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Rodan/War of the Gargantuas Review At Amazon.. Product: Rodan/War of the Gargantuas Average customer review: Amazon Price: Sale Price Too Low To Display Click Here To See Amazon Sale Price Add to cart to see discount price@ Availability: In Stock Usually ships in 24 Hours Free Shipping At Amazon

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Following the release of GOJIRA (Godzilla, King of the Monsters, before Raymond Burr was sever in) and it’s sequel, Toho made their first color giant monster movie: RODAN(aka Radon, and Rodan,The Flying Monster) .Unlike most creature features of the time RODAN doesn’t compose you wait 2/3’s of the movie for a monster to explain up .Meganurons, giant prehistoric dragonfly larva originate their appearance rather early in the film.It’s this piece of the film that’s often compared to “Them”.However,in RODAN the giant insects are only the state up.In the most memorable scene, when the character comes out of shock, he not only remembers being trapped underground with the Meganurons but also the hatching of a Rodan chick from it’s egg.Having the audience already in on the size of the larva provides instant scale, as the hatchling devours the Meganurons.To add to the excitement of the rest of the describe we learn that in fact two Rodans have hatched.

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The film is played straight, unlike later entries in what’s become known as the Godzilla series.

Although Rodan has appeared in other films, Gidorah,the Three Headed Monster,Godzilla vs Monster Zero(Invasion of the Astro Monsters),and End All Monsters, the glimpse of Rodan was never as superior as in this, the recent.

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Now for the first time Classic Media is presenting this film to American audiences in both it’s modern 82 min Japanese language version as well the 72 min English language version.

THE WAR OF THE GARGANTUAS makes it’s DVD debut. It’s also presented in both the Japanese Version (88 mins.), and English Version (92 mins.) .

Special Features: “Bringing Godzilla Down To Size” a current Documentary (68 mins.)

If the quality of the re-mastering and source material remains the same, as it’s been, since their Gojira release, in 2006, this should be the best video release of RODAN ever.

RODAN and THE WAR OF THE GARGANTUAS are two of Toho’s best giant monster films, and both were subjected to awkward and unnecessary Americanization jobs. With this welcome release, USA fans can now easily and cheaply fabricate their comparisons, as Japanese and USA versions of both films are generously included.

GARGANTUAS is especially long-awaited, but, sadly, Classic Media’s transfer of the Toho version is a letdown. Toho’s print has always been darker, with less-saturated color than the UPA (not AIP!) print. This transfer, however, is Map too murky, and not terribly sharp; in the scenes with Gailah vs. the military, he often looks like cramped more than a shadow…unprejudiced terrible! No, my TV settings are not to blame- this transfer is uninteresting unfriendly to Toho’s Laserdisc and DVD releases, which is uncommon when you judge how many nice DVDs of the Godzilla titles have been released by Classic Media. All the more gloomy is that the Japanese version of GARGANTUAS works grand better as a movie than the English-dubbed one. That version LOOKS grand better on this DVD, but its problems are celebrated and numerous. Said problems are probably the fault of the leisurely and notoriously clueless producer, Henry Saperstein…I can fair envision him looking at the rushes, smoking a enormous cigar, and saying, “Don’t peep like no Frankenstein to me!”. So, the Frankenstein references are gone, along with distinguished of the integrity of the screenplay. Gone, also, is mighty of Ifukube’s lovely collect. (replaced by dreary library music, and even by Ifukube music from previous films: why? ) Add to this some ill-advised editing, and Russ Tamblyn instead of Slash Adams…Tamblyn is clearly about half past give-a-damn throughout, though his presence may not be all UPA’s fault. Bottom line: this kaiju classic was nearly ruined by gaijin interference. Detached, this is the version that most USA fans fondly remember, and the monster mayhem and stout Toho cast obtain GARGANTUAS beautiful tough to abominate, so it’s wonderful to finally have it.

Both versions of RODAN are shapely, and the Japanese print looks enormous. The USA version has been released before, has many of the same issues as GARGANTUAS, but isn’t nearly as painful to search for, apart from the absurd stock footage and narration. I’ve always been fond of RODAN.

