Category: DVD Report

The DVD Report #646

Snow Falling on Cedars is a film worth discovering or rediscovering, whichever the case may be.

The new 4K transfer and restoration by Shout Select was supervised by three-time Oscar-winning cinematographer Robert Richardson (JFK, The Aviator, Hugo) who earned the fourth of his nine Oscar nominations so far for the film. Also included are brand-new on-camera interviews with Richardson, director Scott Hicks, novelist David Guterson, and composer James Newton Howard. Hicks’ commentary on the 2000 DVD of the 1999 film was imported for the Blu-ray.

Hicks’ commentary helps answer a lot of questions about the film which can be confusing at times. The director explains that this was intentional, that there are three mysteries in the film: the question of the guilt or innocence of the man on trial, the mystery surrounding the long-ago romance of the local investigative reporter and the wife of the man on trial, and the clarity of the event in the opening sequence in the fog.

The film takes place in 1950 when racial tensions ran high between the predominantly white residents of a small island off the coast of the State of Washington in the Pacific Northwest and the Japanese-Americans who were rounded up after the attack on Pearl Harbor and bused to concentration camps in California.

The film’s story is told in non-linear fashion beginning with the death of a fisherman (Eric Thal), the investigation into his death by the town sheriff (Richard Jenkins), and the arrest of his neighbor (Rick Yune) with whom he had an argument earlier that day. It then moves to the courtroom where his trial takes place, presided over by judge James Cromwell with James Rebhorn as the prosecutor and Max von Sydow as the defense counsel. The rest of the film goes back and forth between events in the present and memories of previous events in the minds of the witnesses as a reporter (Ethan Hawke) looks for evidence that the sheriff and his crew may have missed.

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The DVD Report #645

The Return of Martin Guerre has been given a brand new 4K restoration by the Cohen Film Collection which reissued the film theatrically before its new Blu-ray release.

The French film classic based on the real-life 15th Century case that resonated through Medieval Europe was released in France in late 1982. A 1983 release it the U.S., it earned numerous awards including one for Gerard Depardieu for Best Actor from the National Society of Film Critics, an honor that was given him for both this and the French-Polish collaboration Danton.

Depardieu has never been better than he is here as the former soldier who comes to a French village claiming to be the man who abandoned his wife and child eight years earlier to fight in the wars but now weary of war returns to claim his rightful place as husband, father, and head of his house. Nathalie Baye is equally fine as the wife.

The film, which won three French Cesars, and was nominated for an Oscar for Best Costume Design, plays as it would if it were a modern thriller in which the audience is torn between believing and not believing Depardieu’s character. When most films which were released theatrically in the U.S. in both subtitled and dub versions are released on DVD and Blu-ray, they are released only in the subtitled versions, but Cohen has made both versions available here. The film, co-written by 2015 honorary Oscar winner Jean-Claude Carriere (That Obscure Object of Desire, The Unbearable Lightness of Being) and the film’s director Daniel Vigne, can be enjoyed in either format.

Arrow Academy has released a Special Edition Blu-ray of the newly restored 1957 film Man of a Thousand Faces starring James Cagney as Lon Chaney.

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The DVD Report #644

Three Silent Classics by Josef von Sternberg, newly upgraded to Blu-ray by the Criterion Collection, features three of the Austrian-American director’s late silent films, 1927’s Underworld as well as 1928’s The Last Command and The Docks of New York.

Underworld, which won Ben Hecht the first Oscar given for Best Original Story, is celebrated both as the first film noir and the film that ushered in the gangster era. Hecht’s story was adapted by Chares Furthman and Robert N. Lee with a scenario by von Sternberg and Howard Hawks. Hecht, thinking the film would be a flop, wanted his name removed from the credits. Released in just one theatre in New York, the film was an unexpected hit, ushering in Hecht’s lengthy career as one of Hollywood’s most prolific writers.

George Bancroft shared star billing as the boisterous gangster kingpin “Bull” Weed with Evelyn Brent as his moll “Feathers,” and Clive Brook as the drunken former lawyer “Rolls Royce,” whom he rehabilitates. Brook, best known for his stiff upper lip Britishers from 1933’s Cavalcade to 1963’s The List of Adrian Messenger, is the revelation here, stealing every scene he’s in as he goes from bum to gentleman with seeming ease. It’s rollicking good fun from start to finish.

