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Watch Dorothy Dandridge: An American Beauty Online. Movie Title: Dorothy Dandridge: An American Beauty Average customer review: Dorothy Dandridge: An American Beauty is available for streaming or downloading. Click Here to Stream or Download Dorothy Dandridge: An American Beauty

This is a fabulous dvd to add to your collection. It’s basically a 1 hr documentary on the life and career of the 1st African American woman to be nominated for an Oscar for Best Actress. If you have an attention span comprable to a fish, don’t hold it, but if you’re genuinely eager in learning about an exeptional trailblazer (in her have just), this is the dvd to remove. Respect is finally being rightfully given to this extraordinary woman, and she definitely deserved it.

If you can like and esteem Dorothy Dandridge for the icon she is, you will definitely adore this product. It is a well establish together biography with many critical people featured in it to vouch for my review. Her beauty, harm, and success are all captured in 60 mins. of this pure spellbinding saga. Appreciate!
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Watch Young Frankenstein Movie Online. Movie Title: Young Frankenstein Average customer review: Young Frankenstein is available for streaming or downloading. Click Here to Stream or Download Young Frankenstein

First, let me start by saying that the only reason I don’t give this 5 stars is that I wanted a bit more from the commentary track, as I prove below.

The thunder of this fabulous movie is covered amply elsewhere, so I won’t show what others have so well synopsized. I WOULD like to point out a couple of things about this particular DVD:

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1) The commentary track is accessible from the the LANGUAGE SELECTION menu, rather than from the special features menu (as is usual for commentary tracks) . I was terribly frustrated by this until I got some benefit from Christian at boldopinions.com (thanks Christian!) .

2) Yes, the commentary track IS mostly Mel babbling, but there are some nice tidbits here (many of the cut-away shots were establish in because Gene Wilder kept breaking, Mel plan “Puttin’ On The Ritz” was frivolous, etc.) . It’s also heart-breaking to hear about how Marty Feldman’s health habits led to his death at age 59. Unfortunately, since Mel’s commentary leans toward the personal, we don’t glean to hear about the roots of the dart-throwing scene (practically a duplication of a scene in “Son of Frankenstein”) — and I would Scream that the trees going by the window in the Transylvanian philosophize sequence are the same ones in the sing sequence in “Son of Frankenstein.” So we can’t have everything.

3) The documentary is really wonderful– it’s sure that everyone has warm feelings about the film, and the recollections are bright and insightful. It gives the movie added dimension, so don’t pass it over.

I haven’t seen mention in the Amazon reviews of “Young Frankenstein” the multiple homages to “Son of Frankenstein,” not the least of which is Gene Wilder’s spot-on lord-of-the-manor affectations through many of the early Transylvanian sequences (in his grandfather’s bedroom: “And where is my grandfather’s PRIVATE library? …[book snatched from shelf] Why, these books are all very general [snap snap snap the pages]; any doctor might have them in his ogle [SLAP book closed]” and the entirety of the aforementioned dart-throwing scene (in which Wilder is positively CHANNELING Basil Rathbone) . So accomplish “Son of Frankenstein” ALSO required viewing prior to seeing “Young Frankenstein.”

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Finally, I reflect that Mel hits the nail on the head when he says (repeatedly) that so many scenes are emotional at the same time that they’re being laughable. This film was made with such savor by all concerned, and it shows. Yes, it can be occasionally crass, and go for positive cheap laughs (albeit Remarkable less so than any movie Mel has made before or since), but what one ultimately takes away from this movie is the wonderful amount of care everyone took with the project. Hell, you might even net yourself with a shuffle in your watch at the kill (I did– the awesome fetch by John Morris helps a lot!) . Alas, Mel and Gene were never again to collaborate on a script (it is extraordinary that the Borscht Belt comedy of Mel Brooks and the hopeless romanticism of Gene Wilder found such fertile creative ground in the first status!), so this movie is lightning in a bottle (pun intended) . Don’t miss it.

This may objective be the funniest movie of all time. Mel Brooks never before (and never again) worked with the tight parameters he did here: gene Wilder actually wrote most of the script, and that plus the consume of the old-fashioned Universal sets and props seem to have kept Borooks’s more sophomoric instincts (which have gone overboard in some of his later films) tightly in check. Thus he–and everyone else in the film–is doing their absolutely finest work ever.

From Teri Garr “rolling in ze hay,” to Kenneth Mars’s inspired Police Inspector, everyone in the entire film seems to be working at their most hysterically hilarious. Special mention must be given to Gene Wilder giving one of his most classic performances of his strangled-fury schtick ever (“Attach… the candle… wait on!!!”) and to Peter Boyle, for his very poignant and laughable depiction of the Monster.

