The Bette Davis Centenary Celebration Collection [6 Discs]The Bette Davis Centenary Celebration Collection [6 Discs]

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MOVIE DESCRIPTION:

    Hollywood legend Bette Davis gets the royal treatment with this special centenary collection featuring a new edition of the classic ALL ABOUT EVE.

    THE NANNY: A troubled boy accused of drowning his little sister in a bathtub is institutionalized, though he claims the family's old, trusted nanny is the killer. When he returns he is once again a suspect after his aunt dies and his mother is poisoned. Based on Evelyn Piper's novel, this stylish British mystery features Davis' menace at its peak.

    VIRGIN QUEEN: The new world is waiting to be conquered and Sir Walter Raleigh is just the man to do it. Though Raleigh only has designs on the treasures to be had, the queen has romantic designs on him despite his being married.

    PHONE CALL FROM A STRANGER: A recently separated man becomes confidant to a number of passengers flying to Los Angeles. When the plane crashes and leaves him the lone survivor, he makes it his mission to visit the families of those whose lives he touched en route.

    HUSH... HUSH SWEET CHARLOTTE: Living a life of seclusion, a suspected murderess is forced to face public scorn and must defend her sanity when nearby construction threatens her home.

    ALL ABOUT EVE: Given that she throws tantrums, gets intoxicated, and pushes people away when she needs them the most, it's a wonder New York theater star Margo Channing (Davis) has any true friends. But when Eve Harrington (Anne Baxter), Margo's young and innocent-seeming prot g e, schemes to gain both the affection of Margo's friends and a starring role originally written for Margo, the actress discovers just who is in her corner--and who is not. Released in 1950, ALL ABOUT EVE's power radiates undimmed through the years.

