The Humphrey Bogart: The Signature Collection, Vol. 2 [7 Discs]The Humphrey Bogart: The Signature Collection, Vol. 2 [7 Discs]

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MOVIE DESCRIPTION:

    Entirely new to DVD, this second Bogart collection features a brand new, fully loaded 3-DVD special edition of The Maltese Falcon, plus four more additional Bogart adventures - Across the Pacific, Action in the North Atlantic, All Through the Night, and Passage To Marseille - available only as part of this collection.

DVD FEATURES:
  • Region: 1
  • Number of Discs: 7
  • Screen: Black and White
  • Audio: Dolby Digital Mono
  • Aspect Ratio: 1.33:1 (Pre-1954 Standard)
  • Features:
    • 1931 & 1936 film versions of The Maltese Falcon story
    • New The Maltese Falcon documentary
    • Commentaries on selected titles
    • Warner Night at the Movies presentations of new/vintage featurettes
    • Classic cartoons
    • Studio blooper reels
    • Radio shows
    • Trailers
AWARDS
  • Academy of Motion Picture Arts and Sciences
  •     Nominated Best Original Story - 1943 (Guy Gilpatric)
  •     Nominated Best Picture - 1941
  •     Nominated Best Screenplay - 1941 (John Huston)
  •     Nominated Best Supporting Actor - 1941 (Sydney Greenstreet)
  • American Film Institute
  •     Won 100 Greatest American Movies - 1998
  • Library of Congress
  •     Won U.S. National Film Registry - 1988
  • National Board of Review
  •     Won Best Acting - 1942 (Sydney Greenstreet)
  •     Won Best Acting - 1941 (Humphrey Bogart, Mary Astor)
ADDITIONAL INFORMATION:
REVIEWS:
  • Adapting Dashiell Hammett's novel -- and staying as close to the original story as the Production Code allowed -- first-time director John Huston turned The Maltese Falcon into a movie often considered the first film noir. In his star-making performance as Sam Spade, Humphrey Bogart embodied the coolly ruthless private eye who recognizes the dark side of humanity, in all its greedy perversity, and who feels its temptations, especially when they are embodied by a woman. While Huston's mostly straightforward visual approach renders The Maltese Falcon an instance of early noir more in its hardboiled attitude than in the chiaroscuro style common to other films noirs, the collection of venal characters, colorfully played by Sydney Greenstreet, Peter Lorre, and Elisha Cook, Jr.; Mary Astor's femme fatale; and Bogart's morally relativistic Spade pointed the way to the mid-1940s flowering of noir in Billy Wilder's Double Indemnity (1944), Otto Preminger's Laura (1944), and Howard Hawks's The Big Sleep (1946). A critical as well as popular success, The Maltese Falcon was nominated for three Oscars, including Best Picture and Best Screenplay, establishing Huston as a formidable dual talent and Bogart as the archetypal detective antihero. ~ Lucia Bozzola, Rovi
  • All Through the Night has such a strong cast that most viewers will be willing to overlook its many flaws and simply relax, sit back and watch the actors go to it. It's not Humphrey Bogart's best performance by far, but it's one of his most entertaining. Even when playing a tough guy, Bogart usually got to inject some levity into the surroundings (at least after he became a legitimate star), but the comedy in Night is much broader. Bogart plays things with a readier smile and a lighter heart -- although he puts on his "I mean business" gloves when things heat up a little too much. Conrad Veidt and Peter Lorre are appropriately slimey, and Judith Anderson, faced again with a part that she could do in her sleep, still makes Madame appropriately menacing. Jane Darwell's a bit over-the-top, due in large part to the way her character is written, and Kaaren Verne is a bit bland, but there's very able support from William Demarest, Frank McHugh and Phil Silvers. There's so much able support, as a matter of fact, that the likes of Jackie Gleason hardly makes an impression. Without this cast, Night would be a pretty pallid affair, as Vincent Sherman's direction is strictly mediocre, and the screenplay even more so. ~ Craig Butler, Rovi
  • Although certainly not of the caliber of The Maltese Falcon (1941) and Casablanca (1942), Across the Pacific remains a fine piece of slam-bang entertainment, Warner Bros.-style. Not that the drama makes that much sense, but the film is so skillfully acted and directed that such complaints become academic. Humphrey Bogart, Mary Astor, and Sydney Greenstreet appear exactly as you have come to expect -- which is as it should be -- but the key character here is Victor Sen Yung's Joe Totsuiko, one of the era's most treacherous villains. A second-generation immigrant seemingly full of vim and vigor, Totsuiko actually personifies the fate of most Japanese-Americans, who were actively rounded up and interned as filming of Across the Pacific progressed. (According to Mary Astor, Warner Bros. was forced to endlessly replace Japanese actors and crew members as they were rounded up by the U.S. government, but in reality, most of the original supporting players were either of Chinese or Korean origin.) Audiences in 1942, however, were thus told never to trust the Totsuikos of this world, never mind how all-American they may seem, a regrettable sentiment, but perhaps understandable under the circumstances. Writer Richard Macauley based his screenplay on Robert Garson's serialized magazine story Aloha Means Goodbye, but the snappy repartee between Bogart and a very funny Miss Astor is all Macauley and adds tremendously to Across the Pacific's entertainment value. As does Byron Haskin and William Van Enger's special effects and cinematographer Arthur Edeson's fluid camera. ~ Hans J. Wollstein, Rovi
  • The 1941 version of The Maltese Falcon (1941) consistently ranks among the greatest American films ever made, but two other adaptations of Dashiell Hammett's novel preceded it. Unlike the 1936 version -- Satan Met a Lady, starring Bette Davis -- 1931's The Maltese Falcon (1931) stays close to the source material, aside from a tacked-on ending that relieves some of the book's cynical severity. The film had a standard feel for a studio production of the early sound period; it arrived in theaters right before the surge of detective movies, as horror and gangster films were falling out of favor. Journeyman director Roy Del Ruth helms adequately enough, and the prolific but lightly regarded bit actor Ricardo Cortez does well with his interpretation of Sam Spade as a saucy womanizer. To avoid confusion with the later John Huston production, this film has often been renamed The Dangerous Female. ~ Brendon Hanley, Rovi

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