No trailers, galleries or commentaries are included here, which doesn’t bother me that considerable. What is included is the outstanding documentary, BRINGING GODZILLA DOWN TO SIZE…no, it doesn’t squawk the praises of GODZILLA VS. MEGALON and the like, and that clearly irks some fans, but it does pay attention to several lesser-known (but tranquil vital) Toho FX craftsmen. I thoroughly enjoyed it.

All things considered, a flawed but peaceful worthwhile release for Kaiju fans, especially at this bargain brand.
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Although director Elia Kazan ultimately failed in this uneven if knowing attempt to bring his best-selling semi-autobiographical new to the veil, it is a fantastic sociological portrait of a man driven to the edge of madness and despair by what material and career success does to his soul. Kirk Douglas is terrific as Eddie Anderson, the deeply conflicted Greek-American second-generation crossover who buys into the pursuit of American business success and now feels as though his talent and creativity have been totally corrupted and squandered in pursuit of the bitch goddess of success. He has it all, money, sex, and power, and all the toys and accessories such material success means. But his life is increasingly ashes in his mouth, a bitter, lonely, empty and unfulfilling existence that is literally driving Eddie insane.

We explore enraptured as he plunges head-first into a disastrous mid-life crisis, spiraling dangerously down the slippery slope toward madness and involuntary commitment, until slowly and painfully he begins to figure out what is unfriendly and how to fix it, although all this is obviously done at an amazingly hurtful and angst-filled cost to himself and his loved ones. Deborah Kerr co-stars as his loving but also self-concerned and controlling wife, and Faye Dunaway turns in a compelling performance as the insightful and sarcastic fancy interest who draws him out of his mid-life diversions and makes him spy how expensive his sell-out has been to the staunch Eddie underneath all the glitz and glamour.

They say this movie had it all in the can, but that somehow author/producer/director Elia Kazan blew it all by cutting and editing it terribly, leaving it disjointed and hard-to-follow. Even though this seems to be apt, the movie is uneven but detached quite estimable, with a number of intense and engaging scenes with Douglas, Dunaway, Kerr and Richard Boone that are among the best dramatic footage I have ever seen. Ogle for the scenes leisurely in the film when Eddie tries to define himself and his actions to his wife, tryng to utter the very complicated reasons he simply cannot work at the ad agency any more. Although she coaxs him into the monologue, promising him she’ll do “ANYTHING, god-dammit!” to develop him elated, in the demolish she is quite conflicted, as well, and as a result totally misunderstands him, discounting his problems and conflicts and not hearing his plaintive pleas because she really doesn’t want to give up their privileged lifestyle. He pours out his heart and needs, but she isn’t listening, reacting angrily instead to what she sees as his selfishness even though she has begged him to be unbiased about what he really wants.

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Such remarkable scenes honestly and accurately document the unpleasant failed attempts at primary communication that too often record the destruction of life-long relationships and tragic divorce. Richard Boone of the TV series “Have Gun, Will Move”, an feeble Douglas friend and associate, also turns in a incredible performance as Eddie’s domineering and senile Greek-immigrant father, a once successful rug-importer who torments Eddie because he wants Eddie to bankroll him for another chance to control his gain life. The draw all this spins together was the considerable driving stuff leisurely a best-selling recent. The movie isn’t quite as trustworthy, but it is unruffled a extraordinary, arresting and great drama eminently worth watching.

In short, this movie shows how a man who’s succesful and rich but lives in a permanent lie suddenly cracks up -in a very healthy way- and starts from scratch to re-evaluate his life: his job, his feelings toward his wife, his father, his lover. The confrontation between the establishment and someone who fair wants to “live” -as he puts it- is brilliantly depicted. Elia Kazan’s genius is very determined here. Very beneficial acting from Kirk Douglas, Faye Dunaway and Deborah Kerr. I found enthralling similarities between this movie and Peter Weir’s Mettlesome.
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We again are with the warriors of Suzaku in Houkkan, the land of Genbu. The Suzaku seven have suffered their first loss, but are obvious to press on and be victorius over the Seiryuu Seven. Miaka, in turn, is strongly moved to acquire definite that nothing more will happen to any of her friends. Miaka resigns herself to the unavoidable battle that will occur between her and the Priestess of Seiryuu, Lady Yui. Meanwhile, Yui becomes aware of one of her warriors having feelings for her. But her heart cannot be moved toward him due to the harm of her past and the ache for Tamahome, a fact which the grand Nakago uses to his advantage.

