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In anticipation of Christopher Nolan's INCEPTION, this week's Temp Section is MIND GAMES.

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Street 6/15/10
MPI
Documentary
Box Office $0.05 million
$19.98 DVD
Not rated.

Mike Clark
Home Media Magazine

Featuring Michael Ruppert.

Some people think Mike Ruppert is a prophet who speaks and has spoken the truth, sometimes too chillingly for comfort. For others, thanks in part to the zeal he brings to his saber-rattling beliefs, he redefines the parameters of “nut job.”

As it turns out, none of this has anything to do with whether director Chris Smith’s interview-centered documentary is a must-see or not, which it is. Or at least it should be for those like me who obsess on any good movie about obsession, be it Vertigo, Zodiac, Deep End, One-Eyed Jacks or … well, the list to which Collapse becomes a worthy addition is long.

Ruppert is as much of a professional agitator as, say, John Ford was a professional Irishman, and his statements and harangues are ubiquitous on YouTube. But he gained some currency by almost uncannily predicting the ongoing economic collapse in his newsletter (and he also tells you here that he was the first person to break the Pat Tillman scandal). Now, he has his eye on what’s called Peak Oil — which, to his mind, peaked long ago and certainly before the recent BP disaster (which adds a little fresh subtext to a movie that was generating Toronto Film festival buzz a little less than a year ago).

Because it takes oil to manufacture just about every product we use, Ruppert asserts that the fallout from this fast depleting supply means that we’re about to go back to the wheelbarrow (my specific example, not his) as society’s definition of advanced technology. Except that wheelbarrows need wheels, whose rubber component depends on oil, just as the cars that run on electricity do.

Utilizing a fascinatingly ambiguous attitude toward his subject, filmmaker Chris Smith (Home Movie, The Yes Men) plunks Ruppert in a chair and photographs him starkly in some kind of warehouse that looks like a place “the boys” take you when they want to know where you’ve hidden the stash you purloined from some Mr. Big. Because Ruppert chain-smokes, the interview begins to look like something out of the old Night Beat interview show from the 1950s, where Mike Wallace grilled guests in a nicotine haze. But in this case, no one has to pry anything out of subject who likes to talk.

This is a guy who, despite a stellar record, resigned from the LAPD under murky circumstances because he publicly accused the CIA of dealing drugs (this clip, too, is on YouTube). Thus, he isn’t reticent to debunk and debunk on his way to imploring us to start planting those vegetables in the backyard. The fact that Ruppert is articulate and at least seems to have myriad facts at his command is one of the things that make this 82-minute package of stress very disturbing. Another is his convincing sincerity. He isn’t the type of promoter one suspects is primarily out to line his personal pockets, nor is he any Right-wing zealot despite seeming to have some of the Central Casting trappings. In fact, Ruppert claims that the Bush-Cheney Administration, in particular, was out to get him. And that if Americans knew certain things about the latter, they’d be building scaffolds as we speak.

Still, for all the good reasons that might contribute to his wall-to-wall intensity and one on-camera crying jag, there’s almost no way that Ruppert is not going to come off as seeming … well, a little unhinged. Late in the movie, Smith begins challenging certain assertions by his subject — or at least asking him to clarify them a little — and a little, but nowhere near all, of Ruppert’s composure and assurance start to slip. The final image with which we’re left is a printed end-credits coda that notes he’s facing eviction.

Whatever you think of the subject, the drama here is two-fold when even one-fold is more than a lot of movies can deliver. Witnessing Ruppert’s emotional turmoil makes for gripping viewing by itself. But then there’s the reality that someday, whether or not it’s nearly as soon as Collapse’s central figure contends, that oil will disappear or be a prohibitive drilling target.

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Barbara Stanwyck Collection, The (DVD Review)


By : Mike Clark | Posted: 10 May 2010
Home Media Magazine

Universal
Drama
$49.98 three-DVD set
Not rated.

Two movies I treasure are the hallmarks of a six-title set devoted to my favorite actress of her generation, one who could be vulnerable or charming — but if the script called for it, also capable of taking your head off. And the other four selections have enough individual ammo to make them worth seeing — one of them gives us Natalie Wood at age 7 — though, in at least two cases, maybe only once.

