Best Picture Collection [5 Discs]Best Picture Collection [5 Discs]

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DVD FEATURES:
  • Number of Discs: 5
  • Aspect Ratio: 1.85:1 (Theatre Wide Screen)
  • Audio: Dolby Surround
  • Screen: Enhanced Wide Screen Letterbox for 16x9 TV
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Actor - 1971 (Gene Hackman)
  •     Won Best Adapted Screenplay - 1971 (Ernest Tidyman)
  •     Won Best Director - 1971 (William Friedkin)
  •     Won Best Editing - 1971 (Jerry Greenberg)
  •     Won Best Picture - 1971 (Phil D'Antoni)
  •     Won Best Adapted Score - 1965 (Irwin Kostal)
  •     Won Best Director - 1965 (Robert Wise)
  •     Won Best Editing - 1965 (William H. Reynolds)
  •     Won Best Picture - 1965 (Robert Wise)
  •     Won Best Sound - 1965 (James Corcoran, Fred Hynes)
  •     Won Best Black and White Costume Design - 1950 (Charles LeMaire, Edith Head)
  •     Won Best Director - 1950 (Joseph L. Mankiewicz)
  •     Won Best Picture - 1950
  •     Won Best Screenplay - 1950 (Joseph L. Mankiewicz)
  •     Won Best Supporting Actor - 1950 (George Sanders)
  •     Won Best Director - 1947 (Elia Kazan)
  •     Won Best Picture - 1947
  •     Won Best Supporting Actress - 1947 (Celeste Holm)
  •     Won Best Black and White Art Direction - 1941 (Nathan Juran, Richard Day, Thomas K. Little)
  •     Won Best Black and White Cinematography - 1941 (Arthur C. Miller)
  •     Won Best Director - 1941 (John Ford)
  •     Won Best Picture - 1941
  •     Won Best Supporting Actor - 1941 (Donald Crisp)
  •     Nominated Best Cinematography - 1971 (Owen Roizman)
  •     Nominated Best Sound - 1971 (Chris Newman, Theodore Soderberg)
  •     Nominated Best Supporting Actor - 1971 (Roy Scheider)
  •     Nominated Best Actress - 1965 (Julie Andrews)
  •     Nominated Best Color Art Direction - 1965 (Ruby Levitt, Boris Leven, Walter Scott)
  •     Nominated Best Color Cinematography - 1965 (Ted D. McCord)
  •     Nominated Best Color Costume Design - 1965 (Dorothy Jeakins)
  •     Nominated Best Supporting Actress - 1965 (Peggy Wood)
  •     Nominated Best Actress - 1950 (Bette Davis, Anne Baxter)
  •     Nominated Best Black and White Art Direction - 1950 (Thomas K. Little, George W. Davis, Walter Scott, Lyle Wheeler)
  •     Nominated Best Black and White Cinematography - 1950 (Milton Krasner)
  •     Nominated Best Drama or Comedy Score - 1950 (Alfred Newman)
  •     Nominated Best Editing - 1950 (Barbara McLean)
  •     Nominated Best Supporting Actress - 1950 (Thelma Ritter, Celeste Holm)
  •     Nominated Best Actor - 1947 (Gregory Peck)
  •     Nominated Best Actress - 1947 (Dorothy McGuire)
  •     Nominated Best Editing - 1947 (Harmon Jones)
  •     Nominated Best Screenplay - 1947 (Moss Hart)
  •     Nominated Best Supporting Actress - 1947 (Anne Revere)
  •     Nominated Best Dramatic Score - 1941 (Alfred Newman)
  •     Nominated Best Editing - 1941 (James B. Clark)
  •     Nominated Best Screenplay - 1941 (Philip Dunne)
  •     Nominated Best Sound - 1941 (E.H. Hansen)
  •     Nominated Best Supporting Actress - 1941 (Sara Allgood)
  • American Film Institute
  •     Won 100 Greatest American Movies - 1998
  • British Academy of Film and Television Arts
  •     Won Best Actor - 1972 (Gene Hackman)
  •     Won Best Editing - 1972 (Jerry Greenberg)
  •     Won Best Film - Any Source - 1950 (Joseph L. Mankiewicz)
  •     Nominated Best Picture - 1972 (William Friedkin)
  • Cannes Film Festival
  •     Won Best Actress - 1951 (Bette Davis)
  •     Won Special Jury Prize - 1951
  • Directors Guild of America
  •     Won Best Director - 1971 (William Friedkin)
  •     Won Best Director - 1965 (Robert Wise)
  •     Won Best Director - 1950 (Joseph L. Mankiewicz)
  • Edgar Allan Poe Awards
  •     Won Best Screenplay - 1971 (Ernest Tidyman)
  • Film Daily
  •     Won 10 Best Films - 1947
  •     Won 10 Best Films - 1941
  • Hollywood Foreign Press Association
