MOVIE DESCRIPTION:

Hollywood’s most glamourous women in one treasured collection. Includes Get Rita (Sophia Loren. 1975/90 min.), Rum Runners (Brigitte Bardot. 1971/125 min.), Imperial Venus (Gina Lollobrigida. 1971/121 min.), Son of Paleface (Jane Russell. 1952/95 min.), Single Room Furnished (Jayne Mansfield. 1968/99 min.), Voyage To The Planet Of Prehistoric Women (Mamie Van Doran. 1968/79 min.), Whistle Stop (Ava Gardner. 1946/84 min.), Last Time I Saw Paris (Elizabeth Taylor. 1954/116 min.), Two Tragic Blondes (Jean Harlow & Marilyn Monroe. 1989/57 min.) and Home Town Story (Marilyn Monroe. 1951/61 min.) 5 DVDs. Color–b&w/15 hrs., 57 min/NR.

DVD FEATURES:

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

AWARDS

• Academy of Motion Picture Arts and Sciences

•     Nominated Best Song - 1952 (Jack Brooks)

ADDITIONAL INFORMATION:

• Director:

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

• Producer:

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

• Screenwriter:

  Robert Enrico, Pierre Pelegri

• Book Author:

  J. Porcheral

• Screenwriter:

  Jean Aurenche, Leo Benvenuti, Piero De Bernardi, Jean Delannoy, John Michael Hayes, Rodolphe M. Arlaud, Robert L. Welch, Frank Tashlin, Joseph Quillan, Michael Musto

• Play Author:

  Gerald Sanford

• Screenwriter:

  Philip Yordan

• Book Author:

  Maritta Wolff

• Screenwriter:

  Richard Brooks, Julius J. Epstein, Philip G. Epstein, Francesco Maselli, Cesare Zavattini, Aggeo Sarioli, Franco Bemporad, Arthur Pierson

• Cinematographer:

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

• Composer (Music Score):

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

• Musical Direction/Supervision:

  Dimitri Tiomkin

• Composer (Music Score):

  Conrad Salinger, Louis Forbes

• Editor:

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

• Art Director:

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

• Set Designer:

  Alfred E. Kegerris, Jack D. Moore, Edwin B. Willis

• Costume Designer:

  Enrico Sabbatini, Helen Rose

• Sound/Sound Designer:

  Wesley C. Miller

• Makeup:

  William J. Tuttle

• Special Effects:

  Farciot Edouart, Gordon Jennings, Paul K. Lerpae, R.O. Binger, Arnold A. Gillespie

• First Assistant Director:

  William Shanks

• Choreography:

  Josephine Earl, Jack Crosby

• Short Story Author:

  F. Scott Fitzgerald

REVIEWS:

• 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, Rovi
• 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, Rovi
• 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, Rovi