The Last Command is one of two films for which Emil Jannings won the first Oscar given for Best Actor, the other being the long lost The Way of All Flesh.

Jannings plays a former Imperial Russian general and cousin of the Czar who ends up as an extra in Hollywood playing a general in a movie directed by an old adversary in the revolution that deposed him. William Powell, in an equally fine performance, is the director and the ever-glamorous Evelyn Brent is the film within the film’s leading actress. The film is based on Ernst Lubitsch’s discovery while filming 1927’s The Student Prince in Old Heidelberg that one of the extras playing a general in his film was a former real-life general he knew in his previous life.

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The DVD Report #643

The House of Hitchcock Collection, the newly released limited edition Blu-ray collection from Universal Home Video, is in essence a repackaging of Alfred Hitchcock: The Ultimate Collection first released in 2012, albeit with additional material including seven episodes of Alfred Hitchcock Presents and three episodes of The Alfred Hitchcock Hour, Hitchcock’s TV series from the 1950s and early 1960s.

Like the works of mystery and suspense writers like Arthur Conan Doyle and Agatha Christie, Hitchcock’s work is never out of fashion. Unlike Doyle and Christie, however, whose works are constantly rewritten and reworked for film and TV, Hitchcock’s work remains inviolate. Filmmakers remake one of his films at their peril. Unlike the myriad successful retellings of the tales of Sherlock Holmes, Hercule Poirot, and Miss Marple, no remake of a Hitchcock film has ever been successful, either critically or at the box office.

Hitchcock’s perennial popularity makes it difficult to believe that he has been gone nearly forty years, but he has.

Honors came to the Master of Suspense late in life. Although nominated five times for a Best Directing Oscar between 1940 and 1954, he never won. It wasn’t until 1968, when he himself was 68. that he received the Irving Thalberg award from AMPAS for which he said simply “thank you” and exited the stage.

Hitchcock was 71 when he received a BAFTA Fellowship Award, his only recognition ever from the British Film Academy in 1971. He was 79 when he was honored by AFI with their Life Achievement Award in 1979, joking to friends that he must be going to die soon. He was 80 when he was given an honorary knighthood by Queen Elizabeth in Her Majesty’s 1980 New Year’s Honors.

Hitchcock made his final public appearance at the AFI Lifetime Achievement Award presentation to James Stewart in March 1980, dying a month later.

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The DVD Report #642

Toy Story 4 is a pleasant surprise.

After 2010’s Toy Story 3 provided a satisfactory conclusion to the then-trilogy of films that began with 1995’s Toy Story and continued with 1999’s Toy Story 2, I thought we had seen the last of Woody, Buzz Lightyear, and the rest of Andy’s toys, but this latest release is a welcome addition to the storyline, moving it in a new direction.

The first two films dealt with the life and adventures of Andy’s toys. The third film dealt with the grown Andy giving up his toys which end up with a little girl named Holly. In the fourth film, Holly creates her own favorite toy. Made from a plastic spork, Holly names it “Forky.” The story revolves around the relationship between Woody and Forky and Woody’s reunion with his old friend, Bo Peep. In the end, it’s Woody who leaves his “kid,” not the other way around. Will it be the end of the toy stories? Will we get another one ten years from now when most of the voice actors will be dead or in nursing homes? Only time will tell.

The original Toy Story was nominated for three Oscars and its first sequel, Toy Story 2, was nominated for one in the days before Best Animated Feature became a category of its own. Neither won a competitive Oscar, but the original did win a Special Achievement Oscar for creator John Lasseter.

Toy Story 3 was nominated for five Oscars and won two, for Best Animated Feature and Best Song “We Belong Together.” It was the tenth year of existence for the Best Animated Feature. Will Toy Story 4 be nominated and will it win in the nineteenth year?

Toy Story 4 is available on Blu-ray, 4D Blu-ray and standard DVD.

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The DVD Report #641

Spider-Man: Far from Home picks up where Avengers: Endgame leaves off, so it would be a good idea to see that megahit, or at least be aware of the events it chronicles, before you see the latest film showcasing Peter Parker AKA Spider-Man.

Of the many Marvel and DC superheroes out there, Spider-Man is the only one that remains true to his origins. Superman and Batman and their Justice League friends have long since gotten much darker than the characters that thrilled audiences of the 1970s and 80s in Superman and Batman films that brought them renewed popularity. With the death of Iron Man and retirement of Captain America, Spider-Man is the only longstanding Marvel character of any depth that is still fun to be around.