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With unique countries, mature and returned warriors long belief boring and fresh trials and evils to overcome at each turn, Miaka and Tamahome’s like is do to the test yet again and with each passing moment, it would seem that they are doomed to be apart.

Volume 6 of Fushigi Yugi contains 6 episodes of the series (#34-39) A place of episodes not to be missed!
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A very first-rate surprise, Day of Wrath brings to the conceal the narrative of a sheriff in a tiny Spanish town as he tries to rep to the bottom of an ongoing series of brutal and highly mysterious murders.

The setting is Spain in 1542 and a puny town sheriff, recently abet from Antwerp in the Spanish Netherlands, finds himself at a loss when confronted with several murders that no one seems to respond, not even the victims’ spouses! Cramped does he know that he is in the middle of an exciting civil war…

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Christopher Lambert, and the rest of the cast carry out their performances very well.

Blanca Marsillach was toothsome as Carmen de Jaramillo; let’s peep more of her…

Very well written and very well presented, the movie is one that can be watched over and over again.

The setting, the set, the costumes, and the music are all incredible, though the battle sequences could have been better.

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In short, Day of Wrath is a movie definitely worth watching, as it will surely provide for an evening’s entertainment!

This medieval mystery has many twists, so pay terminate attention to the details. It’s an valid spell-binder that trots along at a hastily drag with plenty of suspense. ‘Who done it and why’ is the astronomical request when royals suddenly fall dull during the night due to some rank wounds and various letters of the alphabet carved into their flesh. Before the befuddled sheriff can gather a stare, the bodies fade! Is the sheriff drinking too remarkable and imagining all the blood and guts, or is there a conspiracy spicy a secret list of names? Trustworthy movie!

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The announced release of the first season of the shimmering involving series, Samurai Jack, is a reliable cause to rejoice! Finally, a studio understands the value of an engaging series in a timely manner. One can only hope that other studios will procure the message that racy properties can and are unprejudiced as favorite as live-action series and movies.

Samurai Jack was created by the multi-talented and truly gifted Genndy Tartakovsky, who also created the astounding Dexter’s Laboratory. Samurai Jack combines innovative and imaginative storytelling with a entertaining though-provoking style that is at once simple and evocative. The series tells the sage of a Japanese samurai who has embarked on an tale mission to fight atrocious and put his world.

In the distant past, the samurai, who calls himself “Jack,” is the son of an emperor captured by the disagreeable Aku, a shape-shifting wizard. The young Jack is sent away not only to survive but to assure his mind and body in all forms of martial arts so that he will eventually be helpful of vanquishing Aku.

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Jack returns as an adult and reunites with his mother who gives him the sacred sword of the samurai to defeat Aku and rescue his father.

Armed with the sword, Jack is on the verge of a final confrontation with Aku when Jack is literally ripped from his acquire time by the defective wizard and hurtled thousands of years into the future — a future where Aku has already become the all-powerful gross lord who controls the world and all living beings.

Jack begins anew, working not only to good the wrongs Aku has visited on the population of this future world, but ultimately to return to his gain time and close Aku before the nightmarish future he has seen can even be realized.

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Mature themes including the upright meaning of courage, morality, responsibility, faith, despair, marvelous and gross are explored as Jack struggles, and risks his life time and again to overcome what at first appears to be a force that is all-powerful and unstoppable. However, through Jack’s insights and pure heart, viewers approach to realize there is hope, not unbiased for Jack, but for any society in which objective one individual risks it all against tyranny and disagreeable.

I absolutely fancy this point to. Samurai Jack explodes with a level of style rarely seen. The action, animation and stories are all wonderful. This is an extremely well done TV series.

The character of Jack is an immensely charismatic hero. His courage, resourcefulness and ethical code serves as a breath of unique air in today’s sea of accepted, unsuitable TV characters. This samurai actually inspires me to better myself in the steady world. Not many shows have that enact and even fewer cartoons do!

The only special features in this region I liked was getting to glance what some of the protest actors looked like.