But standing above all of the raze in terms of sheer brilliance is Madeline Kahn, giving what must be the funniest female performace ever on film as Frankenstein’s fiancee and the monster’s eventual bride. Unlike everyone else in the film, she’s not really parodying anyone other than herself; yet nevertheless her depiction of Elizabeth, the wealthy prude who discovers she’s a volcano of passion undeneath, is so humorous I’m practically crying almost every time I notice this film. There’s one brief petite scene where she’s brushing her hair in her boudoir before the Monster steals into her room and kidnaps her, and for absolutely no apparent reason(which makes the scene all the funnier) she’s giving vent to a deeply lusty rendition of “The Battle Hymn of the Republic” while brushing out her hair. It is the funniest five seconds in the entire film–and in a film this hilarious that’s saying a lot.
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The Fat Spy Streaming. Movie Title: The Fat Spy Average customer review: The Fat Spy is available for streaming or downloading. Click Here to Stream or Download The Fat Spy

Describing this movie is like describing the savor of a child or incense smoke rising, but I will do my best. The Beefy Glance is a narrative as musty as time itself, the ongoing search for the Fountain of Youth. Only this time our heroes look that the Fountain is not actually a fountain of water, but two sunless twin roses growing from the same stem.

Well I’m definite everyone buys or sees this movie for one reason, Jayne Mansfield, so let’s talk about her. I’ve never seen her as heavy as she did in this movie. Granted she is quiet exquisite and lovely, but the hourglass figure is gone as she is a bit thick in the middle. By recent spaghetti-thin model standards, she could even be described as chubby, but to me who can relish a attractive woman, she looked gigantic. One scene has her wrapped in only what can be described as the happiest towel in Hollywood. You regain some gigantic cleavage and chest shots as she dries herself. She also sings a number to her admire interest `Irving’. Unfortunately, this film will not cement Jayne’s acting abilities for immortality. Let’s face it, she was what she was. A expansive body and a rival (ha ha) to Marilyn Monroe. Jayne seems to go out of her plot to act fair like her with the dreamy, whispery disclose and monotonous blonde routine that Marilyn found inescapable as her career went on. In one scene where Jayne is tied to an AC unit she screams for succor. She suddenly pauses and turns to the camera and pathetically starts doing the Marilyn pout and blowing kisses.

This film which was probably filmed on a budget that couldn’t drive a car across the country was shot on a lake which was supposed to be a beach. This film is actually a musical and any excuse possible is old-fashioned to throw in abominable singing and worse dancing. Capture for instance the song sang before the opening credits even open. “When people got money, they clear act droll”. One scene has the teenage group on the beach deciding they need to go to Cape Coral after `discovering’ a impress posted by a Florida Tourist attraction. All the girls swim out to the boat to launch it up, while the guys all acquire their method to the dock, where quite handily, drums and guitars are found. They snort a number while waiting for the girls to pull up with the boat. Another song is sung by Phyllis Diller. She mostly talks words to music rather than singing, so there is some mercy here. However the topple on the floor and laugh until you yowl scene is the `Everybody do the Turtle’ song. The song is so poor, it will linger in your head for days.

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There are some loose ends that don’t quite tie up as the movie ends. One kid goes fishing in a rubber raft (he sings a song while fishing of course), and catches a mermaid. Well after going aid to shore he decides he loves her and wants to go bag her. He starts moping around and the last mention of him is his clothes are found on the shore. Reckon he swam out naked to regain his admire.

The film quality is dreadful, even on DVD. The characterize is grainy and the sound is wrong. At times you can’t hear the lines because the surf is too loud. Then there are the cartoon balloons that try to disappear the movie along and attempt to succor the viewer in the progress of the film. Honest before the ending credits there were promises of upcoming movies: The Return of Chunky Gaze, Bride of Bulky Search For, and Son of Stout Study. I’m unruffled looking, but haven’t found them yet.

All in all this movie rules. My wife’s quote “Oh you owe me sizable for making me sit through this.”

It’s droll that American-International is commonly conception of as the low-budget, bottom of the barrel studio of the ’60s, when watching something like “The Beefy Scrutinize” immediately proves that A.I.P.’s movies were the archetype or model for any number of obscure regional productions like this one. The thing is – the Texas or Florida knockoffs have an entirely different and considerable better feel to them.

