man born with the ability to see spirits joins a Royal demon hunting army and proves himself to be the most worthy soldier on the squad. In the fight against the dark forces, the noble soldier happens upon a strange shrine and passes through it, landing himself in Joong-cheon, the world between heaven and Earth. This fantasy epic is the debut of writing-directing team Cho and Jo Dong-oh.
The Navigator
Vincent Ward's mystical tale of a tiny 14th-century English hamlet during the devastation of the Black Plague mixes faith and fantasy in a compelling adventure. Ward creates a stark look with his high contrast black-and-white photography: dark huts against a snow-covered landscape and a gray sky, candles and campfires burning tiny pools of light in the midnight-black caves. The visions of young Griffin (Hamish McFarlane) break this austere style with color dreams, at first merely flashes of images, then a vivid narrative of a pilgrimage through the center of the earth. Griffin's older brother Connor (Bruce Lyons), who has just returned from the dying, diseased cities of England, leads this great journey to an alien world of metal beasts and towering ramparts (revealed as a modern New Zealand city) to make their offering to God. Ward keeps the camera tied to their experience, creating a nightmarish vision of familiar objects and locations: a busy highway, a junkyard, a remarkable run-in with a surfacing submarine. Throughout, Griffin's haunting flashes of the future taunt him with clues to a death in the party, but they don't reveal who. The Navigator defies genre, mixing fantasy and science fiction, religion and mysticism, historical realism and modern adventure, to create a compelling, beautiful, visually stunning leap of faith. --Sean Axmaker
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