The first major live iteration of the reluctant superhero who was bitten by a radioactive spider while in high school was the 1977-1979 TV series The Amazing Spider-Man starring Nicholas Hammond, then best known as Friedrich in the 1965 Oscar winner The Sound of Music. Jettisoning the comic book’s concentration on supervillains for Spider-Man to battle, the TV series put him up against real life villains which made the character and situations more plausible. CBS canceled the series despite its popularity to focus on just one of its several shows about superheroes, The Incredible Hulk. Hammond went back to semi-obscurity. Still active on screen, his most recent role was as Sam Wanamaker in Quentin Tarantino’s Once Upon a Time…in Hollywood.

Spider-Man resurfaced on the big screen in three films in the early 2000s beginning with 2002’s Spider-Man starring the affable Tobey Maguire (Wonder Boys). He was brought back by Andrew Garfield (The Social Network) in two films beginning with 2012’s The Amazing Spider-Man. The problem with the Garfield versions was that they were retreads of the Maguire films rather than new adventures taking over where the Maguire versions left off.

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The DVD Report #640

Yesterday is Danny Boyle’s latest attempt at duplicating the success of Slumdog Millionaire. With a better script from Richard Curtis (Love Actually) he might have succeeded but the film is just too cute for its own good.

Newcomer Himesh Patel is excellent as seemingly the only living person who remembers the Beatles. As such, he builds a career singing Beatles songs that he pretends to have written himself on the fly. Lily James (Cinderella) is his friend and manager who stays behind in England while he goes on to international success in Hollywood thanks to his pushy new manager, Kate McKinnon in a dreadful performance. Her brand of satire, which works brilliantly on TV’s Saturday Night Live, is off-putting and annoying in the extreme when extended over the course of the film.

The film gets away with its conceit because Patel’s character is supposedly living in an alternate universe. The film’s most talked about sequence which leads to his redemption as a human being contains a spoiler that can’t be revealed here. That sequence, though, like the rest of the film, is underplayed. The film is redeemed only by Patel’s performance and the bountiful soundtrack of Beatles covers.

Yesterday is available on Blu-ray and standard DVD as well as 4K Blu-ray.

Newly released Blu-ray upgrades of films previously released on DVDs include The Circus from Criterion; The Major and the Minor from Arrow Academy; My Favorite Year, The Letter, and The Set-Up from Warner Archive; and The Ida Lupino Filmmaker Collection from Kino Lorber.

Criterion has previously released Blu-rays of Charlie Chaplin’s The Kid, The Gold Rush, City Lights, Modern Times, The Great Dictator, Monsieur Verdoux, and Limelight, making The Circus the last of his major films to receive a Blu-ray upgrade.

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The DVD Report #639

Going My Way is one of the last of the more than 90 Oscar-winning best pictures to receive a Blu-ray release. Russell Dyball, who provides the commentary on the Shout Select release, hopes that this fact will increase the film’s standing which has eroded considerably since the film’s phenomenal 1944 release. Despite Dyball’s hopes, I think the ship has sailed on this one.

Going My Way was hugely successful with critics, audiences, and the Academy in its day, but whenever a ranked listing of Academy Award winning films is published, it comes out near the bottom of the list. Not only hasn’t it held up very well, if you look at it closely you realize there really wasn’t much substance to it to begin with. It relied heavily on the charms of Bing Crosby as an easy-going young priest and Barry Fitzgerald as a set-in-his-ways older one. Classified as a comedy-drama, rather than a musical, the film’s best moments are centered around its songs, particularly “Too-ra-loo-loo-ral” (the Irish lullaby) and “Swinging on a Star” the Oscar-winning megahit second only to “White Christmas” in Crosby’s repertoire.

Although the film’s main characters were priests, it’s not a religious film like its contemporaries, The Song of Bernadette and The Keys of the Kingdom, or even its sequel, The Bells of St. Mary’s, were. Crosby and Fitzgerald might have been playing doctors, or an insurance investigator and a cop as they were in their subsequent films together, 1947’s Welcome Stranger and 1949’s Top o’ the Morning.