  •     Won Best Director - 1971 (William Friedkin)
  •     Won Best Performance by an Actor in a Motion Picture - Drama - 1971 (Gene Hackman)
  •     Won Best Picture - Drama - 1971
  •     Won Best Performance by an Actress in a Motion Picture - Musical or Com - 1965 (Julie Andrews)
  •     Won Best Picture - Musical or Comedy - 1965
  •     Won Best Screenplay - 1950 (Joseph L. Mankiewicz)
  •     Won Best Director - 1947 (Elia Kazan)
  •     Won Best Juvenile Performance - 1947 (Dean Stockwell)
  •     Won Best Performance by an Actress in a Supporting Role in a Motion Pic - 1947 (Celeste Holm)
  •     Won Best Picture - 1947
  •     Nominated Best Screenplay - 1971 (Ernest Tidyman)
  •     Nominated Best Director - 1965 (Robert Wise)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1965 (Peggy Wood)
  •     Nominated Best Director - 1950 (Joseph L. Mankiewicz)
  •     Nominated Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1950 (George Sanders)
  •     Nominated Best Performance by an Actress in a Motion Picture - Drama - 1950 (Bette Davis)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1950 (Thelma Ritter)
  • Library of Congress
  •     Won U.S. National Film Registry - 2001
  •     Won U.S. National Film Registry - 1989
  • National Board of Review
  •     Won Best Actor - 1971 (Gene Hackman)
  •     Won Best Director - 1947 (Elia Kazan)
  •     Won Best Acting - 1941 (Donald Crisp, Sara Allgood, Roddy McDowall)
  •     Nominated Best Picture - 1971
  •     Nominated Best Picture - 1965
  •     Nominated Best Picture - 1950
  •     Nominated Best Picture - 1947
  •     Nominated Best Picture - 1941
  • New York Film Critics Circle
  •     Won Best Actor - 1971 (Gene Hackman)
  •     Won Best Actress - 1950 (Bette Davis)
  •     Won Best Director - 1950 (Joseph L. Mankiewicz)
  •     Won Best Director - 1947 (Elia Kazan)
  •     Won Best Picture - 1947
  •     Won Best Director - 1941 (John Ford)
  • New York Times
  •     Won 10 Best Films - 1947
  •     Won 10 Best Films - 1941
  • Photoplay
  •     Won Award - 1947
ADDITIONAL INFORMATION:
REVIEWS:
  • A skewering satire of the theatre world, All About Eve entertains while it eviscerates. This is a film that really does have it all: Joseph L. Mankiewicz's sure-handed direction and gloriously poisonous screenplay, celluloid diva Bette Davis at her disdainful best, uniformly excellent performances from the supporting cast, and costumes that further demonstrate that designer Edith Head did indeed give good wardrobe. The fact that All About Eve swept the 1950 Academy Awards speaks to all of these qualities, but a great deal of the film's historical and cinematic importance lies in its content. For years, Broadway had taken aim at Hollywood, and now the tables were turned with considerable venom. Mankiewicz's script summoned into existence a whole array of painfully recognizable theatre types, from the aging, egomaniacal grand dame to the outwardly docile, inwardly scheming ingenue to the powerful critic who reeks of malignant charm. The fact that the film succeeds in delivering such a wallop without descending into bitchy tirade makes it an enduring testament to the powers of elegant satire, further proof that there is no more dangerous combination than wit and a typewriter. ~ Rebecca Flint Marx, Rovi
  • Gentleman's Agreement is more interesting in historical perspective than for the qualities it places on the screen. Before World War II, there was an unspoken rule in Hollywood that anti-Semitism could only be hinted at or passingly referred to, even when the film was about an act of anti-Semitism. For example, watch the 1937 Oscar-winning Best Picture The Life of Emile Zola and see if you would notice that Captain Dreyfus, the French soldier who is wrongfully convicted, is Jewish. Gentleman's Agreement broke the barrier and allowed films to admit that racial and ethnic prejudice is more active