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“The Corpulent Recognize” takes the “Beach Party” model of healthy, squeaky-clean All-American teens and populates its landscape with raggedy, locally-recruited Florida kids. Hardly “Annette” caliber, they sport excessive tattoos, withering bouffants, dribbling cat-eye makeup and all seem to smoke incessantly. Instead of frolicking on the blue Pacific beaches, they gently tread on the seaweedy, brown water shores of Cape Coral, Florida, which is actually on the Caloosahatchee RIVER. Why they didn’t honest drive another 30 miles to Ft. Myers or Sanibel Island is beyond me. It’s fun for people familiar with this situation to gawk it before it devolved into another strip-mall wasteland.

The area is totally incomprehensible. I’ve watched it three times and have no conception what is happening. The songs are earache-inducingly poor. But it is incredibly hypnotic, with the aforementioned oddball locations and a cast (Mansfield, Diller) who are already a bit surreal-looking to commence with. Points especially to Jayne who ticked off “beach party” in her expanding list of exploitation genres during this period, including countryploitation (Las Vegas Hillbillies), sword-and-sandal (The Loves of Hercules), mondo movies (Musty Admire), and finally her post-mortem JAYNEploitation (Wild Wild World of Jayne Mansfield) . Too abominable she never did a straight-up terror movie.

As for the DVD – grand points off for the cruddy packaging, featuring misspelled names of both Diller and Jack Leonard on the conceal (!) and an unrelated photo of Jayne which was easily taken ten years before this movie was made. No extras and a sub-par full-frame mastering with lots of artifacting, although it is easily better than VHS copies. At least it is bargain-priced.
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Streaming Kaidan Online. Movie Title: Kaidan Average customer review: Kaidan is available for streaming or downloading. Click Here to Stream or Download Kaidan

Certain familiar elements have plagued Japanese-horror the past few years, formulaic approaches, some cheap scares, and the usual haunting music. KAIDAN-Ghost Fable (2007) is however a breath of novel air in the genre of J-horror; the film is a homage to classic romantic ghost stories. The film is directed by Hideo Nakata, the same director responsible for “Ringu” and “Murky Water”. Forget cursed objects, scared technology and long-haired ghosts, the film while not as entertaining as Kobayashi’s 1960`s classic “Kwaidan” is a welcome change for those viewers very familiar with current J-horror such as “Ju-On”, “Ringu” and “Kairo”. Lionsgate entertainment has invested in this Japanese fright film and thankfully they are releasing the region-1 release in June.

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250 years ago, Soetsu, a top-notch moneylender is murdered by a samurai named Fukami and his listless body disposed of in the Kasanegafuchi (Kasane’s tumble), the pool of water that snakes around and story has it that those who sink in the water will never surface again. Some 25 years later, in a chance encounter; Fukami’s son, Shinkichi (Kikunosuke Onoe) meets a wealthy and beauteous if older woman named Oshiga (Hitomi Kuroki) who is also the daughter of Soetsu. Shinkichi becomes smitten by Oshiga and she returns his feelings. The two launch to live together but unique things launch to occur. Then one day, after a lover’s quarrel, Oshiga had fallen ill and due to the stress of taking care of his loved one, Shinkichi develops an attraction to a graceful young woman named Oshisa. On the night of Oshiga’s demise, she leaves a heed for Shinkichi ” If you ever re-marry, I will haunt your novel wife to the grave…”

Shinkichi has doomed any woman who dares to topple in like with him.

KAIDAN is a well constructed ghost yarn with some “borrowed” elements from Kwaidan’s “Woman of the Snow” and “Dismal Hair”. The film is about slow-build ups and restrained suspense; and to be unprejudiced is quite successful in what it region out to do. The thing I liked about the film is that it doesn’t rely on cheap scares and the film’s script is more a period part that avoids the usual formulas spot with shrinking technological devices or objects, and while there is a ghost in this film, the reasons leisurely the haunting is quite credible. No, if you are looking for images on a mirror, or unlit figures floating around, then you came to the heinous film. While it does have scenes with minor exhaust of CGI and improper spooky close-ups, the film feels like an faded apprehension film reminiscent of “Kwaidan” and “Onibaba”. How creepy can a staring baby be? Very remarkable so.

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The film is structured as a character-driven melodrama with elements of karma and existential fatalism. Shinkichi is viewed as an heavenly young man, no wonder so many beauteous women become smitten by him. In his younger days, he also easily becomes attracted to women and the film delves into the ironic fact that Shinkichi should reconsider remarrying as he undoubtedly would bring demolish to any woman who would care for him. The film presents the scare of actually falling in esteem again and all the film’s twists and turns are effective enough to sustain me fervent. It creates awe and scare in its systematic reach. We obtain to contemplate some bits of Japanese folklore and one very effective scheme this film has is the feeling of dread–you will definitely feel that the film will only collect worst before if it EVER does rep better; and that feeling is quite a delight if you ask me.