DVD FEATURES:
  • Region: 1
  • Number of Discs: 6
  • Audio: Dolby Digital Stereo
  • Screen: Enhanced Wide Screen Letterbox for 16x9 TV
  • Aspect Ratio: 2.55:1
  • Features:
    • cc
    • Audio commentaries
    • Featurettes
    • Isolated film score tracks
    • Restoration comparisons
    • Fox Movietonews features
    • TV spots
    • Original theatrical trailers
    • Interactive pressbook galleries
    • Poster galleries
    • Lobby card galleries
    • Still galleries
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     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)
  •     Nominated Best Black and White Art Direction - 1964 (William Glasgow, Raphael Bretton)
  •     Nominated Best Black and White Cinematography - 1964 (Joseph Biroc)
  •     Nominated Best Black and White Costume Design - 1964 (Norma Koch)
  •     Nominated Best Editing - 1964 (Michael Luciano)
  •     Nominated Best Original Score - 1964 (Frank De Vol)
  •     Nominated Best Song - 1964 (Mack David)
  •     Nominated Best Supporting Actress - 1964 (Agnes Moorehead)
  •     Nominated Best Color Costume Design - 1955 (Mary Wills, Charles LeMaire)
  •     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)
  • American Film Institute
  •     Won 100 Greatest American Movies - 1998
  • British Academy of Film and Television Arts
  •     Won Best Film - Any Source - 1950 (Joseph L. Mankiewicz)
  • Cannes Film Festival
  •     Won Best Actress - 1951 (Bette Davis)
  •     Won Special Jury Prize - 1951
  • Directors Guild of America
  •     Won Best Director - 1950 (Joseph L. Mankiewicz)
  • Edgar Allan Poe Awards
  •     Won Best Screenplay - 1964 (Henry Farrell, Lukas Heller)
  • Hollywood Foreign Press Association
  •     Won Best Performance by an Actress in a Supporting Role in a Motion Pic - 1964 (Agnes Moorehead)
  •     Won Best Screenplay - 1950 (Joseph L. Mankiewicz)
  •     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 - 1989
  • National Board of Review
  •     Nominated Best Picture - 1950
  • New York Film Critics Circle
  •     Won Best Actress - 1950 (Bette Davis)
  •     Won Best Director - 1950 (Joseph L. Mankiewicz)
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
  • It doesn't measure up to the earlier The Private Lives of Elizabeth and Essex, but as long as Bette Davis is on screen, The Virgin Queen commands our attention. The problem is that Queen was originally conceived not as Elizabeth's story but as that of Sir Walter Raleigh, with the Queen originally conceived of as a supporting part. When Davis came on board, that changed; but building her part up comes at the expense of the actual story. As a result, the film feels a bit lopsided structurally. Things are confused further by the fact that Davis is so damn good in her part, while Richard Todd as Raleigh and Joan Collins as his true love are only adequate. Thus, the force of Davis's performance and the relative weakness of her co-stars' tilts the film in her favor, even as structurally it continues to favor Todd. (It goes without saying, of course, that the film also sacrifices historical fact for dramatic effect at the drop of a hat.) Even with its flaws, the screenplay still provides plenty of meaty individual scenes which score big points. Henry Koster's direction is uneven, with very good segments mixed with not-so-good; the latter unfortunately includes the famous laying-down-the-coat sequence which is what many viewers remember about Raleigh today. But he wisely gives Davis plenty of room, and she doesn't disappoint, mesmerizing the viewer whenever she's around. ~ Craig Butler, Rovi
  • No one can rightfully claim that Hush . . . Hush Sweet Charlotte is dull. The unrestrained acting performances alone -- or the caricatures that substitute for acting performances here -- are just too much fun to watch. This is the kind of film, in fact, where Agnes Moorehead makes Bette Davis appear downright restrained in comparison. Or where Joseph Cotten and Mary Astor's mint julep accents flow as thick and gooey as molasses. Hush . . . Hush, which owes a great deal to the French classic Diabolique (1954), does cheat the viewer on occasion but Robert Aldrich's direction is so over the top that few will probably question a scene where a murdered Cotten -- well, that may be giving too much away. Suffice it to say, the story doesn't quite make sense but what other movie would dare chop off Bruce Dern's head even before the opening credits? ~ Hans J. Wollstein, Rovi
  • Phone Call from a Stranger is the kind of studio product that Hollywood produced with considerable polish and flair up through the 1950s. It's a product, not art, and as such it tends to be very concerned with getting things right: the right mixture of character types, the right way of setting up each story so that the audience follows it clearly, the right plot turns that grow naturally out of what has come before. Nunnally Johnson's screenplay accomplishes all that it sets out to do very well and makes the movie very watchable, but there's a calculated precision to it that modern day audiences may find off-putting. It also makes for uncomfortable moments, as when Gary Merrill's character puts off telling the family the fate of one character merely as a means of creating tension in the audience. The screenplay does provide some juicy parts for its generally good cast, however, with Bette Davis turning in a memorable performance and making the most of the setpiece given to her. Shelley Winters also does very well, and Keenan Wynn is excellent as the obnoxious salesman whose blustery demeanor masks genuine tenderness. Even Gary Merrill is more convincing than usual. Phone Call is well-done and moderately entertaining but ultimately empty. ~ Craig Butler, Rovi
  • This tidy little suspense film is one of Hammer Films' better non-supernatural outings of the 1960's. The strongest element of The Nanny is Jimmy Sangster's well-crafted script, which infuses the usual chills with a bit of social commentary on the English class system and sets the viewer's expectations on their ear more than once with some inspired twists. Seth Holt's careful direction does justice to this script, easing the viewer into a false sense of security with a subtle first half and then making a deft transition into the surprise revelations of the second half. The Nanny also benefits from good performances: William Dix turns in some unexpectedly subtle work in the difficult role of the problem child and Wendy Craig cuts a sympathetic figure as the vulnerable and much put-upon mother. However, the standout is Bette Davis in the title role: her performance seems low-key at first but she adds new layers to her role as the story progresses, managing to turn a character that could have been a mere plot device into a haunting and unexpectedly sympathetic figure. On the downside, some of the film's twists have become old hat and the film's slow-burn pacing might throw off viewers used to the frenetic pace of modern horror films. That said, viewers who can overlook these age-related problems will be rewarded with a skillfully made film that remains pretty chilling on its own terms. In short, The Nanny is a worthwhile thriller for viewers in search of old-fashioned thrills. ~ Donald Guarisco, Rovi

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