Three of them were made at Universal and three at Paramount, whose 1929-49 library is owned by the former. Stanwyck didn’t work that much at Universal in the first place, and if you filter out her Paramounts that have been previously released either individually (such as Double Indemnity and The Lady Eve) or in other sets (such as the Westerns Union Pacific and California), the six represent close to the only titles that could be in a collection Universal is distributing.

Douglas Sirk directed the two I really like — though in black-and-white and not the emotionally expressive color that typified his work in All That Heaven Allows and Written on the Wind. Both are weepers, or what used to be called “women’s pictures” — though what really distinguishes There’s Always Tomorrow (a 1956 remake of a 1934 same-namer that never shows) is that it’s the rare soap opera from the guy’s point of view. It is also among the least known of the great Hollywood movies.

Fred MacMurray is a toy manufacturer married to Joan Bennett, one of those suburban moms who prefers schlepping to school recitals over spending time with him — even on their anniversary. Fred’s no philanderer but hopeful of avoiding middle-aged calcification, whose temporary cure comes in the form of a visiting never-married career woman from his past (Stanwyck, reunited with her old Indemnity co-star). No lasting happiness can come from this, and the finale is a killer that proves MacMurray really was — to answer a question posed by a film historian of my youth — an actor and “not just a puzzled expression.” The movie has an arresting opening shot and never lets go visually, but Universal unforgivably botched this release by including a version with a 1.33:1 aspect ratio. It still plays well, though, and Sirk’s portrayal of close to grown children is nearly as acidic as in Heaven Allows.

The other personal favorite — at least until an ending producer Ross Hunter imposed on Sirk kicks in — is Sirk’s All I Desire (1953), in which Stanwyck (fabulous) plays an actress who in 1910 returns to a small-town community to visit the husband and then young children she abandoned for a career on the stage. One of her daughters has the lead in a school play (which is what sparks the visit) and wants to follow in the footsteps of this supposed star — even though community tsk-tsk-ing abounds over Stanwyck behavior that truly would have been shocking in the era and in a provincial milieu. What no one knows is that mom’s career isn’t quite as advertised, and now she’s at the age where time isn’t on her side.

The other titles are not in this class, but the hard-to-see Internes Can’t Take Money (1937) turns out to be an efficiently directed “Dr. Kildare” movie made at Paramount with Joel McCrea as the doc — before the character shortly thereafter became a staple at MGM with Lew Ayres in the part. Stanwyck is an ex-con trying to locate her very young daughter, and a saloon near the hospital (Kildare seems to like his brews) boasts some moody gangster stuff plus a dynamic performance by Lloyd Nolan as a hood whose injured arm Kildare saves.

The Great Man’s Lady (1942) is a boilerplate pioneer epic (again with McCrea) that allows Stanwyck to age past the centennial mark; its art direction, costumes and Victor Young score readily identify it as a Paramount film of the early 1940s — which is welcome because Paramounts of that eera are badly unrepresented on DVD. Somewhat better directed than written, Universal’s The Lady Gambles (1949) casts Stanwyck as a respectable married woman who ends up beaten in an alley over her gambling addiction — which forces her husband (Robert Preston) to beg for help from a disinterested doc (John Hoyt) whose characterization has to be one of the most unflattering ever of the medical profession without specifically trying to be. The movie is best at showing Vegas in the more primitive early days before Rat Pack karma took over. Look for the appearance of a then unknown Tony Curtis as a bellboy — a walk-on bit that resulted in a ga-zillion fan letters from horny teenaged girls and a quick promotion into real parts by the studio.

The Natalie Wood appearance is a key curio factor in Paramount’s The Bride Wore Boots (1946), a movie if there ever was one to be doubled-billed with Ginger Rogers’ 1951 comedy The Groom Wore Spurs. Stanwyck is a horsewoman married to an historian (Robert Cummings) who so loathes the creatures that he says he even doesn’t like horseradish. The collection’s weakest entry, it does show how good performers can elevate trivial material more than you’d ever think possible — not that it’s enough. The supporting cast includes Diana Lynn (nicely coiffed and clothed) as a kind of historian groupie who engenders further marital discord — also the famed humorist Robert Benchley in one of several movies that were in the can and released after his 1945 death.

Good morning, campers! Do you find yourself browsing through the Book of Face often? Tending your farm/mafia/vampire clan/cabbage patch and wishing that there were some way, somehow you could spend just a little bit more time with your favorite video store, but you just can't make the drive? Then do we have good news for you. Casa has it's very own page, just waiting for your friendship. Like Casa? Prove it, with a small digital thumbs up.