Director Leo McCarey had a way with actors. It was he who introduced Laurel and Hardy to each other, directed the Marx Brothers in their greatest comedy, Duck Soup, and gave Cary Grant his persona in The Awful Truth. Without him at the helm, Going My Way wouldn’t have had the magic it did have. You’d have to be a real curmudgeon, though, not to be touched by the reunion between the old priest and his close-to-100-year-old mother at the film’s still glorious conclusion.

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The DVD Report #638

Aladdin, Disney’s latest live-action version of one of its animated classics to hit the home video market, is a film I wasn’t expecting much from given its mostly negative reviews but was instead pleasantly surprised to find that I liked it.

Most of the negative reviews of the film come from comparing it to Disney’s 1992 animated version but my go-to version of the Arabian Nights story is 1940’s live-action The Thief of Bagdad, which was a remake of the 1924 silent classic of the same name. Although the stories are somewhat different, I find the live-action version of Aladdin closer in spirit to The Thief of Bagdad than Disney’s animated version, which may be why I liked it.

The principal characters in Aladdin are the titled orphan thief, his monkey Abu, the princess Jasmine, the evil Jafar, and a Genie who grants Aladdin three wishes. In one of the wishes, Aladdin is turned into a prince. In the more complex The Thief of Bagdad, the thief isn’t Aladdin but a younger orphan named Abu who is turned into a dog by Jaffar (with two f’s), the evil Grand Vizier who is plotting to become the next sultan. The prince is a separate character. In Aladdin, Abu the monkey is temporarily turned into other animals by the Genie, not Jafar whose name is now spelled with one “f”.

In the 1940 version, Conrad Veidt as Jaffar and Sabu as Abu have top billing with John Justin as the prince, June Duprez as the princess, and Rex Ingram as the Genie also in starring roles. In Disney’s animated Aladdin, it’s the Genie voiced by Robin Williams who dominates. In the live-action version, the Genie is played by Will Smith, but Smith is less dominant in the role, which to me is a good thing. It gives the other actors a chance to make more of an impression in their roles. Smith, as well as Mena Massoud as Aladdin and Naomi Scott as the princess, Jasmime, are equally fine as actors, singers, and dancers. Marwan Kenzari makes an interesting Jafar under the direction of Guy Ritchie (The Man from U.N.C.L.E. ).

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The DVD Report #637

Day of the Outlaw is one of those films that owes its legend to home video. Barely released in 1959 in New York, it was dumped directly into neighborhood theatres as the second half of a double bill with Robert Aldrich’s Ten Seconds to Hell, a post-World War II thriller that was also being dumped without the Times Square opening routinely provided major Hollywood films in that era. Neither film was reviewed by the New York Times, although the Times did review Day of the Outlaw when it was first released on DVD in 2008 by which time it had become a bona fide classic.

Directed by André De Toth (House of Wax), Day of the Outlaw has been given a Blu-ray upgrade by Kino Lorber complete with commentary by film historian Jeremy Arnold. One of the bleakest westerns ever made, it’s a constantly surprising work in which the film seems to be going in one direction, but soon goes in another, ending with the good guy outsmarting the bad guys one by one.

Robert Ryan stars as a rancher who comes to town in the dead of winter looking to have it out with local farmer Alan Marshall (The White Cliffs of Dover) over Marshall’s having put up barbed wire fencing but he really wants to kill him so that he can have his wife, Tina Louise, who had played Ryan’s daughter in the previous year’s God’s Little Acre. Ryan, however, soon realizes that Louise loves her husband and will never leave him. Enter wounded gang leader Burl Ives and his men who take over the town.

Ives, fresh on the heels of Cat on a Hot Tin Roof and The Big Country, plays a role very close to his Oscar-winning one in the latter. From then on, it’s a game of cat and mouse between Ryan and Ives as Ryan agrees to lead Ives and his gang on a trek that will take them through a pass in the mountains in the snow, except that there is no pass. Venetia Stevenson, David Nelson, and Elisha Cook, Jr. are among the players in the film’s sterling supporting cast.

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The DVD Report #636

Rocketman, the film about the early-to-middle-aged life of Elton John, was written by Lee Hall who wrote the Oscar-nominated screenplay for Billy Elliot and the book and lyrics for Billy Elliot the Musical for which John wrote the music. It was directed by Dexter Fletcher who took over the direction of Bohemian Rhapsody after the firing of Bryan Singer.