There is also an abundance of cuts in the film that symbolizes ruination. The musty adage; “Hell hath no fury like a woman scorned” would near to mind and will befriend as the film’s most effective selling point. While I was pleasantly surprised with its primitive apprehension elements, the film is not perfect, it did have its section of flaws. Some ideas were presented but weren’t given closure as with Shinkichi and Orui’s baby. Osono, Oshiga’s sister, is also underdeveloped; you watch her in the first act and her “chance” second meeting with Shinkichi felt a slight too convenient. Shinkichi’s father-in-law’s mistress, Oshizu seemed like a simple station blueprint to regain the film to its interesting last act.

Regardless of its faults, “KAIDAN” is a very effective fragment of Japanese fright. It is an old-school type of terror film that will perform you beget its experience and the more familiar you are with ritualistic details from Japan, the better you’ll like it. The film focuses all its energy and momentum in its last 40 minutes and even displays some bloody samurai hacking and slashing. “Kaidan” is very abundant in context, and nicely presents the balance between redemption, obsession and destruction. The film is evenly paced, it outlasts most Asian Dismay films and it never overstays its welcome.

HIGHLY RECOMMENDED! [4+ Stars]

At the very begin, it is best to say that “Kaidan” is not a typical entry in the genre that has become known as J-Horror. The expectation will be there, as director Nakata Hideo (Ring, Death Effect 3: L, Change the World) is someone whose name has become almost synonymous with the genre. He is the one who took Japan’s long tradition of ghostly storytelling and brought it to the world, introducing Westerners for the first time to creatures like yurei and onryo. However, after a sojourn in the Hollywood system filming the English-language Ring Two, Nakata returned to his native country and directed a pretty tribute to the terror legends that were the foundation of his success.

“Kaidan” is a film with an impressive pedigree. Written originally in 1825 by legendary storyteller Sanyutei Encho, the “Kaidan Kasane ga Fuchi” legend has been a staple of Japanese dread in various media and incarnations. It was first filmed in 1926 by equally-legendary filmmaker Mizoguchi Kenji (Ugetsu), and then several times more over the years including a 1957 version by Japan’s first genre-horror director Nakagawa Nobuo. Nakata’s version “Kaidan” is roughly the sixth time the Kasane ga Fuchi tale has appeared on film.

While others have played with the account a bit, Nakata does a fairly boom translation of Encho’s current version. In a bit of inspired genius, Nakata even has Living National Worship Ichiryusai Teisui make the opening monologue, a fitting homage to the stories beginning as a section of rakugo storytelling. From there, we are treated to a classic memoir of inherited karma, of the sins of the father passing on to the son and daughter, of a gloomy swamp that hides many secrets and fair some estimable weak fashioned ghostly revenge. Encho’s stories, told on the cusp of the Meiji era when Japanese audiences first encountered stories like “Romeo and Juliet,” have always been tinged with a distinct romantic sadness. His mix of ghostly elements with glum savor stories explain Encho’s style, and Nakata skillfully wrings every heart-wrenching and heart-stopping moment from the Kasane ga Fuchi record.

Along with realizing Encho’s narrative, Nakata has also paid and distinct homage to director Kobayashi Masaki (Kwaidan, Samurai Rebellion) both with sure visual elements and the overall pacing. Kobayashi’s films have always seemed like a keg of dynamite with a long, long fuse, where the drama slowly and patiently builds over the film’s beginning and middle leading up to a massive explosive ending.

History and homages alone do not obtain a generous film, however, and fortunately Nakata has also save a strong cast into his film. The lead role, Shinkichi, is played by distinguished kabuki actor Onoe Kikunosuke V, whose striking face was last seen in the 2006 film “The Inugami Clan.” As an onnagata, one who typically plays women’s roles in the all-male kabuki theater, Onoe carries himself with a definite sensitivity that helps sell the character of the cursed Shinkichi, doomed to attract women and then study their deaths. Used actress Kuroki Hitomi (From Nakata film Black Water) plays Oshiga, Shinkichi’s older lover and the woman whose curse he bears. Inoue Mao, a common junior idol and star of the live-action “Boys over Flowers” series and Kitaro movie, is sparkling and curious as the young Ohisa who lures Shinkichi away. Seto Asuka (Death Sign) drips sex appeal in her villain’s role as the prostitute Oshizu. And somehow, Nakata managed to track down one of the scariest babies I have ever seen.