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By : Mike Clark | Posted: 05 Apr 2010
Home Media Magazine

Street 4/6/10
First Look
Drama
Box office $1.7 million
$28.98 DVD, $29.98 Blu-ray
Rated ‘R’ for drug use and language throughout, some violence and sexuality.
Stars Nicolas Cage, Eva Mendes, Val Kilmer, Fairuza Balk, Xzibit, Jennifer Coolidge.

With a few exceptions (and 2003’s Matchstick Men certainly remains a major one), Nicolas Cage’s 1995 Oscar for Leaving Las Vegas doesn’t seem to have done him a world of good when it has come to choosing roles Oscars sometimes make possible.

The prototypical Cage movie of recent years would seem to be Ghost Rider: a Marvel Comics hero on a flying motorcycle cascaded with flames — in a movie where its studio took a not-on-your-life approach over screening it in advance for the press before it opened.

But director Werner Herzog’s loose Bad Lieutenant remake is something else again, even though I stumbled last fall into an argumentative Facebook donnybrook perpetrated by someone who thought it a desecration to fool around with Abel Ferrara’s 1992 Bad Lieutenant predecessor starring Harvey Keitel. Yeah, right — as if this were a case of someone plunking Michael Cera into a remake of, say, Casablanca, The Third Man or The Searchers.

Herzog’s immediate post-Katrina riff had me from the get-go, with its opening shot of a determined water moccasin snaking in and around half-submerged prison bars as an inmate ponders his imminent drowning, if not biting. After a little half-sadistic teasing, cop Cage rescues him, and — just how, we’re not quite shown — seriously and possibly permanently injures his vertebrae and gets prescribed Vicodin.

Of course, with regular cocaine chasers, this tends to make Cage unhinged — and, as we all know, “unhinged” is something Cage can do on a dime whether the movie necessarily calls for it or not. In this case, it does, and Lieutenant soon becomes a contest to see who can become more crazed: Cage himself — as he begins to speak the name of a suspect named “G” in three syllables — or the array of sociopaths and malcontents who cross his path.

Cage has a prostitute girlfriend (Eva Mendes), which means he regularly has to mix it with some truly nasty dudes even by her professional standards. He also has to interrogate an old lady who’s on oxygen, so there goes the oxygen; females he busts have to come forth with their purse stash — and even sex; and he lands smack into the middle a domestic fracas between his father and a new younger wife who’s depressed at having married an alcoholic. She’s not, of course, because she only drinks beer — albeit maybe 50 a day.

What makes the movie increasingly funny (and intentionally so, make no mistake) is that the further we go, the more we see we’re on the way to a tidy and even happy resolution — though via a twisted path where the “i’s” are often crossed and the “t’s” dotted. The past five years have been exceptionally kind to Herzog (or maybe he to us) with this film and the also fictional Rescue Dawn — plus two documentaries that got more consistent or even unequivocal praise: Grizzly Man and Encounters at the End of the World.

Cold Souls (DVD Review)



By : John Latchem | Posted: 23 Feb 2010
Home Media Magazine




Street 3/2/10
Fox
Comedy
Box Office $0.9 million
$19.98 DVD
Rated ‘PG-13’ for nudity and brief strong language.
Stars Paul Giamatti, David Strathairn, Emily Watson, Dina Korzun.

Remember that “Simpsons” episode where Bart sells his soul for $5 to prove he doesn’t need one, only to spend the rest of the episode miserable without it? Cold Souls is a lot like that, only much more bizarre in a way a live-action treatment of the material would have to be. The result is a delightfully dark comedy that makes us question the very nature of our existence.

Paul Giamatti plays an actor named Paul Giamatti, though I hesitate to refer to the character as a fictionalized version of himself. Struggling to grasp the nuance in his performance in a production of Uncle Vanya, he comes across an article about Dr. Flintstein (David Strathairn) who specializes in removing souls and storing them in cold storage. The intended result is to unburden the patient of his or her troubles.

Most movies would portray Flintstein as an obvious fraud, but Cold Souls assigns legitimacy to his methods. He sticks Paul in a giant soul-sucking machine, which converts the soul into some mundane object that is stored in a jar (in Paul's case, a chickpea).