The chance to occupy the whole first season must not be missed by Samurai Jack fans. I await the next season on DVD eagerly. Highly recommended to anyone who is alive to in the following: samurais, clever plots, style.
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If you have a child who loves the zoo.. then this is the video for you. My son loves going to the zoo and he enjoys Barney music so this was a perfect video. I wasn’t obvious if this video had actually LIVE zoo animals or if they were going to expend pretend ones… this is the dependable stuff! You sight Elephants, Hippos, Lions and so great more. It felt like you were really at the zoo. Barney, B.J. & Baby-Bop took you on the zoo slump from starting out by buying you a stamp to getting you a drink of lemonade to colossal info. about the animals and let’s not forget about the Barney animal songs. It is a assume you won’t be disappointed with.. My 10 & 8 yrs olds see it along with my 5 yr ancient!!

My 16 month aged granddaughter loves Barney but the only Barney video she would behold was “Grunt and Dance with Barney”. We bought other Barney videos that she wouldn’t give the time of day to. When we bought “Let’s Go to the Zoo”, we figured she wouldn’t peek it either but we wanted to give it a try since she loves animals. She absolutely loves it and we discover it many, many times a day. You salvage to observe so many different animals end up. I know all the words to all the songs. There is unprejudiced something about Barney, Baby Bob and BJ with all of those unbelievable animals. If you are not able to come by to the Fort Worth Zoo, you can gawk it all on video. Simply magnificant and highly recommended. I reflect I’ll retract another in the event she wears this one out.
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It is a shame that it seems this holiday season so many studios are fair double-dipping previously released material. Abbott and Costello are probably worthwhile purchases because, as someone else has already pointed out, the previous collections were on double-sided discs. However, this does seem to harm the fair fan who bought those double-sided disc collections by making them choose the same films yet again in order to bag something that will last long term. The following is the press release for this station, which indicates that 1943’s “It Ain’t Hay” will be the only film in this situation that is a fresh release.

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DISC 1:

One Night in the Tropics (1940) - Bud and Lou obtain mixed up in a “Fancy Insurance” draw.

Buck Privates (1941) - The duo accidentally enlists in the U.S. Army to avoid getting arrested

BONUS FEATURES:

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Commentary with Film Historians Bob Furmanek and Ron Palumbo (Buck Privates)

Production Notes

Theatrical Trailer

DISC 2:

In the Navy (1941) - Bud and Lou are sailors race for duty on the high seas in this musical comedy.

Hold that Ghost (1941) - The boys inherit a disquieted house formerly owned by a mobster.

BONUS FEATURES:

Commentary with Film Historian Jeff Miller (Occupy That Ghost)

Production Notes

Theatrical Trailer

DISC 3:

Keep `Em Flying (1941) - Bud and Lou enlist in the Army Air Corps and rep caught up in a like triangle.

Ride `Em Cowboy (1942) - The duo head to the Sluggish S ranch to veil after Lou accidentally proposes to an Indian girl.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 4:

Pardon My Sarong (1942) - Bud and Lou recede to the South Seas where Lou is erroneous for a myth.

Who Done It? (1942) - The boys are suspected of execute while being targeted by the real killer.

BONUS FEATURES:

Commentary with Film Historian Frank Coniff (Who Done It? )

Production Notes

Theatrical Trailer

DISC 5:

It Ain’t Hay (1943) - Only film not previously on DVD

Hit the Ice (1943) - Bud and Lou hit the slopes at the Sun Valley Resort after getting mixed up with gangsters.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 6:

In Society (1944) - The boys fetch themselves in hot water after a plumbing job goes corrupt at a high society bash.

Here Reach the Co-Eds (1945) - Bud and Lou head to campus and attempt to set Bixby College from closing down.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 7:

The Impish Nineties (1945) - Station aboard the River Queen showboat, Bud and Lou invent their legendary “Who’s on First? ” routine.

Little Giant (1946) - Lou plays a diminutive man with huge dreams and ends up selling vacuum cleaners.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 8:

The Time of Their Lives (1946) - Wrong as a traitor, Lou’s ghost is trapped in Danbury Mansion until his innocence is proven.

Buck Privates Reach Home (1947) - Bud and Lou return to civilian life and glean eager in midget car racing in the sequel to Buck Privates!

BONUS FEATURES:

Commentary with Film Historian Frank Thompson (The Time of Their Lives)

Production Notes

Theatrical Trailer

DISC 9:

The Wistful Widow of Wagon Gap (1947) - Accused of assassinate, Lou is forced to bewitch care of a widow and her children on a farm.