Produced by John, with a writer who previously collaborated with him and the completion director of the similarly themed musical biography of another British rock legend (Freddie Mercury), the project was in good hands. Adding to its anticipated strength was the casting of main stars, Taron Egerton, who previously starred in Dexter’s biographical Eddie the Eagle as the legendary British Olympic ski jumper, and Jamie Bell, who was the original Billy Elliot. Egerton plays John, Bell plays his longtime lyricist, Bernie Taupin.

While I generally found the screenplay to be on par with the richly detailed screenplay for Bohemian Rhapsody, which was co-written by three writers, I found the film somewhat disappointing in that it ended with the now 72-year-old John in his mid-40s when he was just entering into a new-found sobriety that has sustained him in the years since. A lot of the music he’s written since surpasses some of what was used in the film. Bohemian Rhapsody ended with the reunion of Mercury and the rest of Queen, not with his death, but nothing after that 1985 Live Aid concert added anything to his legend with just six years left until his death from AIDS. The same can hardly be said of John’s life after 1991 which encompassed scores for movies (The Lion King), Broadway shows (Billy Elliot), great charitable works, knighthood, the meeting of his life partner and eventual same sex marriage, fatherhood, and performing at state funerals. There’s so much there that a TV mini-series would probably be required to capture it all. What is there, though, is good.

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The DVD Report #635

Magnificent Obsession, from Lloyd C. Douglas’ best-selling novel, was a huge hit for Universal when the studio first made it in 1935 as a vehicle for Irene Dunne and Robert Taylor, directed by John M. Stahl. It became an even bigger hit in 1954 when Universal remade it as a vehicle for Jane Wyman and Rock Hudson, directed by Douglas Sirk.

Both Criterion’s original DVD in 2006 and their new 2019 Blu-ray release contain both films, although advertising for the set, including the DVD and Blu-ray covers, is for the 1954 version only. This is in complete opposition to Universal’s own dual 2008 DVD and subsequent 2017 Blu-ray releases of Stahl’s 1934 version of Imitation of Life and Sirk’s 1959 remake, for which both versions were given equal promotion.

Sirk, whose credits also include All That Heaven Allows, Written on the Wind, and The Tarnished Angels, long ago became a cult figure, but Stahl, whose credits also include Holy Matrimony, The Keys of the Kingdom, and Leave Her to Heaven, was an equally fine director whose films deserve the same level of respect and interest that Sirk’s now command.

Having watched both versions of Magnificent Obsession in the new Criterion release, my impression is that the Blu-ray restoration of Sirk’s color version doesn’t really add a lot to the previous DVD release, but the restoration given Stahl’s black-and-white version really pops in its shimmering upgrade to Blu-ray.

Author Douglas, a former minister turned writer, is best remembered for The Robe, which in 1953 became the first film released in Cinemascope spurring renewed interest in Magnificent Obsession. The remake made a top box-office star of Hudson as the playboy-turned-surgeon and earned Wyman an Oscar nomination as the woman whose husband’s death was due in part to Hudson’s drunkenness and who is later responsible for the accident in which she is blinded. It’s pure soap opera but played with consummate skill by the stars as well as Agnes Moorehead, Barbara Rush, and Otto Kruger in support that you tend overlook its shortcomings. Sara Haden, Anita Louise, and Ralph Morgan had those parts in the 1935 version in support of Taylor as the playboy and Dunne as the victim.

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The DVD Report #634

Avengers: Endgame takes place after the events of last year’s Avengers: Infinity War, but unlike that film, which left me totally cold, this one has a great deal of heart, which sustains it through the non-CGI battle scenes.

The first Avengers film, appropriately titled The Avengers, in which the Marvel superheroes were brought together as a team, was released in 2012. In that one, the principal characters were Iron Man (Robert Downey, Jr.), Captain America (Chris Evans) and Thor, all of whom had been the principal characters in previous Marvel films along with newcomers Hawkeye (Jeremy Renner), Black Widow (Scarlett Johannsen), and Hulk (Mark Ruffalo), a character who had his own incarnation in prior films in which he was played by other actors.

Three years after the initial films came Avengers: The Age of Ultron in which they were joined by War Machine (Don Cheadle), Quicksilver (Aaron Taylor-Johnson), Scarlet Witch (Elizabeth Olsen), Vision (Paul Bettany), and Falcon (Anthony Mackie), whose characters first appeared in other Marvel films released in the interim.