To add to the complexity of the situation, a woman named Nina continuously visits Flintstein to deliver souls trafficked from Russia and purchased by mobsters from the poor. Flintstein offers his clients a chance to experience these other souls.

Paul chooses what he thinks is a Russian poet, which helps him in his play. But Paul begins having visions of the soul owner’s life and is overwhelmed. He wants his old soul back, only to learn Nina has stolen it to give to her boss’ wife, who is a Russian soap opera actress.

At its core, Cold Souls is an exploration of the relationship between soul and identity. In its examination of the human soul, the film reveals its own: the tug-of-war between the spiritual and physical realms. Does a self-proclaimed intelligent species such as ours still need to cling to divine concepts to maintain our happiness? It’s no accident that Paul’s decent into despair after losing his soul takes him to the icy wastelands of Russia.

Writer-director Sophie Barthes has decided to swim in the pool usually reserved for the likes of Charlie Kaufman. The esoteric nature of metaphysical reality on display here makes Cold Souls the spiritual successor to such works as the Kaufman-penned Being John Malkovich and Eternal Sunshine of the Spotless Mind.

Cold Souls is anchored by two of my favorite performers, Giamatti and Strathairn, both at the top of their game. Russian actress Dina Korzun is equally effective as the soul mule, whose own life is falling apart as a result of the residual traces of all the souls building up in her head.

The film has been available as a rental since Feb. 2. Unfortunately, the DVD offers nothing like a commentary or featurette in which the filmmakers discuss the themes they explore. This DVD version is sparse on extras, offering only a handful of deleted scenes and a featurette about the simple yet elegant design of the soul extractor, and how it adds to the tone and charm of the film

By : Mike Clark | Posted: 08 Feb 2010
Home Media Magazine

Bad Girls Film Noir vol. 1

Street 2/9/10
Sony Pictures
Drama
$29.98 DVD
Not rated.
Stars Lizabeth Scott, Evelyn Keyes, Gloria Grahame.

Echoing Sony’s “Martini Movies” line, which sometimes serves fun selections in the wrong kind of glasses, not everything here is as described. But the lineup shrewdly combines film history with a luridly commercial hook, and deep-sea diving into the archives is always to be encouraged.

In order of preference:

The Glass Wall (1953): If you can overlook its preposterous premise, this one is fairly stylish, and movie lovers will have a ball reading period marquees in the many nighttime shots of Manhattan. All an illegal immigrant (Vittorio Gassman) has to do to remain in the U.S. is to locate a musician he once aided in World War II and whose last name he doesn’t know. The movie opened not quite two weeks after lead actress Gloria Grahame took a supporting Oscar for The Bad and the Beautiful, and it’s one of many that explains why she must be the woman for whom the term “silky” was invented. Her character steals a coat here, but she’s really not “bad,” despite what her crone of a landlady thinks. An odd subplot deals with the musician in question (Jerry Paris) longing to join jazz great Jack Teagarden’s group, though from appearances here, its gigs are mostly in low-grade bars.

The Killer That Stalked New York (1950): This was Columbia’s ‘B’-movie answer to 20th Century-Fox’s own 1950 plague movie Panic in the Streets. Evelyn Keyes, who really does look appropriately pasty throughout, picks up smallpox in Cuba (one of those virulent Batista strains) and begins rotting the Apple via simple human interaction. Given her luck with a crook lover (two-timing her for a while with her sister), it’s obvious that bad luck follows Keyes around. There’s another crabby landlady, and, in the supporting cast, Dorothy Malone and Lola Albright, two actresses of my youth who easily convinced me that there was life beyond Mickey Mantle. It’s effectively shot in black-and-white by Joseph Biroc, who later specialized in photographing the young Ann-Margret in color.

Bad for Each Other (1953): Army surgeon Charlton Heston leaves the service to push pills for Pittsburgh society matrons, giving the actor one of his rare coat-tie-tux-hat roles. Lizabeth Scott is less a bad girl than a bad influence – though anyone can tell she’s no good because she handles 78 records not by the edges but with her fingers. There’s also an unusual scene where “Perry Mason” actor Ray Collins (as her father) implores Chuck not to marry her because she’ll grub his money. Though in black-and-white, the movie is only a little more noir-ish than, say, The Robe, which had gone into wide release only a few weeks earlier. Mildred Dunnock made a career of playing suffering moms from Death of a Salesman on down, and she’s Heston’s – exactly three years before pulling more maternal duties for Elvis Presley in Love Me Tender.