Abbott and Costello Meet Frankenstein (1948) - Bud and Lou encounter Frankenstein’s monster, Dracula and The Wolf Man.

BONUS FEATURES:

Commentary with Film Historian Gregory W. Mank (Abbott and Costello Meet Frankenstein)

Production Notes

Theatrical Trailer

DISC 10:

Mexican Hayride (1948) - Bud and Lou head south of the border after getting mixed up in an oil stock arrangement.

Abbott and Costello Meet the Killer, Boris Karloff (1949) - The boys meet up with Boris Karloff after a guest is murdered at their hotel.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 11:

Abbott and Costello in the Foreign Legion (1950) - Bud and Lou head to Algeria on business and are tricked into joining the Foreign Legion.

Abbott and Costello Meet the Invisible Man (1951) - As novice private detectives, Bud and Lou near face to face with The Invisible Man.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 12:

Comin’ Round the Mountain (1951) - Lou discovers he is heir to a secret fortune, and the boys search for the hidden cherish.

Lost in Alaska (1952) - Bud and Lou do an ex-sheriff, then glimpse he is the target of every hitman in the Yukon.

BONUS FEATURES:

Production Notes

Theatrical Trailer

DISC 13:

Abbott and Costello Go to Mars (1953) - The boys accidentally engage off for Mars and extinguish up in Fresh Orleans during Mardi Gras.

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953) - The duo are American cops in London to survey police tactics. They wind up in jail and are bailed out by Dr. Jekyll. Jekyll has been murdering fellow doctors who laugh at his experiments. He has more murders in mind. At one point the doctor’s serum gets injected into the pair.

BONUS FEATURES:

Commentary with Film Historians Tom Weaver and Richard Scrivani (Dr. Jekyll and Mr. Hyde)

Production Notes

Theatrical Trailer

DISC 14:

Abbott and Costello Meet the Keystone Kops (1955) - Harry and Willie bewitch the Edison Movie Studio in the year 1912 from Joseph Gorman, a confidence man. They follow Gorman to Hollywood where, as stunt men, they secure him directing movies as Sergei Trumanoff and stealing the studio payroll.

Abbott and Costello Meet the Mummy (1955) - In Egypt Peter and Freddie catch the archaeologist Dr. Zoomer murdered before they can return to America. A medallion leads them to a crypt where a revived mummy provides the fright.

BONUS FEATURES:

Production Notes

Theatrical Trailer

BONUS DISC (DISC 15) :

Abbott and Costello Meet Jerry Seinfeld

Bud Abbott and Lou Costello Meet the Monsters

The World of Abbott and Costello - A compilation of clips from 19 Abbott and Costello features.

A lot of people who are trashing Universal about this worthy release simply don’t know what they’re talking about:

1.) For starters, you have to know that when Universal originally released their other 4 volumes of Abbott & Costello on DVD, the movie IT AIN’T HAY was unable to be included due to rights issues and so it was not able to be included. Now this dilemma has been rectified.

2.) At the time of the other 4 Volumes of A&C, Universal was foolishly trying out a double-sided DVD technology called “DVD-18″. As a result, many people who bought the primitive DVDs complained of all sorts of random issues like skipping and describe freezing. So if there is ever a bone to buy with Universal, it was because they were experimenting with those earlier DVD-18s. This Current Station is great more suitable and durable, since it’s going to be issued in tried-and-true “DVD-9″ single-sided format, which is powerful better quality all around.

3.) Somebody complained that there were several movies missing from this collection. No, there are NOT any UNIVERSAL features missing here. The titles he’s thinking of are films that were RELEASD BY OTHER STUDIOS, (SUCH AS MGM) . This box dwelling is purely all of Abbott and Costello’s UNIVERSAL films.

Well, that’s it for now. It may be a distress in the neck for some to double-dip, but at least Universal has corrected the earlier double-sided disc catastrophe (they probably meant well with the faded sets, but it turned out to be a improper technonogy) . And now they’ve cleared the rights to IT AIN’T HAY, where they couldn’t release it previously. And to their credit they’ve compensated fans by adding MORE Original EXTRA FEATURES to this region.