in our society than we may want to admit. Most likely because it was breaking new ground with small, careful, deliberate steps, Gentleman's Agreement does not play as well nowadays. The characters are one-dimensional and do the sorts of things that you could easily predict that they would do. On the plus side, the performances within those one-dimensional characters are quite good, especially those of Gregory Peck and Celeste Holm, who won an Oscar as Best Supporting Actress. While Hollywood would go on to make better and more insightful movies about anti-Semitism, Gentleman's Agreement is important for daring to tackle the subject first. It is a solidly made, well-crafted film, and if it seems tame or weak by today's standards, then that is because we, both as a society and as individuals, know and understand much more today than we did in 1947. ~ Richard Gilliam, Rovi
  • How Green Was My Valley is fondly remembered by fans of director John Ford for its loving recreation of a Welsh coal mining village. Spanning some fifty years in the life of its protagonist, the film presents an often poignant portrait of the good and bad of small town life. At the center of the story is the dehumanization brought by increasing technology; the scenes in which more efficient machinery makes some of the mines' best workers unneeded and unemployed remain relevant to today's audiences and our environment of shifting corporations and uncertain security. Ford scholars differ on where to rank How Green Was My Valley -- indeed there is no clear consensus on what film critics and historians consider to be Ford's greatest -- but it was a popular choice as the best film of 1941, winning five Oscars, including Best Picture and Best Director. ~ Richard Gilliam, Rovi
  • The French Connection became the blueprint for many action films that followed and, as such, is regarded among the most influential films of its era. Oscar winner Gene Hackman plays the prototype psycho cop, overly dedicated to results even when it means disregarding public safety and common sense. His partner (Roy Scheider) is the good cop counterpart, and they are constantly at war with each other, with the bad guys, or, more commonly, both. Unlike Lethal Weapon and other films it influenced, The French Connection has more street realism and a generally unhappy ending. The dialogue is intelligent, and the film features one of the most riveting automobile chase scenes of its era, rivaled only by the legendary stunt work in Vanishing Point. Overall, the film captured five Oscars, including Best Picture and Best Director (William Friedkin). ~ Richard Gilliam, Rovi
  • Unabashedly sentimental and a box office smash, The Sound of Music (1965) became the last old-fashioned blockbuster musical before the seismic shifts of the late 1960s and 1970s. Faithfully adapting the Rodgers and Hammerstein Broadway hit while opening it up for the screen, director Robert Wise made the most of the story's Austrian settings by shooting in pristine color on location in and around Salzburg. Beginning with the helicopter shot of Julie Andrews's hill-top performance of the title song, Wise matches glorious Alpine landscapes and Salzburg sites with exuberant songs, while the romantic moments are set in the more intimate yet still picturesque Von Trapp garden house. The puppet show, an important moment in Maria's romance with Von Trapp, also becomes another beautifully executed set piece in itself. Andrews' acting is as laudable as her singing, and her presence charmed even those reviewers critical of The Sound of Music's sweetness; the audience adored it to the tune of record-breaking grosses. Nominated for ten Oscars, The Sound of Music won five, including Best Picture, Director, Sound, and Adapted Score. None of the 1960s musicals that followed it came close to matching its popularity. ~ Lucia Bozzola, Rovi

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