Johnny has plopped down in Buenos Aires to rig dice and card games, but he might as well have been spawned from thin air or—as we’re introduced to him—birthed from the floorboards.When he’s saved by Ballin (George Macready) from a back-alley stick-up, Johnny hardly bothers to inquire how Ballin happened to find himself in such a place, given his fine dress and “little friend”—a cane concealing a switchblade. Magnolia (Irene Dunne) will share the riverboat stage with her paramour, Gaylord Ravenal (Allan Jones), a charming gambler masquerading as an aristocrat. As opening portions of H.G. Wells novel, as well as an interview he gave in 1940 with Wells in which they frankly discuss the respective effects of World War II on art in Britain and America, with a significant difference in sensibility being that America hadn’t yet entered the conflict. There are also two interviews with Streisand, trailers for the film, and a puffy promotional featurette. It’s bookended by footage of the outraged Sundance premiere attendee who thought the film should be “banned and burned.”“Meet Peggy Cleek” is a charming interview with Lauren Ashley Carter, who touches on the process of finding the emotional intensity her role required, that fateful Sundance premiere, and the odd accommodations during filming (a rundown boarding school complete with a tank of piranhas and frog living in one of the shower stalls). The first is a commentary, recorded in 2010 by Richard Schickel, which provides scene-by-scene insight into the film’s production and some of its thematic through lines, though Schickel’s style is a little too laidback. The Criterion Collection’s 2K presentation of Gilda highlights Rudolph Maté’s luminous cinematography in ways prior home-video iterations of the film could only dream of, making it a requirement to toss out that 2000 Columbia DVD release. This commentary, as well as the disc’s other extensive features, makes a strong case for Streisand as—in Jerry Lewis’s phrase—a “total filmmaker.” Not only did she produce, direct, and star in the film, she also pioneered her own process that involved shooting multiple versions of the same scene and keeping the option to use any of them alive throughout the editing process. Finally watched Gilda, after logging into Criterion Channel day after day and being greeted every time by Rita Hayworth. Criterion Channel; Kanopy; VOD; Free; News . The narration, though, troubles a simple alignment of image and music by wryly noting that “mealtime can be a party or a competition.” What it isn’t, this insight implies, is either nutritious or enriching, and while one could be accused of pedantry by reading too much into this sequence, In one particularly graceful sequence, several Black children are seen standing on tires and playing on oil barrels and with hula hoops. In the world of The supplements fulfill four of the five major areas any proper home-video release needs. Reds, greens, and blues have a renewed sense of agency that’s complemented by rich and beautiful darkness, intensifying the mystery of the special effects. The audio commentary straddles the line between old and new: While primarily consisting of Streisand’s original 1991 commentary, it also features updates from the actress-director recorded in 2019. The films of Frank Tashlin, Jerry Lewis, and Bob Hope and Bing Crosby all worked the same territory, and Zucker, Abrahams, and Zucker were just taking it as far as it could go without snapping, as in the scene where the older woman, right after disapprovingly refusing a swig from a man’s whiskey flask, snorts a few lines of coke. Yet the Martians are overcompensating, egocentric colonialists themselves, a shadowy reflection of us whose power also resides in military might, and their death is sealed by their ignorance of the land they seek to seize. In the end, a radically realigned family unit emerges from the carnage, one that puts the blood back into blood relations.Arrow assembles a truly comprehensive selection of bonus materials for this Blu-ray release of “Dad on the Wall” is 75 minutes’ worth of raw behind-the-scenes footage shot by director Lucky McKee’s father without any sort of talking-head commentary. A 20-minute interview with Whale biographer James Curtis situates the film within the director’s all-too-brief body of work, while an interview program entitled “Recognizing Race in Criterion not only lovingly restores a neglected classic, it offers an invaluable reference guide for lovers of the groundbreaking stage musical.Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way SoonWe’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal This website uses cookies to ensure you get the best experience on our website.

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