If there’s one thing Universal could do factual by the fans who feel they’re being “gypped”, they might deem releasing IT AIN’T HAY separately at a later date, as a “stand-alone” win for those buyers who decide to stubbornly hang onto their injurious double-sided DVD-18 volumes.

This is a Astonishing release and a tremendous deal - thanks to Universal!

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MGM released a DVD edition of “The Fine, the Abominable and the Repugnant” in the slow 1990s, but it had few extras, a mono soundtrack, and a scratched print. Finally, MGM has given Sergio Leone’s Western yarn the double-disc special edition it deserves. The print is restored and as positive as I’ve ever seen it, the sound is now an wonderful 5.1 Surround (listen to the glass falling off Tuco after he springs through the window in the opening sequence!) nineteen minutes of footage from the Italian new have been restored, and the discs are packed with extras. Even the packaging is great: a sturdy interlocking box, with the DVDs kept in the upper and bottom parts of the two lids. Also inside the box are cards containing posters for the film in five different countries.

The film, like most of the European Westerns of the 1960s, was critically disregarded in its day. The Current York Times said of it: “the most expensive, pious, and repellent movie in the history of its uncommon genre. There is scarcely a moment’s respite from the harm.” It’s astounding how people missed the brilliance of this movie, which turned Western conventions upside down in such a wonderfully bizarre, European contrivance. Now the film is considered a classic, and only Sergio Leone’s believe “Once Upon a Time in the West” (another immense 2 DVD station, by the method) has more respect in the genre. Leone’s exclusive style — stretched out time, obsession with close-ups and gross wide-shots, focus on rituals, and utilize of Morricone’s wild and avant-garde accumulate — are all in tubby force in this fable of three treasure-seekers searching for a cache of gold coins on the Texas-New Mexico border during the Civil War. The implacable and unflappable ‘hero’ Blondie (Clint Eastwood), the crazy humorous bandit Tuco (Eli Wallach), and the calculating sinister sadist Angel Eyes (Lee Van Cleef) contemptible each other’s paths amidst the senseless violence of the war. Leone perfectly contrasts the self-interested men with the greater backdrop of the tragedy of war. It’s a strangely emotionally affecting relate despite its focus on three men who are level-headed from normal society and seem not to care about anything but money. So many individual scenes stand out for their virtuosity that the movie a parade of “greatest hits.” Most unbelievable of all is “The Ecstasy of Gold” sequence where Tuco dashes madly through a cemetery, looking for the grave that might believe the gold. Morricone’s music here is especially overwhelming.

Chances are you’ve seen the film and esteem it. What about the novel scenes and the extras?

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Nineteen minutes of footage have been restored that were never shown in the American prints. The scenes integrate perfectly into the film, and after seeing them once, you won’t be able to imagine they were ever missing. Among the scenes are Angel Eyes visiting a destroyed fort; Tuco hiring bandits to benefit him mosey Blondie; Blondie and Angel Eyes having a face-to-face when they first region out together to pick up the gold; and some extra conversation between Tuco and Blondie in the desert. However, these scenes were never dubbed into English in the 1960s. Therefore, the DVD producers had to newly dub them. Eli Wallach and Clint Eastwood do their absorb voices. An actor named Simon Prescott does the imitation of the deceased Lee Van Cleef. Admittedly, Wallach and Eastwood no longer sound the same, but I couldn’t imagine someone else imitating their voices — it couldn’t have been done any other arrangement. Prescott is glowing splendid as Angel Eyes, if a bit more gravelly.

The extras…

Disc 1 has audio commentary by Richard Shickel, a film historian who wrote Eastwood’s biography and also did commentary on Leone’s “Once Upon a Time in America” DVD. His comments can be shapely dry, and he focuses mostly on Leone’s style and techniques instead of on background information on the filming itself. Nonetheless, there are many sharp insights, and Shickel manages to say a lot during the three-hour running time.

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Most of the extras are on Disc 2:

“Leone’s West” — A 20-minute documentary about the making of the film. Includes interviews with Shickel, producer Alberto Grimaldi, author of the English dialogue Mickey Knox, and best of all, Eastwood and Wallach. There’s some very absorbing info and memories here, mostly from Knox and the two actors.

“The Leone Style” — A 23-minute documentary, really impartial an extension of the first one. It spends more time on Leone’s modern techniques. The same interviewees appear here.