Superheroes joining the group in Avengers: Infinity War included Black Panther (Chadwick Boseman), Spider-Man (Tom Holland), Doctor Strange (Benedict Cumberbatch), Winter Soldier (Sebastian Stan), and Guardians of the Galaxy Star-Lord (Chris Pratt) and Gamora (Zoe Saldana). The film ends with half the world’s population, including some of the superheroes) killed. It was obvious that the dead, or most of them, would be brought back to life in the follow-up film. How that is done forms the crux of Avengers: Endgame.

The principal heroes in Avengers: Endgame are Iron Man, Captain America, Thor, Hulk, Black Widow, Hawkeye, and new-to-the-game Ant-Man (Paul Rudd) with the also new-to-the-game Captain Marvel (Brie Larson) popping in and out as do others.

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The DVD Report #633

Pokémon Detective Pikachu, The Curse of La Llorona, and Tolkien are three 2019 films new to home video for which outside knowledge may well be a factor in their enjoyment. Personally, I found Tolkein, about the formative years of writer-poet-philologist-academic author of The Hobbit and The Lord of the Rings, J.R.R. Tolkien (1892-1973), to be the most satisfying of the three.

Tolkien was generally trounced upon by the critics and suffered an agonizing death at the box-office as a result. Most of the critical disappointment seemed to be aimed at the film’s construction which meanders between the future author’s mental and physical suffering in the trenches during World War I and his life prior to that seen in flashback, events that would come to vivid life when mirrored in his later works. It ends with him in his mid-thirties starting to write The Hobbit in 1937. It seems that what the film’s harshest critics wanted was a by-the-numbers story of the author’s life that began where the film ended. This is not that kind of film.

The emphasis in Tolkien is on friendship, fellowship, and love and their effect on the already burgeoning author’s young life. Those familiar with his writings, or the highly successful films made from them, will find parallels in both The Hobbit and The Lord of the Rings.

Former child actor Nicholas Hoult has more than fifty credits to his name, but his portrayal of Tolkien easily ranks with his best from 2002’s About a Boy to last year’s The Favourite. Lily Collins (Mirror Mirror, Rules Don’t Apply) plays a fellow orphan and the love of his life. Patrick Gibson, Anthony Boyle, and Tom Glynn-Carney play the three friends with whom he formed a semi-secret literary society in his school years that they called the T.C.B.S. (Tea Club and Barrovian Society). Colm Meaney and Derek Jacobi play his two mentors, one a priest, the other an academic.

The film is skillfully directed by Finnish actor-director Dome Karukoski (Tom of Finland), his first in English. Though mostly factually accurate, the one glaring thing it gets wrong is the timing of the marriage of Tolkien and his beloved Edith, which took place prior to his engagement in the war, not after it.

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The DVD Report #632

Easy Living and A Foreign Affair, two classic comedies from Hollywood’s Golden Age, have been given long overdue Blu-ray upgrades from Kino Lorber. Although both films starred Jean Arthur, they couldn’t have been more different.

1937’s Easy Living, directed by Mitchell Leisen, is among the screwiest of the screwball comedies while 1948’s A Foreign Affair, directed by Billy Wilder, is among the most acerbic of post-war comedy-dramas.

Easy Living begins with Wall Street tycoon Edward Arnold becoming enraged over his spendthrift wife (Mary Nash) having purchased a $56,000 sable coat which he retrieves from her and throws off the roof of his 5th Avenue townhouse where it lands on Arthur as she is travelling to work atop an open double-decker bus. Arthur gets off the bus and attempts to find the coat’s owner when she is spotted by Arnold on his way to work in his limousine knocking on the door of the townhouse next door. He not only convinces her to keep the coat but takes her shopping for a hat to go with it in a store managed by Franklin Pangborn.

Arthur then loses her job and goes to the automat with her last quarter where she is befriended by worker Ray Milland who she assumes is poor like her, but who the audience knows is Arnold’s son trying to make it on his own. In the meantime, Pangborn has told struggling hotel owner Luis Alberni about Arnold’s assumed new protégé who Alberni puts up in his hotel to attract customers. The whole business gets screwier and screwier until Arthur and Milland cause a run on Wall Street over the price of steel which almost ends in ruination for Arnold.

Commentary is provided by film historian Kat Ellinger.

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