Two of a Kind (1951): The least interesting of the bunch, though its sounds as if it ought to be fun. Edmond O’Brien lets Liz Scott (she’s back) talk him into crushing his pinkie with a car door so that he’ll fit the description of the long-lost son of rich folk prime to be bilked. Into all this is plunked cute-‘n’-perky Terry Moore, who does for the movie’s noir-ish tone about what Roy Rogers would were he to walk in instead.

As far as extras go, the disc has a recent interview with Terry Moore (can it be more than a quarter-century since she was in Playboy at 55?), plus a 1956 half-hour teleplay called The Payoff that Blake Edwards wrote. Howard Duff and Janet Blair are the stars – which means (when you combine Blair’s casting with male lead Charles Korvin’s in Killer) that this set oddly features the actor and actress who sported the movies’ definitive cleft chins

Hollywood never seems to get it right when it comes to movies about teachers. Stand and Deliver, Teachers, Mister Holland's Opus, Dead Poets Society, these movies were all highly acclaimed. However, none of the situations in these movies would ever occur in a real school. But in Hollywood, anything is possible, even the parting of the Dead Sea.
Perhaps that is why I appreciated "The Class". The movie can be summed up in one word...unpretentious. No miracles are performed, nor does the teacher Francois(played by Francois Begaudeau) lead his students to a far away promised land. Watching the movie, I felt as if I was actually inside a real classroom(which I should know, for I have been a teacher for some thirty years), and Francois was a colleague. Francois reminded me how every dedicated teacher begins the year with the intention of doing good and somehow changing the world...then come the power struggles, the reality that he/she is playing to captive audience, and the realization he/she has absolutely no control over what takes place outside the classroom, and within a matter of weeks the idealism becomes acceptance, or worse, cynicism. Francois has many layers. When he speaks to his class, his body language is animated. He cannot speak without moving his hands, he is constantly walking all over the classroom, his head bends slightly forward; even his eyebrows wrinkle upwards and across his face. But then there are several scenes where he is wandering through the hallways of the school, carrying his briefcase, head bent forward as if he is carrying the weight of the world on his shoulders. Then there are the students. They have many dimensions:fear, frustration, laughter, confrontation, hopeful, indifferent, argumentative, bored, scared, disciplined, undisciplined, clever, devious, lost, insightful. Anyone who has ever worked with large numbers of adolescents knows how adept they are at studying, and then dissecting the adult in front of them. At times, Francois seems completely unaware of their intense scrutiny But those moments don't last very long, for the students are not afraid to tell him they are bored, and see absolutely no relevance to the words that are being written on the blackboard. The title of the movie in French is "Between The Walls", which I feel is a much better title. In many ways, the film is claustrophobic... the closeness of the desks, the complete lack of sunlight in the room, the students sitting in hard wooden seats...and then there's the constant stretching, twitching, legs nor arms ever still. For me, the ultimate beauty of this film is its universality. Francois's classroom could have been any classroom in America. The challenges he faces are the challenges all teachers confront. There is no other job that is as challenging, nor rewarding. But it also can burden the soul unless one realizes that the world doesn't change, that the students in front of you at the beginning of the year might have grown just a little bit taller by the end of the year, but still have the same morals, insecurities, and dare I say it..dreams. Francois's students might not gain the love of reading Voltaire or Camus, nor comprehend the feelings of a small girl whose life was taken from her at the very moment her sense of wonder began to bloom in "The Diary of Anne Frank". But maybe, because of his efforts, his students might be able to conjugate verbs, write complete sentences, develop a theme in any essay, and one day soar above the heavens. One of them might even decide to become a French teacher.
The movie has no real ending. In this way, it reproduces actual life. At the end of the year, the students go out the door. Life goes on.

Crank - The totally true story of just how much a badass machine Jason Statham is during his free time, when he's not making movies that punch you in the face with awesomeness. This movie is all about the excessive, and it dives in happily and headfirst.

American Psycho 2 - Replace Patrick Bateman with Jackie from That 70's Show, and that's bound to be a recipe for success. Who needs ambiguous reality and an eerily charming serial killer when you have a half-baked b-movie slasher flick set in an FBI training academy of what must be the most inept damned potential Feds to have ever existed in the history of anything.