It is hard for me to pick up flaws with “Kaidan” because this is exactly what I personally savor in a film. I relish the feeble Edo and Meiji period Japanese unique stories, I appreciate haunting ghost stories that don’t rely on cheap shocks and jumps but instead are atmospheric and “spooky” rather than scary. If I had to win fault, I would say that Nakata relies too noteworthy on CG effects in two scenes in particular, and they are a miniature jarring. I am a fan of CG venerable effectively in ghost stories, such as in the The Others, but I net that all that carefully built atmosphere and tension can be ruined by a badly placed CG snake wriggling around. Some of the characters are not as developed as well as they could be, and some residence lines seem to frizzle out rather than be resolved, but I don’t mind that too grand. The DVD itself is disappointing. This is a bare-boned presentation that should have supported a short documentary on the Kasane ga Fuchi narrative and its origins and evolution.

It would probably be better to reflect of “Kaidan” as a Gothic film rather than a Anxiety chronicle. That better suits this kind of romance-tinged ghost yarn that is a class of Japanese storytelling. Nakata Hideo has filmed the epic beautifully, and I personally would care for to notice more films made in this vein.

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Watch The Misfits Movie Online. Movie Title: The Misfits Average customer review: The Misfits is available for streaming or downloading. Click Here to Stream or Download The Misfits

It’s almost impossible to review this as unbiased a movie, as it is, to movie buffs at least, such a curio fraction. As everyone knows, the screenplay, written by Arthur Miller, started out as a tribute to his wife, Marilyn Monroe, but proved to be the death knell for their marriage. Though this looks like a “Western”, it is far from it. It is an almost vulgar discover into the coming together of a group of lost souls who have nothing left to lose. This John Houston film was famously fraught with problems, many related to M.M.’s sincere life breakdown, and went over budget, and became, at that time, the most expensive dismal & white film to date, a dubious distinction. That Miller based “Roslyn” on Marilyn is now well known, a portrait at once flattering and brutally fair. If there’s any doubt that Roslyn is M.M., explore for the scene when Marilyn opens a locker, in she & Clarks runt “cherish cottage”, there are well known glamour pin-ups of the valid life Marilyn hung inside, which “Roslyn” refers to as “objective some passe pictures of me.” Also the scene of M.M. & Gable, as they awaken one morning, and she is seen nude from the befriend, is one Marilyn fought for, wanting her breast, which was visible in the rushes, kept in the final film. This was unheard of at that time, and was cleave out of the final print. At the time, M.M. commented: “I appreciate to do things the censors won’t pass, after all, what are we here for, impartial to stand around and let it pass us by? … Gradually, they’ll let down the censorship, sadly, probably not in my lifetime “, a prophetic comment from a woman who was ahead of her time. Though she drove John Houston to distraction during the filming, he years later commented: “Marilyn was as gorgeous an actress as any I ever worked with… she objective reached down within herself and pulled her maintain emotions out, it was genuine.” This film, aside from Clark Gable, also stars satisfactory M.M. friend Montgomery Clift, another exact life misfit, also favorable M.M. friend Eli Wallach, both fellow alumni of The Actors Studio, and the improbable Thelma Ritter, who seems to be the only one first-rate of holding it together. At the films release, during Marilyns now eminent scene in the desert, where she lashes out at the brutality of “the men” as they consume a horse for slaughter, apparently many in the theatres laughed out loud at this unacceptable version of their Marilyn, which is very sunless. I have always found this scene devestating, and only shows the struggle she had to face, in her attempts to grow as an actress, and not be confined by peoples dinky vision of her. Contrary to approved idea, this film was not a total artistic failure, and received many certain reviews at it’s opening. The Modern York Tribune: “Here Miss Monroe is magic but not a living pin-up dangled in skin tight satin, and can anyone remark that in this film, these performers are at their best? ” Modern York Daily News: “Gable has never done anything better on camouflage, nor has Miss Monroe.” The fact that Gable died two weeks after shooting wrapped, and that Marilyn never completed another film, only seals the epic surrounding this films making. In hindsight, it was truly the slay of an era. If you want a intriguing read on the making of this film, try and win the long out of print “The Fable Of The Misfits”, by James Goode. Published in 1963, it’s a day by day sage of the films making, and, though only a year after M.M.’s tragic death, handles her memory with total respect…the yarn had already begun. This dim, but ultimatley hope filled miniature drama, filmed in the almost wearisome desert, is maybe not for the viewer looking for lots of excitement and action. But if you’re a serious viewer who can indulge in brilliantly subtle performances, starring two of filmdoms biggest legends… in a movie steeped in Hollywood folklore, then you’ll bask in this film. How fitting that their final scene has them riding off, heading “for that tremendous star.”

