Legends of Hollywood: Bombshells of the Silver Screen [5 Discs]

DVD FEATURES:

• Number of Discs: 5
• Audio: Dolby Digital Stereo, Dolby Digital 5.1

AWARDS

• Academy of Motion Picture Arts and Sciences

•     Nominated Best Song - 1952 (Jack Brooks)

ADDITIONAL INFORMATION:

• Cast:

  
       Brigitte Bardot - Linda Larue
       Bob Hope - Junior Potter
       Gina Lollobrigida - Paolina
       Jeffrey Lynn - Blake Washburn
       George Raft - Kenny
       Elizabeth Taylor - Helen Ellswirth
       Mamie van Doren - Moana
       Stephen Boyd - Jules de Canouville
       Donald Crisp - John MacFarland
       Ava Gardner - Mary
       Van Johnson - Charles Wills
       Mary Mark
       Jane Russell - Mike
       Lino Ventura - Cornelius von Zeelinga
       Jess Hahn - Big Dutch
       Paige Lee
       Victor McLaglen - Gillo
       Raymond Pellegrin - Napoleon
       Walter Pidgeon - James Ellswirth
       Marjorie Reynolds - Janice Hunt
       Roy Rogers - Roy Barton
       Tom Conway - Lew Lentz
       Guy Marchand - The Actor
       Micheline Presle - Josephine
       Donna Reed - Marie Ellswirth
       Aldo Roman
       Bill Williams - Kirk
       Lloyd Corrigan - Doc Lovejoy
       Jorja Curtright - Fran
       Eva Gabor - Lorraine Quarl
       Margot Hartman
       Marilyn Monroe - Iris Martin

• Director:

  Richard Brooks, Giorgio Capitani, Matt Cimber, Jean Delannoy, Robert Enrico, Francesco Maselli, Léonide Moguy, Matteo Ottaviano, Arthur Pierson, Frank Tashlin, Derek Thomas

• Producer:

  Roger Corman, Jack Cummings, Lucille Emerick, Hugo Grimaldi, Seymour Nebenzal, Lorenzo Pegoraro, Arthur Pierson, Alain Poiré, Carlo Ponti, Robert L. Welch

• Book Author:

  J. Porcheral, Maritta Wolff

• Play Author:

  Gerald Sanford

• Screenwriter:

  Rodolphe M. Arlaud, Jean Aurenche, Franco Bemporad, Leo Benvenuti, Richard Brooks, Piero De Bernardi, Jean Delannoy, Robert Enrico, Julius J. Epstein, Philip G. Epstein, John Michael Hayes, Francesco Maselli, Michael Musto, Pierre Pelegri, Arthur Pierson, Joseph Quillan, Aggeo Sarioli, Frank Tashlin, Robert L. Welch, Philip Yordan, Cesare Zavattini

• Cinematographer:

  Lucien Andriot, Jean Boffety, Laszlo Kovacs, Russell Metty, Armando Nannuzzi, Gabor Pogany, Joseph Ruttenberg, Alberto Spagnoli, Harry J. Wild

• Composer (Music Score):

  Jack Brooks, François de Roubaix, Louis Forbes, Angelo Francesco Lavagnino, Lyn Murray, Conrad Salinger, James Sheldon, Dimitri Tiomkin, Piero Umiliani

• Musical Direction/Supervision:

  Dimitri Tiomkin

• Editor:

  Renato Cinquini, William F. Claxton, John D. Dunning, Hugo Grimaldi, Michel Lewin, Mario Serandrei, Gregg G. Tallas, Edna Warren

• Art Director:

  Roland Anderson, Hilyard M. Brown, Max Douy, Randall Duell, Rudi Feld, Cedric Gibbons, Michael McCloskey, Hal Pereira, Enrico Sabbatini, George C. VanMarter

REVIEWS:

• Many consider Son of Paleface to be superior to the film to which it is a sequel -- and with good reason: whatever other differences there may or may not be, Son is funnier than the original, and funnier in a zanier way. The "wackiness" factor probably will determine whether one prefers son to its "father;" director Frank Tashlin's outlandish, quite distinctive directorial touch may not be up everyone's alley. But those who go in for the former animator's wild inventiveness will find Son a field day. Certainly, Bob Hope, Jane Russell and Roy Rogers seem to have responded to Tashlin's direction. The three stars turn in some of their "free-est" performances. Hope is a natural for this approach, and a flexible enough comedian to see how he can mold his well-defined comic persona to fit with the director's vision. But Russell and Rogers are the surprises, each of them taking to the daffy approach like ducks to water, while still remaining "true" to themselves. The gags run the gamut from inspired to groan-inducing, but they all fit into the proceedings smoothly. There are also some diverting musical numbers, a fine supporting cast and a great fade-out. Enjoy! ~ Craig Butler, All Movie Guide
• As blatant a piece of propaganda as has ever been produced, Home Town Story would be unwatchable were it not for its cast. Story was made under the supervision of General Motors, and its simplistic, hit-you-over-the-head screenplay is completely devoid of subtlety and nuance. There is absolutely nothing wrong with making a movie that wishes to make a case for the advantages of Big Business; but to make one with as amateurish a screenplay as this and with as little regard for real character development and accuracy is simply insulting. It doesn't help that the lead is played by Jeffrey Lynn. Granted, his part is horrible, the kind of claptrap that can sink all but the most determined actors. Yet even considering that, Lynn's work here is substandard. Much better is Alan Hale, Jr., who doesn't have as much to do and whose part, while marginally better written, is still not a world beater. But Hale does a fine job, overcoming his material to make a real impression. Likewise, even though he has one of the most groan-inducing speeches in the whole film, Donald Crisp finds a way above his material. And a young Marilyn Monroe makes the most of her scant few minutes of screen time as well. These actors don't make Story worth watching, but if you gotta watch it, they make it easier to take. ~ Craig Butler, All Movie Guide
• Were it not for the presence of a luminous Elizabeth Taylor, The Last Time I Saw Paris would be a well-made but instantly forgettable little weepie. Taking an F. Scott Fitzgerald story as its basis but turning it into a full-fledged soap opera, the Epstein brothers fill the screenplay with clichés and ask the actors to deliver dialogue that is sometimes cringe-inducing. Director Richard Brooks, not usually associated with romantic melodramas of this sort, does a very credible job with this material, making sure that the picture has the high-gloss look and feel common to the genre,\ and giving costumer Helen Rose ample opportunity to strut her stuff. More importantly, he guides Taylor past the more dangerous parts of the script, enabling her to turn in a solid, powerful performance that was her best work since A Place in the Sun. As her paramour, Van Johnson doesn't quite measure up, turning in a performance that is somewhat mechanical and surface-oriented, but Donna Reed does an excellent job as the vile but sympathetic sister. Throw in some sharp set designs and tasty cinematography and the Paris comes out as a fairly decent way to spend the afternoon, especially if you're in the mood to shed a couple of tears. ~ Craig Butler, All Movie Guide
• Many consider {#Son of Paleface} to be superior to the film to which it is a sequel -- and with good reason: whatever other differences there may or may not be, {#Son} is funnier than the original, and funnier in a zanier way. The "wackiness" factor probably will determine whether one prefers {#son} to its "father;" director {$Frank Tashlin}'s outlandish, quite distinctive directorial touch may not be up everyone's alley. But those who go in for the former animator's wild inventiveness will find {#Son} a field day. Certainly, {$Bob Hope}, {$Jane Russell} and {$Roy Rogers} seem to have responded to {$Tashlin}'s direction. The three stars turn in some of their "free-est" performances. {$Hope} is a natural for this approach, and a flexible enough comedian to see how he can mold his well-defined comic persona to fit with the director's vision. But {$Russell} and {$Rogers} are the surprises, each of them taking to the daffy approach like ducks to water, while still remaining "true" to themselves. The gags run the gamut from inspired to groan-inducing, but they all fit into the proceedings smoothly. There are also some diverting musical numbers, a fine supporting cast and a great fade-out. Enjoy! ~ Craig Butler, All Movie Guide
• Were it not for the presence of a luminous {$Elizabeth Taylor}, {#The Last Time I Saw Paris} would be a well-made but instantly forgettable little weepie. Taking an {$F. Scott Fitzgerald} story as its basis but turning it into a full-fledged {\soap opera}, the Epstein brothers fill the screenplay with clichés and ask the actors to deliver dialogue that is sometimes cringe-inducing. Director {$Richard Brooks}, not usually associated with romantic {\melodramas} of this sort, does a very credible job with this material, making sure that the picture has the high-gloss look and feel common to the genre,\ and giving costumer {$Helen Rose} ample opportunity to strut her stuff. More importantly, he guides {$Taylor} past the more dangerous parts of the script, enabling her to turn in a solid, powerful performance that was her best work since {#A Place in the Sun}. As her paramour, {$Van Johnson} doesn't quite measure up, turning in a performance that is somewhat mechanical and surface-oriented, but {$Donna Reed} does an excellent job as the vile but sympathetic sister. Throw in some sharp set designs and tasty cinematography and the {#Paris} comes out as a fairly decent way to spend the afternoon, especially if you're in the mood to shed a couple of tears. ~ Craig Butler, All Movie Guide

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