The American Film Theatre Complete 14 Film Collection [15 Discs]The American Film Theatre Complete 14 Film Collection [15 Discs]

Retail: $199.95
Our Price:
$129.25
Save: $70.70

In Stock - Ships in 24 Hours

Order Now!

Add To My Wishlist

MOVIE DESCRIPTION:

    The complete fourteen film collection.

DVD FEATURES:
  • Number of Discs: 14
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Nominated Best Actor - 1975 (Maximilian Schell)
  • Hollywood Foreign Press Association
  •     Nominated Best Performance by an Actor in a Motion Picture - Drama - 1975 (Maximilian Schell)
  •     Nominated Best Performance by an Actress in a Supporting Role in a Motion Pic - 1973 (Kate Reid)
  • National Board of Review
  •     Won Best Actor - 1973 (Robert Ryan)
  •     Nominated Best Picture - 1973
ADDITIONAL INFORMATION:
REVIEWS:
  • Although people tend to be in two camps about the ultimate quality of The Man in the Glass Booth, it's hard to deny that the film packs a very powerful punch. Although Robert Shaw decried Edward Anhalt's adaptation of his stage play, the fact is that it's a respectful version of the original; the problem is that, as part of the American Film Theatre series, the film by design and intent has been opened up only minimally. Those who prefer their films to be cinematic will likely find Booth somewhat claustrophobic, but director Arthur Hiller actually deserves a great deal of credit for using his camera in such a way as to make the film feel like it's moving even when it's not. Some will have a bigger problem with the screenplay, feeling that it is too manipulative, achieving effects that shock without really digging into deeper moral and dramatic issues. While there is some validity to this, it's also true that this manipulation is enormously effective. Audiences will also be about two minds concerning Maximilian Schell's Oscar-nominated performance. Detractors will complain that he hits one note too often and for too long, and that furthermore that note is shrill. But there's such intensity, power, conviction, and sheer showmanship in his performance that others will be inclined to overlook these complaints. There should be general agreement, however, that Lois Nettleton turns in a subtly nuanced yet surprisingly strong supporting performance and that Lawrence Pressman provides a nicely shaded Charlie. The Man in the Glass Booth's screenplay and central performance have their flaws, but those flaws are inextricable from and add to the film's ultimate impact. ~ Craig Butler, Rovi
  • Bertolt Brecht's treatise on the responsibilities of scientists to the societies in which they operate and upon which their work can have uplifting or devastating consequences receives a decent, but muted, adaptation under Joseph Losey's direction. Brecht's theater-of-alienation techniques didn't survive the translation to the screen, which is probably a plus, and Losey does a fairly good job of making the material work as cinema (something which is not always true of other titles in the American Film Theatre series). Still, there's an almost inevitable talkiness to the affair which causes the film to drag in places. In the title role, Topol is good, but the part demands much more than good. Possibly wishing to instill audience sympathy, Topol fudges Brecht's view of Galileo as a weak traitor who betrays both himself and the larger society, opting instead to go the route of the unappreciated and misunderstood man of science. Still, Topol does deliver the goods in his big scenes, and the supporting cast, especially Georgia Brown, John Gielgud, and Clive Revill, is outstanding. Though less than perfect, Galileo still captures enough of the play's strengths to be worth viewing. ~ Craig Butler, Rovi
  • Butley is not a satisfying film experience, but it is valuable for capturing the electric and captivating performance of star Alan Bates in the title role. Bates gives a tour de force performance, but one in which the actor is at all times serving the character and the needs of the material rather than simply using a flashy part to show off his considerable range and skill. Bates is firmly onscreen throughout and is called upon to create a presence that can hold the entire film together; to make things more difficult, he is given a not very likeable character, self-centered and given to barrages of cruel (if terribly witty and amusing) insults. That Bates makes the audience interested in the character, and even care for him to a sufficient extent, without making Butley sympathetic, is an incredible achievement. A bold, edgy, at times scary performance, it makes the film worth watching, despite flaws such as pedestrian direction that does not do enough to disguise the film's stage origins, an over-extended length, and a cast of characters that often compete with each other for unpleasantness. The supporting cast is excellent, but even as accomplished an actress as Jessica Tandy must take a back seat to Bates' astonishing performance. ~ Craig Butler, Rovi
  • It was, in 1975, a bizarre idea to try to make Jacques Brel is Alive and Well and Living in Paris, the landmark off-Broadway revue, into a film musical. That said, it is still a bizarre idea -- but today the film probably seems less strange, thanks to the advent of MTV and the onslaught of thousands of music videos. Being a revue, Brel has no storyline and the filmmakers wisely chose not to impose one on it; instead, they created a "situation" and used that as a jumping off point to creating vaguely surreal visual interpretations of each individual song. In other words, they have created a long string of music videos, in which one can see the nascent origins of many techniques that would become part and parcel of the music video industry within a decade. There's a use of color to convey mood, quick alterations of close-up and long shots, fast editing (though nothing compared to what would become common in later years), and a willingness to visually interpret portions of lyrics without necessarily worrying about how they relate to the overall meaning of a song. One's ultimate reaction to Brel will depend largely upon one's attraction to the songs themselves and to the performers singing them. Many find Brel's lyrics insightful and cutting; others think them pretentious or arch, and there are similar differences of opinion concerning the music. Brel himself is on hand to give a marvelous rendition of "Ne Me Quittes Pas," and his delivery is perfect. Elly Stone and Mort Shuman have many memorable moments; Joe Masiell does less well, pushing too hard too often. ~ Craig Butler, Rovi
  • It's valuable to have a screen record of Anton Chekhov's celebrated drama of dreams delayed and crushed, especially with a first-rate British cast under the direction of Laurence Olivier. After a rather stiffly played first act, the drama seems to catch fire -- no pun intended -- during the nighttime scene in which most of the male characters return from helping to put out a conflagration in the village. The third act, in the garden with the soldiers about to depart amid the impending duel between Vassili and the baron, concludes the film on a strong note. As a director, Olivier may have had only modest resources at his disposal to "open up" the action (there is one montage of scenes dreamt by Irina that take place outside the house and offer a transition from Act II to Act III), but compared to his Shakespeare trilogy (Henry V, Hamlet, and Richard III), this feels less like a drama re-imagined for the screen and too much like a photographed play. The performances are finely tuned, but none catch fire, but for one: Joan Plowright's smoldering Masha. Her exchanges with Alan Bates' Vershinin are eloquent expressions of repressed desire, and her weary sighs at the failings of almost everyone around her offer the only shades of wit in the proceedings. And she does have one scene with her real-life husband as the volatile doctor in the third act, which also sets off sparks. ~ Tom Wiener, Rovi