“The Man Who Lost the Civil War” — A 14-minute documentary that was produced separately from the DVD. It makes no mention of the movie, but is about its historical backdrop: the disastrous General Sibley campaign in Texas. Sibley appears in the film briefly, and this short documentary gives the viewer an valuable insight into the world of Blondie, Tuco, and Angel Eyes.

“Reconstructing The Excellent, the Abominable and the Shocking” — An 11 runt behold into the painstaking work keen with fixing the describe and sound, restoring the nick scenes, and re-dubbing it.

“Il Maestro: Ennio Morricone” — 8 minutes; mostly an interview with music scholar John Burlingame about the film’s secure. At the raze of the feature, you can decide to listen to an audio-only twelve-minute lecture by Burlingame that provides a considerable more in-depth analysis of the music.

“Deleted Scenes” — Two scenes couldn’t go help into the film. The extended torture scene had a damaged negative, so here it is in its rougher plot. An apparently lost scene is reconstructed through text, stills, and clips from the French trailer.

Finally, there’s a gallery of posters, the unusual trailer, and MGM tossing in some gratuitous advertising for their other films.

Don’t miss this DVD. Not only is it one of the sizable action films and one the mammoth westerns, but it’s the kind of release that the DVD format was invented for!

“The Satisfactory, the Awful and the Monstrous” is Sergio Leone’s record masterpiece. While it is piece of his Spaghetti Western Trilogy( all three films have different characters and plots), the film stands on its gain and really shows you how pleasurable a movie can really be. This movie has it all. It has action, drama and even some comical relief in it. It is a timeless classic that is unforgettable. When I first saw it, I was a petite kid and couldn’t truly bask in it as I can now at age 22.

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Blondie (The Man with No Name) isn’t your typical genuine guy. He mainly does things that suits his bear agenda. However, when compared to the murderous Angel Eyes and the greedy Tuco, Blondie is a saint. This myth involves bloodshed, shoot-outs, search for love, and double-crossing. And it all takes position while the Civil War is going on, which makes things a lot more “titillating” for the celebrated three. The West has never been wilder or more unpredictable than it is now. With an extraordinary catch, top-notch acting, and splendid story-telling, this is one memorable film that you will never forget.

As I said in the beginning, the first time I saw this was when I was a shrimp kid. When I unbiased recently purchased this unusual edition of the movie, it truly was like I was watching it for the first time. Coming from a guy who isn’t a mountainous fan of Westerns (I don’t mind them, but I don’t observe too many of them), I absolutely LOVED this film. In fact, I wanted to give it a standing ovation when it was all said and done due to how moved I was by it. This really is filmmaking at its finest. I wasn’t terribly impressed with Leone’s “Once Upon a Time in America,” but he is absolutely flawless with this incredible and timeless Western. It is slower than the second film (”For a Few Dollars More”), but I contemplate that makes this all the better. The beget up of tension is considerable more indicate in this film, and you really obtain the sense that these characters are loyal people. Clint Eastwood, Lee Van Cleef and Eli Wallach are bright in their roles, and a lot of props need to go to Lee Van Cleef as he is absolutely chilling in his role.

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This unique edition really does the film the justice it deserves. The film has been restored to the director’s recent vision as great as possible, giving you an extra 18 minutes. You will peer the added scenes as the voices have been re-dubbed (the first time you will behold this will throw you, as I contemplate that specific section has the worst re-dubbing, but the other added scenes are done a lot better, even if you tranquil stare it) . The relate looks fabulous and the sound is tall. Extras included are commentary from Richard Schickel, a couple of documentaries and featurettes, poster gallery, deleted scenes and the novel theatrical trailer. Along with the nice packaging, you glean an 8-page booklet that includes pictures from the film along with Roger Ebert’s most modern review of the film. And, you derive some mini-posters included inside the packaging as well. A beneficial edition of the movie, without query.

“The Ample, the Dreadful and the Frightful” is a pure triumph in filmmaking and should be seen by everybody at least once. Don’t let the fact that this is a Western throw you. I reflect this can be enjoyed by everybody, and even by those who are not tremendous fans of Westerns. A film filled with authentic emotion and action, this is one that shouldn’t be missed by anyone. I Care For this movie, and I cannot affirm that enough. -Michael Crane
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