This once nearly forgotten movie, the last film of Clark Gable and Marilyn Monroe is now coming forward in the lexicon of film history as an underrated gem. Universally misunderstood for the most piece at the time it came out it is positive now that this film was at least five of six years ahead of it’s time. It fits in more comfortably with films of the leisurely 60’s and early 70’s.

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The screenplay by Miller is one of his most striking works. A record of a group of people lost in the wide expanse of the West in search of the discarded souls of their misspent lives. The film’s splendid cinematography by Russell Metty stands out as sterling artistry at the demise of the dusky and white era. It shimmers with the silver of the deep expanse of the desert and the flat grays and blacks of the distant mountains upon which the last act of the yarn plays. The music by Alex North is among his best work and gives a savage punch to the aerial scenes and the round up at the ruin of the wild mustangs.

Montgomery Clift, by now sliding into the last years of his life is touching in his performance of Perce. His broken cowboy with the broken heart is almost painful to gawk. His phone call home to his mother is among some of his best work. Eli Wallach gives a strong deeply racy portrait of Guido who has lost his wife, his plot, and his humanity. He shines in his scene with Monroe where he asks her to establish him. When she can’t to at least say “Hello Guido”.

Thelma Ritter is, well, Thelma Ritter in yet another of her safe character roles. Ritter is the master of the one line wisecrack but here as Isobel she laces the cracks with an underlying sadness and vulnerability.

As Gratified Langland, Clark Gable gives what I think to be the best performance of his career. It was a mettlesome depart for Gable to engage on the role of what on the surface seems another one of his typical macho made to fit parts. But as the chronicle unfolds from Arthur Miller’s pen Happy reveals that beneath his gruff, not a care in the world, cowboy is a man in deep wound and despair at his losses. The world has left him unhurried. Abandoned by his children the drunken Gable breaks so violently it is a shock to study the large man drop. This is Clark Gable at his finest ever.

Marilyn Monroe gives an unbelievable performance as Roslyn Tabler the newly divorced dancer. A damaged woman who finds in the company of these three men something to finally bear in, something to stand up and fight for, she finds life. It is a performance ground out in share from her absorb person and experience and in section by the director John Huston and the editor George Tomasini who helped a nearly destroyed Monroe develop her glorious Roslyn. This, her last performance is her best and the moral example of the collaborative creation that film really is. That Marilyn under the circumstances of her life at that time could be so friendly is a testament to her talent as an actress and a star. Search For her when she is listening to the other actors. This is where she shines; this is the moral trace of a sizable cover actor. To be able to listen and procedure you into the inner life of the character through that deceptively simple act of listening and reaction is her gift to the audience. Her scene with Monty in abet of the bar, sitting on a pile of trash, her afore mentioned scene with Eli Wallach in the speeding car. These are but a few of the examples in this film of her spacious talent. In the 1950’s and early 60’s there were only a handful of stout young actresses in film, Elizabeth Taylor, and Marilyn Monroe where at the summit of the miniature mountain.
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Stream Looney Tunes – Golden Collection, Volume Three Movie Online. Movie Title: Looney Tunes – Golden Collection, Volume Three Average customer review: Looney Tunes – Golden Collection, Volume Three is available for streaming or downloading. Click Here to Stream or Download Looney Tunes – Golden Collection, Volume Three

YES!!! I have been waiting for this! I can’t wait untill it comes out.

I found some info on Golden age Cartoons.

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Here it is.

Disc #1: Bugs Bunny Classics

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1. “Hare Force” (Bugs Bunny; 1944)

2. “Hare Remover” (Bugs Bunny, Elmer Fudd; 1946)

3. “Hare Tonic” (Bugs Bunny, Elmer Fudd; 1945)

4. “A Hare Grows in Manhattan” (Bugs Bunny; 1947)

5. “Easter Yeggs” (Bugs Bunny, Elmer Fudd; 1947)

6. “The Wabbit Who Came to Supper” (Bugs Bunny, Elmer Fudd; 1942)

7. “Bowery Bugs” (Bugs Bunny, Steve Brody; 1949)

8. “Homeless Hare” (Bugs Bunny; 1950)

9. “The Case of the Missing Hare” (Bugs Bunny, Ali Bama; 1942)

10. “Acrobatty Bunny” (Bugs Bunny; 1946)

11. “Wackiki Wabbit” (Bugs Bunny; 1943)

12. “Hare Do” (Bugs Bunny, Elmer Fudd; 1949)

13. “Rebel Rabbit” (Bugs Bunny; 1949)

14. “Hillbilly Hare” (Bugs Bunny; 1950)

15. “Duck! Rabbit! Duck!” (Bugs Bunny, Daffy Duck, Elmer Fudd)

Audio Commentary by:

Jerry Beck (“The Wabbit Who Came to Supper” with Martha Sigall)

Michael Barrier (“Bowery Bugs” and “Hillbilly Hare”)

John Kricfalusi (“Wackiki Wabbit”)

Eric Goldberg (“Duck! Rabbit! Duck!”)