  • Like many of the entries in the well-intentioned American Film Theatre series, The Maids tries to remain true to both its theatrical origins and the different requirements of the cinema. It straddles the fence rather too severely, unfortunately, and, as a result, comes across as rather muddled and unsatisfying. Jean Genet's script has been faithfully recreated onscreen, but it's a transfer rather than an adaptation. As a result, dialogue that was stylized and dramatic on-stage often becomes stilted and ponderous onscreen. Genet's "Theatre of the Absurd" treatment of the story also needs a cinematic re-thinking; it cries out for a looser, more fluid lensing than it receives from director Christopher Miles. Instead, Miles has concentrated his efforts on his cast, and while this may make the film, as a whole, less than enthralling, it does provide viewers with some highly charged, occasionally overly theatrical, but always engrossing, performances from Glenda Jackson and Susannah York. No one can be as frighteningly acidic or embody evil as convincingly as Jackson, of course, but the surprise is how well York holds her own against this formidable presence. The chemistry between the two is electric and disturbing, and the intensity they bring to their parts is fascinating to watch. ~ Craig Butler, Rovi
  • Lost in the Stars is a far from perfect musical, but its strengths are such that most viewers willingly overlook its flaws. Criticized by many for presenting a view of apartheid that they see as somewhat patronizing (a charge that applies equally to the book upon which the musical is based), the larger problem with Stars is that Maxwell Anderson and Alfred Hayes' screenplay is often too earnest and polemical. Still, the writers have created a basic human situation that is compelling and engrossing, and this more often triumphs over the occasional didacticism. Most importantly, Stars benefits from a glorious, transcendent Kurt Weill score that includes the haunting and overwhelming title song and the tortured "Cry the Beloved Country," as well as the beautiful "Trouble Man." Director Daniel Mann's work is a tad unimaginative, especially given the material, but he handles his cast very well. Brock Peters scores impressively as the minister, torn between his God and his son, and a young Melba Moore does extremely well as Irina. Though not as cinematic as one might wish, Stars is undeniably powerful. ~ Craig Butler, Rovi
  • Luther is a flawed but still very powerful adaptation of John Osborne's meditation on the 16th century religious leader whose condemnation of certain Catholic Church practices precipitated a revolution both religious and secular. The flaws are those common to many other entries in the American Film Theatre's productions -- mainly, it's an uneasy blend of cinema and stagecraft that falls between the two poles. It's not really satisfying as a straight-ahead filming of a stage play, nor does it satisfy as a cinematic adaptation. The stage-bound nature is perhaps more pronounced in Luther because it deals with a subject that had a profound effect upon the entire world; excluding that outside world from the film negates Luther's impact somewhat and makes him seem a bit smaller than the character warrants. If one can accept this flaw, however, Luther is a richly rewarding experience. Osborne's words have been diluted in a few cases by adapter Edward Anhalt, but they still maintain astonishing power. His portrait of Martin Luther is compelling yet disturbing, a finely detailed portrait that shows a man constantly in conflict with himself, with God, and with the actions he initiates in the name of faith. Stacy Keach's performance in the title role is nothing short of marvelous; he conveys the intense power of this darkly conflicted man yet doesn't resort to showboating. He underplays, he understates, and the character comes across as more powerful as a result. Yet he also lets the depths of his passions surface when necessary, to startling effect. Keach dominates the film, and the character he creates is overflowing with life -- and with bile. He is well supported by an excellent cast, with special mention for a superb Patrick Magee, an excellent Hugh Griffith, and an impressive Leonard Rossiter. ~ Craig Butler, Rovi
  • Probably the finest of the American Film Theatre productions of the '70s, The Homecoming is a bleakly comic, brutal, and undeniably powerful adaptation of the Harold Pinter stage classic. Pinter, of course, is essentially known for two things -- his famous pauses and his ambiguity of meaning. Both are present in Homecoming, but it's important to point out that "ambiguity of meaning" does not mean "ambiguity of emotion." The viewer may have to guess a bit at meaning (as he does in life), but the emotions that these characters feel are crystal clear and presented in all their roaring power. The family in Homecoming are all prisoners -- of their feelings, their relationships, their resentments and their pasts. They wail, they flail, they tear, they argue, they scream, they laugh, they mock, they suppress -- all in a vain attempt to escape, not realizing that they lack the one thing that would allow them to escape -- the will and the courage to face the unknown. Director Peter Hall has masterfully captured all of the pain and humor in the text, creating a claustrophobic cinematic prison that forces the viewer to be not only in the same room as these people but practically sitting on their laps. Hall's work is incredibly assured, with hardly a false step throughout. The same can be said of the incredible cast, each one of which mines every last inch of their characters and creates unforgettable portraits that make the viewer flinch and laugh at the same time. Homecoming is a textbook lesson in how to bring Pinter to the screen without diluting his effectiveness -- and perhaps even heightening it. ~ Craig Butler, Rovi
  • The Iceman Cometh is a towering, powerful stage play that inevitably loses some of its impact when transferred to the screen, even in as fine a production as this. Part of the reason is that Eugene O'Neill's beautiful language is theatrical in nature and therefore doesn't come across as well in the more naturalistic milieu of the cinema. But a bigger problem is that Iceman is all about a group of people who are trapped with each other; they are not just individuals, they are also all part of a group that has its own character and personality. On-stage, where the camera cannot cut away and zoom in or out, Iceman gains a great deal of its power from the force that the group exerts upon the proceedings, and from the reactions of each member of the group to what is going on. On screen, this is lost, and the loss is felt, even if only subconsciously. In addition, O'Neill's mammoth script has been of necessity pared down; while this has been done in a very admirable manner, it still has an effect. Finally, in Lee Marvin, Iceman has an exceptional actor whose inner raw power and authority, along with his considerable skill, are tremendous assets; however, Marvin lacks the spellbinding charisma that the part demands, that is crucial to its success, and the absence of which leaves a small hole at the play's center. Fortunately, Iceman also has exemplary performances from Robert Ryan and Fredric March, along with solid support from Tom Pedi, Moses Gunn, Jeff Bridges, and Martyn Green. If The Iceman Cometh is not the triumph that it is on-stage, it is still a powerful and frequently mesmerizing piece. ~ Craig Butler, Rovi