Slumdog Millionaire - So this kid's life sucks, and he's all in love with this chick but can't see her, and then it's all like cry cry and bang bang with the guns and such, but it's all a story he's telling while he gets the bejeezus knocked out of himself, which makes it kind of weird that he can remember things he wasn't there for, but then there's dancing and I didn't care anymore. And there's a gameshow. Plus it totally won oscars and stuff.

Warner Bros. launches 'on demand' DVD sales
By Thomas K. Arnold, Special for USA TODAY

One of Hollywood's biggest movie vaults is about to be opened wide.

Warner Bros. is launching an innovative "on demand" DVD initiative in which fans eventually will be able to order any of the 6,800 theatrical features in the studio's library not available on disc and receive a custom-made DVD within a week for $20.

Only about 1,200 films in the Warner library have been released on DVD, large part because of space constraints at retail. "This news is going to make a lot of people really happy," says George Feltenstein, senior vice president of theatrical catalog marketing at Warner Home Video.

The Warner Archive Collection launches (warnerarchive.com) with an initial slate of 150 films that have never been on DVD, such as 1943's Mr. Lucky, with Cary Grant and Laraine Day, and 1962's All Fall Down with Warren Beatty and Eva Marie Saint. The oldest film in this first wave is the 1923 silent scorcher Souls for Sale; the newest is 1986's Wisdom, with Demi Moore and Emilio Estevez.

Plans call for 20 or more classic films and TV shows to be added each month, Feltenstein says. To order films, consumers go to the website, select titles and place orders, which are manufactured and shipped in shrink-wrapped plastic cases identical to those of commercial DVDs. Consumers also will be able to order films digitally, downloaded directly to their computers, for $15.

"Our goal is to eventually open up our entire vault," Feltenstein says. "We've been working on this for three years. I've always said it would be great if people could buy anything in our library, and now the time has come, because the technology finally exists."

As a general rule, films considered for release are evaluated by how well they did in the VHS era, which saw about 4,100 movies from Warner's library released on videocassette over a span of more than 20 years. Other factors include the availability of good-quality prints, consumer requests and interest on the black market.

"Some films that are not available on DVD have gotten a lot of bootlegging," Feltenstein says. "We track that on the Internet."

Initially, special features will be limited to original theatrical trailers, but down the road additional extras might be added, Feltenstein says. "Right now, our focus is to get some of these movies that have been sitting in the vaults for years out there to the public, so that by Christmas we'll have at least 350 films available," Feltenstein says.

That's music to the ears of film aficionados such as Mike Weldon, 64, of Costa Mesa, Calif. "I think it's great, because there are a lot of movies out there we just don't get exposure to anymore," he says. "There are films I'd like to own and see every few months, but I just can't find them anywhere."

Scanning the initial list of titles, Weldon points to Homecoming, a 1948 romantic drama from MGM starring Clark Gable and Lana Turner. "Here's one right now," he says. "I've been looking for that everywhere."

Titles currently available at Casa Video:
Abe Lincoln In Illinois, The Rain People, The Sergeant, Captain Nemo And The Underwater City, Countdown, The Big Circus, Convicts 4, On Borrowed Time, This Woman Is Dangerous,
Edison, The Man, Captain Sindbad, All Fall Down

Coming Soon:
The Abdication, The Actress, The Adventures of Mark Twain, Along the Great Divide, Carbine Williams, Close To My Heart, Crime and Punishment, Crisis, The D.I.,
Darby's Rangers, Doc Savage, Emma, Forsaking All Others, Four Horsemen of the Apocalypse, The George Raft Story, Goodbye Mr. Fancy, Homecoming, Heart Beat, Idiot's Delight,
The Invitation, John Loves Mary, The Kiss, Kidnapped, A Lion in the Streets,
The Little Drummer Girl, Love On the Run, Lost Boundaries, The Man Who Loved Cat Dancing, Mannequin, The Mating Game, Men in White, Mrs. Parkington, The Money Trap, One Trick Pony, Payment On Demand, Promises in the Dark, Rage, Spring Fever, Strange Interlude,
Toast of New York, Wild Orchids, When Ladies Meet

Note: All Warner Archive titles are located on the "Warner Archive" shelf, in the W's of New Releases.