Greg Ford (“Hare Remover”, “Hare Tonic”, and “A Hare Grows in Manhattan”)

Eddie Fitzgerald (“Wackiki Wabbit”)

Disc #2: Hollywood Caricatures and Parodies

1. “Daffy Duck in Hollywood” (Daffy Duck; 1938)

2. “Hollywood Capers” (Beans; 1935)

3. “The Coo-Coo Nut Grove” (1936)

4. “Porky’s Road Rush” (Porky Pig; 1937)

5. “The Woods Are Tubby of Cuckoos” (1937)

6. “She Was an Acrobat’s Daughter” (1937)

7. “The Film Fan” (Porky Pig; 1939)

8. “Speakin’ of the Weather” (1937)

9. “Thugs with Dirty Mugs” (Edward G. Robbemsome; 1939)

10. “Goofy Groceries” (Jack Bunny; 1941)

11. “Swooner Crooner” (Porky Pig; 1944)

12. “Wideo Wabbit” (Bugs Bunny, Elmer Fudd; 1956)

13. “The Honey-Mousers” (1956)

14. “The Last Hungry Cat” (Tweety, Sylvester; 1961)

15. “The Mouse That Jack Built” (Jack Benny; 1959)

Audio Commentary by:

Jerry Beck (“Hollywood Capers” with Martha Sigall)

Michael Barrier (“The Coo-Coo Nut Grove”)

Greg Ford (“Daffy Duck in Hollywood” and “She Was an Acrobat’s Daughter”)

Daniel Goldmark (“Swooner Crooner”)

June Foray (“The Honey-Mousers”)

Disc #3: Porky and the Pigs

1. “I Haven’t Got a Hat” (Porky Pig, Beans; 1935)

2. “Porky’s Romance (Porky Pig, Petunia Pig; 1937)

3. “Porky’s Party” (Porky Pig; 1938)

4. “Porky in Egypt” (Porky Pig, Humpty Bumpty; 1938)

5. “Porky and Teabiscuit” (Porky Pig; 1939)

6. “Pigs Is Pigs” (Piggy; 1937)

7. “Pigs in a Polka” (1943)

8. “Porky Pig’s Feat” (Porky Pig, Daffy Duck; 1943)

9. “Daffy Duck Slept Here (Porky Pig, Daffy Duck; 1948)

10. “Bye, Bye Bluebeard” (Porky Pig; 1949)

11. “An Egg Lope” (Porky Pig, Miss Prissy; 1950)

12. “Robin Hood Daffy” (Daffy Duck, Porky Pig; 1958)

13. “The Windblown Hare” (Bugs Bunny; 1949)

14. “Claws for Dread (Porky Pig, Sylvester; 1954)

15. “Rocket Squad” (Daffy Duck, Porky Pig; 1956)

Audio Commentary by:

Jerry Beck (“I Haven’t Got a Hat”)

Mark Kausler (“Porky’s Romance”)

John Kricfalusi (“Porky’s Party”)

Daniel Goldmark (“Pigs in a Polka”)

Joe Dante (“Porky Pig’s Feat”)

Eric Goldberg (“Robin Hood Daffy”)

Eddie Fitzgerald (“Claws for Dismay”)

Paul Dini (“Rocket Squad”)

Disc #4: All Stars Cartoon Party

1. “Daffy Duck and the Dinosaur” (Daffy Duck, Casper Caveman; 1939)

2. “Elegant Rabbit” (Bugs Bunny, Cottontail Smith; 1943)

3. “Daffy Duck and Egghead” (1938)

4. “A Terrifying Twosome” (Tweety; 1945)

5. “Draftee Daffy” (Daffy Duck; 1945)

6. “Falling Hare” (Bugs Bunny; 1943)

7. “Steel Wool” (Ralph Wolf, Sam Sheepdog; 1957)

8. “Birds Anonymous” (Tweety, Sylvester; 1957)

9. “No Barking” (Claude Cat, Frisky Puppy; 1954)

10. “Rabbit Punch” (Bugs Bunny, Crusher; 1948)

11. “An Itch in Time” (Elmer Fudd, A. Flea; 1943)

12. “Odor-able Kitty” (Pepe Le Pew; 1945)

13. “Walky Talky Hawky” (Foghorn Leghorn, Henery Hawk; 1946)

14. “Gonzales Tamales” (Mercurial Gonzales, Sylvester; 1957)

