United Artists Cinema Greats Collection, Vol. 2 [4 Discs]United Artists Cinema Greats Collection, Vol. 2 [4 Discs]

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DVD FEATURES:
  • Region: 1
  • Number of Discs: 4
  • Aspect Ratio: 2.35:1 (Cinemascope)
  • Screen: Pan and Scan
  • Audio: Dolby Digital Mono
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Won Best Director - 1976 (John G. Avildsen)
  •     Won Best Editing - 1976 (Richard Halsey, Scott Conrad)
  •     Won Best Picture - 1976 (Robert Chartoff, Irwin Winkler)
  •     Won Best Song - 1968 (Alan Bergman, Marilyn Bergman, Michel Legrand)
  •     Won Best Color Art Direction - 1961 (Boris Leven, Victor A. Gangelin)
  •     Won Best Color Cinematography - 1961 (Daniel L. Fapp)
  •     Won Best Color Costume Design - 1961 (Irene Sharaff)
  •     Won Best Director - 1961 (Robert Wise, Jerome Robbins)
  •     Won Best Editing - 1961 (Thomas G. Stanford)
  •     Won Best Musical Score - 1961 (Irwin Kostal, Saul Chaplin, Johnny Green, Sid Ramin)
  •     Won Best Picture - 1961 (Robert Wise)
  •     Won Best Sound - 1961 (Fred Hynes, Gordon Sawyer)
  •     Won Best Supporting Actor - 1961 (George Chakiris)
  •     Won Best Supporting Actress - 1961 (Rita Moreno)
  •     Nominated Best Actor - 1976 (Sylvester Stallone)
  •     Nominated Best Actress - 1976 (Talia Shire)
  •     Nominated Best Original Screenplay - 1976 (Sylvester Stallone)
  •     Nominated Best Song - 1976 (Ayn Robbins, Carol Connors, Bill Conti)
  •     Nominated Best Sound - 1976 (Lyle J. Burbridge, Wiliam L. McCaughey, Bud Alper, Harry W. Tetrick)
  •     Nominated Best Supporting Actor - 1976 (Burt Young, Burgess Meredith)
  •     Nominated Best Original Score - 1968 (Michel Legrand)
  •     Nominated Best Editing - 1963 (Ferris Webster)
  •     Nominated Best Adapted Screenplay - 1961 (Ernest Lehman)
  • American Film Institute
  •     Won 100 Greatest American Movies - 1998
  • British Academy of Film and Television Arts
  •     Nominated Best Picture - 1977 (John G. Avildsen)
  •     Nominated Best Film - Any Source - 1962 (Robert Wise, Jerome Robbins)
  • Directors Guild of America
  •     Won Best Director - 1976 (John G. Avildsen)
  •     Won Best Director - 1961 (Robert Wise, Jerome Robbins)
  • Hollywood Foreign Press Association
  •     Won Best Picture - Drama - 1976
  •     Won Best Original Song - 1968 (Alan Bergman, Marilyn Bergman, Michel Legrand)
  •     Won Best Performance by an Actor in a Supporting Role in a Motion Pictu - 1961 (George Chakiris)
  •     Won Best Performance by an Actress in a Supporting Role in a Motion Pic - 1961 (Rita Moreno)
  •     Won Best Picture - Musical - 1961
  •     Nominated Best Original Score - 1976 (Bill Conti)
  •     Nominated Best Performance by an Actor in a Motion Picture - Drama - 1976 (Sylvester Stallone)
  •     Nominated Best Performance by an Actress in a Motion Picture - Drama - 1976 (Talia Shire)
  •     Nominated Best Screenplay - 1976 (Sylvester Stallone)
  •     Nominated Best Original Score - 1968 (Michel Legrand)
  •     Nominated Best Picture - Drama - 1963
  •     Nominated Best Director - 1961 (Robert Wise, Jerome Robbins)
  •     Nominated Best Performance by an Actor in a Motion Picture - Musical or Comed - 1961 (Richard Beymer)
  • Library of Congress
  •     Won U.S. National Film Registry - 1997
  • Los Angeles Film Critics Association
  •     Won Best Picture - 1976
  • National Board of Review
  •     Won Best Supporting Actress - 1976 (Talia Shire)
  •     Nominated Best Picture - 1976
  •     Nominated Best Picture - 1963
  •     Nominated Best Picture - 1961
  • New York Film Critics Circle
  •     Won Best Supporting Actress - 1976 (Talia Shire)
  •     Won Best Picture - 1961
ADDITIONAL INFORMATION:
REVIEWS:
  • John Sturges' The Great Escape could easily be the most under-appreciated movie of its genre and decade, which may seem a strange thing to say about a movie that is one of the most popular World War II adventure films ever made. It not only defined the screen personae of Steve McQueen, James Garner, Richard Attenborough and much of the rest of the cast, but along with The Magnificent Seven represented a high-water mark in Sturges' career. Yet, despite that and the millions of dollars it earned at the box office, The Great Escape didn't command much respect until years after its release. Critics lumped the film together with such mammoth World War II productions as The Longest Day, The Guns of Navarone and Battle of the Bulge and overlooked its unique status as a fundamentally tragic movie that still managed to appeal to audiences in an upbeat manner. Beneath the fact-based heroics, the humor of many of the portrayals and Elmer Bernstein's rich, rousing score lay the elements of