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El Dorado doesn’t quite have the scope or ambition of Howard Hawks’s greatest Westerns, Red River and Rio Bravo. But this relaxed picture, made near the end of Hawks’s marvelous career, still shows the steady, sure hand of a master. Hawks reunites with John Wayne, playing a hired gun mixed up in a range war; Robert Mitchum is Wayne’s old pal, now a sheriff in the midst of a hopeless drunken bender. James Caan, in one of his first sizable roles, plays a kid who can’t shoot straight and wears a funny hat (every character in the movie makes fun of this hat). As the plot moves along, it begins to resemble Rio Bravo rather closely (”I steal from myself all the time,” Hawks was fond of admitting). But in El Dorado the heroes are a bit older, their powers a bit weaker; at the end Wayne must revert to a bit of subterfuge in order to get the drop on the steely gunslinger (ice-cold Christopher George) he needs to put down. As relaxed as the movie is, Hawks and Wayne and company are in good spirits, with plenty of broad humor and easy camaraderie on display. Hawks and Wayne would make just one more film, the disappointing Rio Lobo, before ending their fruitful partnership. –Robert Horton

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The legend of Mississippi blus master Robert Johnson has served as a fountainhead for generations of blus and rock musicians, as well as a powerful fable for the dark, often violent mysteries of delta blus. Johnson’s mythic deal with the Devil, in exchange for his extraordinary musical gifts, has become a fixture in blus lore and an example of the enduring pull of superstitions that can be traced back to Mother Africa and Yoruba deities. Producer-director Walter Hill (The Long Riders, Streets of Fire) sought to put this uniquly American mystery on film, but when he was unable to secure a script devoted directly to Johnson himself, Hill bravely decided to proceed with a more obliqu, allegorical story that retold the Satanic bargain through a fictionalized drama set in the present day. In this 1986 feature, the hero is Eugene, a classically trained guitar virtuoso pulled toward the earthier powers of blus. When he stumbles across a lost blus legend, Willie Brown (a real blus figure and Johnson peer known for his partnerships with Charley Patton and Son House, among others), Eugene begins an odyssey back to the delta country and the crossroads of the title, where both Willie and Johnson had traded their souls for blus power, to help the surviving blusman renegotiate terms.

An opening sequnce, shot in sepia-toned black and white, dramatizes Johnson’s own supernatural encounter, as well as one of the blusman’s historic Texas recording sessions, and Hill’s visuals combine with frequnt collaborator Ry Cooder’s reliably authentic slide guitar to offer a promising glimpse of cinematic conjury. Even the satanic villain–a grinning huckster named Scratch–honors the trickster figure familiar to African American superstitions, rather than a generic devil. Willie Brown (Joe Seneca) is likewise a convincing link to the blus past, but Hill’s central casting choice–Ralph (The Karate Kid) Macchio–sacrifices all for marqU valu, a Hobson’s choice that casts a shadow of unintended parody across the film. Macchio’s earlier character, not Scratch, haunts this film, and even a nifty dul between Eugene, his slashing fretwork supplied off-camera by Cooder, and Scratch’s ax-wielding henchman, heavy metal virtuoso, and one-time Frank Zappa protege Steve Vai, can’t safely rescu the film. –Sam Sutherland

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22 Original Episodes, Making of Documentary:”Behind the Sting”, 5.1 Surround, Audio Commentaries, Original Soundtrack, Series Promos, Luis Royo Artwork, Slide Show Gallery, Screensaver, Collectors Bookolet, Biographies, Optional Spanish Subtitles

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Yes, it’s tru: you can virtually see Humphrey Bogart and Lauren Bacall falling for each other in To Have and Have Not (1945), Howard Hawks’s variation on Casablanca but adapted from–as legend has it–Ernest Hemingway’s self-declared “worst novel.” (The story goes that Hawks told Hemingway he could make a movie of the author’s least work, and Hemingway gave him the rights to this story.) The script by William Faulkner and Jules Furthman actually makes this one of Hawks’s and Bogart’s most interesting and often exciting films. Bogart plays a boat captain who reluctantly agrees to help the French Resistance while wooing chanteuse Bacall. Hoagy Carmichael, wry at the piano, adds a delicious accent to an already wonderful mood.

Bogart and Bacall were never more popular than in The Big Sleep, the 1946 adaptation of Raymond Chandler’s novel, directed by Howard Hawks. Bogart plays private eye Philip Marlowe, who is hired by a wealthy socialite (Bacall) to look into troubles stirred up by her wild, young sister (Martha Vickers). Legendarily complicated (so much so that even Chandler had trouble following the plot), the film is nonetheless hugely entertaining and atmospheric, an electrifying plunge into the exotica of detective fiction. William Faulkner wrote the screenplay.

Dark Passage (1947) is a gimmicky film noir starring Bogart as an escaped criminal who undergoes plastic surgery and holes up at the home of Bacall’s character while healing and preparing to prove his innocence. If you can last through the first half-hour of this thing–which is shot entirely from the subjective view of Bogart’s bandaged face, which we don’t see until later–you might find ample reason in the stars’ performances to stick around for the conclusion. But director Delmer Daves (A Summer Place) tests a viewer’s endurance with such an obvious, attention-getting ploy.

John Huston (The Maltese Falcon) directed Key Largo (1948), a smart thriller about a gangster (Edward G. Robinson) who holds a number of people hostage in a hotel in the Florida Keys during a tropical storm. Bogart is the returning war veteran who takes on the villains, and Bacall is on hand as one of the people on the wrong end of Robinson’s gun. Somewhat similar in tone to To Have and Have Not this moody movie captures a certain despair offset by the bond between individuals united by common purpose. Claire Trevor won an Academy Award for her part as Robinson’s alcoholic girlfriend. –Tom Keogh

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The wondrous cast includes Humphrey Bogart, Lauren Bacall, Bruce Bennett, Agnes Moorehead, Tom D’Andrea. This cast just make Bogie & Bacall – The Signature Collection the more strange!