15. “To Beep or Not to Beep” (Road Runner, Wile E. Coyote; 1963)

Audio Commentary by:

Jerry Beck (“Birds Anonymous” and “Gonzales Tamales” with Art Leonardi)

Paul Dini (“Neat Rabbit”)

John Kricfalusi (“A Ghastly Twosome”, “Falling Hare” and “An Itch in Time” with Bill Melendez)

Michael Barrier (“Odor-able Kitty” and “Walky Talky Hawky”)

Milt Gray (“A Unsightly Twosome

Known Bonus Features:

*”Philbert” – a rare 1963 TV pilot (Theatrical version)

*Private Snafu in “Gas” *Private Snafu in “Rumors” *Private Snafu in “Spies”

*”Point Rationing of Foods” (a rarely seen wartime short released 2/25/43)

* “The Contain That Wasn’t” (the 1967 MGM Cartoon by Chuck Jones, based on the book by Frank Tashlin)

* THE BUGS BUNNY Explain – “The Honeymousers” (Production #1822 telecast 7/24/62)

* STORYBOARDS (includes deleted scenes) :

1. “Falling Hare”

2. “Porky’s Party”

* FROM THE VAULTS:

1. “Sinkin’ in the Bathtub” (1930 – first Looney Tunes cartoon)

2. “It’s Got Me Again” (1932 – the first Warner Bros. cartoon nominated for an Academy Award)

* Fresh Documentaries on:

1. Frank Tashlin

2. Gloomy & White cartoons

3. Restoration of cartoons

4. Pepe Le Pew

5. The Bugs-Elmer-Daffy Trilogy

6. Looney Tunes Go To War

7. Birds Annonymous tribute

So There it is. Hope you enjoy

This third entry in the accepted “Looney Tunes Golden Collection” series looks to be the best yet, mostly because of the selection of cartoons. Volume 1 was huge, but the selection was too heavily weighted in favor of a relatively short period of time (about 1948 to 1953) . Volume 2 had a more diverse selection of cartoons, but had to include more Road Runner and Tweety cartoons than could comfortably be watched in one sitting. Volume 3 has the widest range of Warner Brothers cartoons yet, ranging from the debut of Porky Pig in 1935 to the demolish of the WB animation studio in 1963. And each disc will exhibit a varied lineup of cartoons that can be watched from beginning to extinguish with pleasure.

Disc 1 is another Bugs Bunny festival, including such classics as the last cartoon in Chuck Jones’s Bugs/Daffy/Elmer hunting trilogy, Bugs’s tall square dance routine in “Hillbilly Hare,” and less-familiar masterpieces such as the bizarre “Rebel Rabbit.” Disc 2 concentrates on cartoons with Hollywood parodies and celebrity caricatures, ranging from Tex Avery’s spacious gangster-movie spoof “Thugs With Dirty Mugs” to Robert McKimson’s “The Mouse that Jack Built,” with the cast of the Jack Benny Demonstrate voicing themselves. Disc 3, “Porky and the Pigs,” mostly concentrates on WB’s longest-running star, Porky Pig, featuring a sterling helping of hilarious and imaginative black-and-white cartoons by Frank Tashlin and Bob Clampett, as well as later classics like “Robin Hood Daffy.” And disc 4, “All Stars Cartoon Party,” collects some of the very best cartoons of WB’s biggest cartoon stars, including Tweety and Sylvester’s Oscar-winning “Birds Anonymous,” the debuts of Foghorn Leghorn and Pepe Le Pew, and Daffy trying to dodge the draft in “Draftee Daffy.” There are many masterpieces in this collection and few duds, a tribute to the improbable depth of the WB cartoon catalogue.

The extras will be up to the previous high standard and then some, with original featurettes including a tribute to director Frank Tashlin; from-the-vault rarities including the unaired animation/live-action pilot PHILBERT (directed by Friz Freleng and a young Richard Donner) ; new storyboards; music-only tracks; and additional cartoons with characters like Bosko and Private Snafu. For the commentaries, WB has engaged a wider range of commentators this time around in addition to stalwarts Michael Barrier, Greg Ford and Jerry Beck, including superhero cartoon specialist Paul Dini commenting on Chuck Jones’s superhero cartoon parody “Super-Rabbit,” John Kricfalusi on several Bob Clampett cartoons; “Aladdin” animator Eric Goldberg on two Jones cartoons; Joe Dante on a cartoon by one of his biggest influences, Frank Tashlin; and more. As long as WB avoids the encoding and DVNR problems that afflicted some of the cartoons on the previous region, this should be the best Looney Tunes DVD collection ever — until situation # 4.
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