a classic tragedy. While ordinary viewers responded to the driving dramatic forces among the characters -- Bartlett's obsession, Hilts's self-absorption and cynicism, Hedley's practical approach to survival and the mission -- critics and scholars viewed the movie as an artless, empty blockbuster. They were looking for self-conscious subtlety and obvious artistic touches in a story that required only a straightforward, unpretentious telling. The Great Escape expresses its depth and drama through action rather than ponderous dialogue, and in that sense, was probably too true to its subject for its own good, at least in terms of achieving critical respect. Only in recent years have film historians grudgingly confronted the fact that The Great Escape's audience has broadened since its release, and reappraised its unique qualities. ~ Bruce Eder, Rovi
  • Norman Jewison's stylish romantic caper, featuring Steve McQueen in a rare cerebral role, is an enjoyably lightweight compendium of '60s film technique. It begins as a cat-and-mouse game between a wealthy businessman (McQueen), who has masterminded a spectacularly complex bank heist for his own amusement, and the brilliant insurance investigator (Faye Dunaway) assigned to the case, but the film slides into a higher gear when they fall for each other. More romance than heist, the film capitalizes on the powerful chemistry of the two stars, who were never photographed as stunningly as they are here by the legendary Haskell Wexler. In a celebrated six-minute set piece, a wordless chess game between the two develops into an increasingly intense pas de deux of visual foreplay; near its climax, a rapt McQueen gazes on while Dunaway contemplatively fondles the head of a bishop. The wariness of the couple, who can never entirely trust one another, only heightens the atmosphere of erotic frisson. Michel Legrand's layers his catchy score with interlocking ostinatos which echo the film's visual motif of circularity, while adding an undercurrent of playfulness. The film's adolescent fantasy of omnipotence may have no more substance than a soap bubble, and its frenetic inventory of '60s visual gimmicks can sometimes seem painfully anachronistic, but it remains a skillfully concocted diversion. ~ Michael Costello, Rovi
  • Rocky is an unashamed feel-good movie. It is essentially a reworking of Paddy Chayefsky's Marty, only instead of a shy butcher in a grocery, the protagonist is a shy butcher for a local loan shark. The real-life tale is now legendary -- how the struggling young writer Sylvester Stallone was in the audience for Muhammad Ali's boxing match with (reputed) mob enforcer and all-around tough guy Chuck Wepner, only to wonder if it wouldn't make a better story if the underdog weren't beaten into a senseless pulp by the mercurial champion. Later, Stallone, still unsuccessful and very broke, would refuse an offer for his screenplay, insisting that the deal include his playing the title role. Much like the character in his screenplay, Stallone would get his unlikely chance at success and prevail in Rocky-like fashion. At the heart of the film is Rocky's reluctant romance with the similarly shy Adrian (Talia Shire). Director John G. Avildsen expertly stretched his meager budget with skillfully selected Philadelphia location shots, most notably Rocky's training montage, which ends at the steps of the Philadelphia Museum of Art. With Network and Taxi Driver as the primary competition, the Academy opted for the upbeat Rocky, giving it three Oscars, including Best Picture. ~ Richard Gilliam, Rovi
  • West Side Story is remarkable for its seamless transference from stage musical to screen classic, with the complete Leonard Bernstein/Stephen Sondheim song score intact, as well as the choreography of Jerome Robbins. The story, derived from Romeo and Juliet, works on a symbolic rather than realistic level; there is no pretense that this is a true representation of what New York City gangs were like circa 1960. Veteran director Robert Wise is probably the person most responsible for the film's success, and for retaining the best qualities of the stage production, though co-director Robbins, who feuded with Wise throughout the production, would likely disagree. After several weeks of delayed production due to Robbins' insistence on extra rehearsals, Wise tired of the Broadway legend and had him removed from the set. West Side Story swept the Oscars, taking ten awards, including awards for Best Picture and its decidedly non-cordial co-directors. The Academy gave a special choreography award to Robbins, who thanked a great many people in his acceptance speech, noticeably failing to mention Wise. ~ Richard Gilliam, Rovi

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