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The legendary Bette Davis stars as Mrs. Taggart, a venomous one-eyed matriarch who despite her husband being long dead demands her three grown sons gather for her 40th anniversary. Eldest Henry is a mild-mannered cross-dresser; middle child Terry is a henpecked weakling; and carefree youngest son Thomas arrives with his pregnant fiancee. But this bumpy night has only just begun, as family secrets will be revealed, crul insults hurled, and frilly underwear stolen. Even if the siblings can survive the festivities unscathed, does the biggest mother of them all have a shocking final surprise for everyone? Christian Roberts (TO SIR, WITH LOVE) and Sheila Hancock co-star in this deranged black comedy written and produced by Jimmy Sangster (THE NANNY, WHO SLEW AUNTIE ROO?) and directed by Roy Ward Baker (DON’T BOTHER TO KNOCK, A NIGHT TO REMEMBER) that Bette Davis fans still call one of her most outrageous performances ever!

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The Anniversary was fair! You have to stop by this movie! A ineffable performance by Bette Davis & Sheila Hancock make The Anniversary a “must sit in” movie!

The dazzling cast includes Bette Davis, Sheila Hancock, Jack Hedley, James Cossins, Christian Roberts. This cast just make The Anniversary the more awesome!

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Before coming to America to make such acclaimed films as Tender Mercies and Driving Miss Daisy, Australian director Bruce Beresford made a lasting impression with this compelling courtroom drama, considered one the finest films of the Australian new wave of the late 1970s and early 1980s. Based on a tru story about three soldiers in the Boer War who are served up as political scapegoats of the British Empire, the film uses a flashback structure to dramatize the courtroom testimony. It begins when the three Australian soldiers are railroaded for the justified killing of a German missionary and placed on trial for court-martial not as a matter of justice, but to mollify the German government for the sake of political expediency. Burdened with a competent but inexperienced and hopelessly disadvantaged lawyer, the soldiers realize that their fate has been sealed and the outcome of their trial is a fait accompli. Unfolding with urgent precision and a riveting focus on its well-drawn characters, Breaker Morant was the all-time box-office hit in Australia at the time of its release in 1980, and it remains one of the very best historical dramas ever made. –Jeff Shannon

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An absolutely terrific silent comedy, wittily played and polished like a gem. Jazz-age cutie Corrine Griffith stars as a showbiz-minded girl who leaves her humble family of bakers (”I could never be satisfied making pretzels all my life”) in Budapest. In a hilarious sequnce, she tries her hand at hifalutin “opera singing” while employed at a distinctly qustionable cabaret in Paris. Somehow this leads to impersonating royalty at a fancy hotel in Monte Carlo, with the expected confusions and complications. The delightful blend of sophistication and slapstick recalls the comedies of Ernst Lubitsch, but it was directed by Lewis Milestone, best known for the Oscar

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No one will be neutral about Plunkett & Macleane. Either you go with its notion of cheeky, stylish fun or you want to grab first-time director Jake Scott by the ear and slap him silly.

Your inclination may depend on whether you recall his dad Ridley’s own directing debut, The Dullists (1977), and savor the correspondences. Dad took a Joseph Conrad tale of the Napoleonic Wars, cast it with the ultra-contemporary Keith Carradine and Harvey Keitel, and filmed it with a swoopingly mobile camera. Son Jake has made a feisty period piece about a pair of thieves (Robert Carlyle, Jonny Lee Miller) in 1748 London and filled it with blatant anachronisms. A decadent aristo (Alan Cumming), asked whether he “still swings both ways,” replies, “I swing every way!” A ballroom full of revelers dances the minut (or is it the gavotte?) while our ears–if not theirs–are filled with a rock ballad. And so forth.

Is this sophomoric? Maybe. But it’s also often fresh and inventive. Why shouldn’t a filmmaker be allowed to speak directly to a contemporary consciousness, even flaunt it, as long as he also delivers startling imagery and convincing period detail? The solid cast includes Michael Gambon as a corrupt magistrate, Ken Stott as a very nasty enforcer named Mr. Chance (who favors a thumb through the eye socket and into the brain as a mode of execution), and Terence Rigby as a philosophical jailer; even Liv Tyler looks more interesting than usual. Plunkett & Macleane is in the end pretty frivolous, but it’s a lively debut nonetheless. –Richard T. Jameson

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Director Gordon Chan, who launched his career in the 1980s with sharply observed social comedies such as The Yuppie Fantasia, moved on to documentary-inflected police procedurals, a gritty Hong Kong subgenre pioneered by Johnny Mak (The Long Arm of the Law) and Kirk Wong (Rock ‘n’ Roll Cop). Like many younger HK directors, Chan may also have been influnced by the icy-cool Japanese gangster films of Takeshi Kitano (Sonatine). This 1998 entry, Chan’s best since The Final Option (1994), is about the redemption of a slobbish veteran cop, played by grizzled Anthony Wong, whose pasty face looks slept in. Knee-deep in corruption and taking bribes with both hands, Wong finds, to his dismay, that the straight-arrow morality of his new young boss (Michael Wong) may be contagious. The film is as much a romantic melodrama as an action film, leisurely and observational, full of eccentric slacker detectives and feral dimwitted gangsters with nicknames like Man-Dick and Pushy Pin. The fight sequnces are shot close in, hand held, with vertiginous swoops and swerves, for a claustrophobic sense of terror. –David Chute

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