The American Film Theatre Complete 14 Film Collection [15 Discs] - Available now from DVDPlanet.com, join our mailing list and receive special offers and promotions.

BROWSE BY GENRE

NOW PLAYING

Drive (2011) Thing (2011) Transformers: the Dark of the Moon 3d Big Year

 

 

 

 

 

Specials

TOP 10 Last 2 Weeks

  1. Three Outlaw Samurai – $16.99
  2. Man in the Iron Mask (1939) – $15.35
  3. Twilight Saga: Breaking Dawn Pt. 1 – $21.14
  4. World on a Wire – $25.34
  5. Tiny Furniture – $29.52
  6. New Tricks Season 6 – $24.64
  7. Lady & the Tramp – $29.14
  8. It's a Mad Mad Mad Mad World – $13.73
  9. Downton Abbey Season 2 – $19.14
  10. Father Dowling Mysteries Season 1 – $20.10

 

TOP 10 PRE-ORDERS

  1. The Passion of The Christ [WS] – 03/13/12 – $10.01
  2. Story Of Ruth, The – 03/13/12 – $9.83
  3. Love's Unfolding Dream – 03/13/12 – $9.74
  4. Harold and Maude – 02/21/12 – $9.11
  5. Reds [25th Anniversary Edition] [2 Discs] – 02/21/12 – $10.64
  6. David and Bathsheba – 03/13/12 – $9.85
  7. The Ultimate Gift – 03/13/12 – $9.86
  8. Francis Of Assisi – 03/13/12 – $10.01
  9. Nashville – 02/21/12 – $9.14
  10. A Place in the Sun – 02/21/12 – $10.23
Find us on Facebook
Become an Affiliate



My Account
 Login
 Register
 Order History
 Wish List
 Shopping Cart
Information
 Help
 Contact Us
 Shopping
 Shipping Policies
 Returns and Exchanges
 Privacy statement