- Company: Pop Culture Graphics
- Amazon Price: $19.99
- Company: Pop Culture Graphics
- Amazon Price: $14.99
- Company: Pop Culture Graphics
- Amazon Price: $19.99
- Company: Milan Records
- List Price: $13.98
- Amazon Price: $10.91
- Used Price: $9.48
- Company: Control Group / Tcg
- List Price: $13.98
- Amazon Price: $4.99
- Used Price: $4.94
- Company: Fox Home Entertainment
- List Price: $12.98
- Amazon Price: $99.99
- Used Price: $32.98
- Company: Turner Home Ent
- ISBN: 0780621832
- List Price: $4.98
- Amazon Price: $8.39
- Used Price: $2.00
- Company: TURNER HOME ENTERTAINMENT
- Amazon Price: $2.35
- Used Price: $0.50
- Company: Storelogic
- Company: Warner Home Video
- List Price: $79.98
- Amazon Price: $48.98
- Used Price: $55.06
- Company: Turner Home Ent
- List Price: $12.98
- Amazon Price: $5.89
- Used Price: $6.77
- Company: Disney Home Video
- List Price: $14.99
- Amazon Price: $7.18
- Used Price: $2.99
- Company: Sandpiper
- ISBN: 0395615771
- List Price: $9.95
- Amazon Price: $6.15
- Used Price: $5.98
- Company: Picador
- ISBN: 0312427344
- List Price: $16.00
- Amazon Price: $5.62
- Used Price: $5.59
- Company: Moody Publishers
- ISBN: 0802483445
- List Price: $14.99
- Amazon Price: $7.89
- Used Price: $5.00
- Company: Korero Books
- ISBN: 0955339871
- List Price: $24.95
- Amazon Price: $16.39
- Used Price: $28.97
- Company: FramingMOVIES.com
- Company: FramingMOVIES.com
- Company: FramingMOVIES.com
This 11"x17" framed poster is from "She Wore a Yellow Ribbon" (1949) |
This 11"x17" poster is from "Mother Wore Tights" (1947) |
This 11"x17" framed poster is from "Angel Wore Red" (1960) |
|
Denmark's Figurines have a strong affection for 60s sounds. But unlike many other Scandinavian bands who are influenced by pre-punk and/or garage bands like The Sonics, The Seeds, or The Who, the Figurines' love for the 60s lies in the melodies like those created by The Zombies, Love, and The Beach Boys. This record oozes good vibrations built upon lush, intricate arrangements. |
|
The second installment of John Ford's famous cavalry trilogy (which also includes Fort Apache and Rio Grande), this meditative Western continues the director's fascination with history's obliteration of the past. It features one of John Wayne's more sensitive performances as Capt. Nathan Brittles, a stern yet sentimental war horse who has difficulty preparing for his impending military retirement. All things considered, he refuses to leave before fulfilling his obligation to the local Indian tribe. It's a film about honor and duty as well as loneliness and mortality. And Oscar-winner Winton C. Hoch beautifully photographs it in Remington-like Technicolor tones (you've never seen such stunning cloud-covered skies). The combination of melancholy and farce (Victor McLaglen makes a perfect court jester) evokes comparisons to Shakespeare. Best of all, the scene in which Wayne fights back tears when receiving a gold watch from his troops is unforgettably bittersweet. If you view the whole trilogy, it actually makes sense to save this for last. --Bill Desowitz |
Screen legends John Ford and John Wayne bring the Old West alive RKO's stirring 1949 paean to the common soldier SHE WORE A YELLOW RIBBON. Wayne is Captain Nathan Brittles, an iron-willed veteran of the winning of the West who's only days away from retirement. But 265 cavalrymen lie dead at Little Big Horn, and the prairie is again dark with buffalo. Convinced these are omens of victory, the Cheyenne set out to recover their lost glory...and Captain Brittles suddenly has one more job to do. Winner of an Academy Award for its breathtaking color cinematography, SHE WORE A YELLOW RIBBON is "a dilly of a cavalry picture. Yeehooo!" ("The New York Times"). And Ford's brilliiant direction, said "The Hollywood Reproter," "adds one more to the long lsit of his supberb achivevements as one of--if not the finest director in the world." |
Wire Utility Cart, Heavy Duty, Load Capacity 800 Lb., Heavy Gauge Open Wire Construction, Finish Chrome, Overall Length 60 In., Overall Width 18 In., Overall Height 42 In., Number of Shelves 2, Shelf Length 60 In., Shelf Width 18 In., Adjustable Increments 2 In., Caster Type Swivel (4), Caster Material Solid Rubber, Caster Dia. 5 In., Caster Width 1 1/4 In. |
There may be no better representation of America's love of the old West than the 10-disc John Ford-John Wayne Collection. The iconic star and iconic director collaborated on 14 films, eight of which appear here. Four--Fort Apache (1948), The Long Voyage Home (1940), The Wings of Eagles (1957), and 3 Godfathers (1948)--are appearing for the first time on DVD, and the two most famous, Stagecoach (1939) and The Searchers (1956), are represented in brand-new two-disc editions that add new and old featurettes as well as the outstanding American Masters documentary John Ford/John Wayne: The Filmmaker and the Legend. (This Ultimate Edition of The Searchers adds a variety of printed materials as well, such as reproductions of press materials and a 1956 comic book.) Two other landmark films previously available on DVD, They Were Expendable (1945) and She Wore a Yellow Ribbon (1949), round out the set. The three non-Westerns in the set have military settings, with They Were Expendable arguably the greatest World War II picture ever. The Movies: The landmark Western Stagecoach began the legendary relationship between Ford and Wayne, and became the standard for all subsequent Westerns. It solidified Ford as a major director and established Wayne as a charismatic screen presence. Seen today, Stagecoach still impresses as the first mature instance of a Western that is both mythic and poetic. The story about a cross-section of troubled passengers unraveling under the strain of Indian attack contains all of Ford's incomparable storytelling trademarks--particularly swift action and social introspection--underscored by the painterly landscape of Monument Valley. And what an ensemble of actors: Thomas Mitchell (who won a Best Supporting Actor Oscar as the drunken doctor), Claire Trevor, Donald Meek, Andy Devine, and the magical John Carradine. Fort Apache stars Wayne as a Cavalry officer used to doing things a certain way out West at Fort Apache. Along comes a rigid, new commanding officer (Henry Fonda) who insists that everything on his watch be done by the book, including dealings with local Indians. The results are mixed: greater discipline at the fort, but increased hostilities with the natives. Ford deliberately leaves judgments about the wisdom of these changes ambiguous, but he also allows plenty of room for the fullness of life among the soldiers and their families to blossom. Fonda, in an unusual role for him, is stern and formal as the new man in charge; Wayne is heroic as the rebellious second; Victor McLaglen provides comic relief; and Ward Bond is a paragon of sturdy and sentimental masculinity. All of this is set against the magnificent, poetic topography of Monument Valley. This is easily one of the greatest of American films. She Wore a Yellow Ribbon, the second installment of Ford's famous cavalry trilogy (which also includes Fort Apache and Rio Grande), continues the director's fascination with history's obliteration of the past. It features one of John Wayne's more sensitive performances as Capt. Nathan Brittles, a stern yet sentimental war horse who has difficulty preparing for his impending military retirement. It's a film about honor and duty as well as loneliness and mortality. And Oscar-winner Winton C. Hoch beautifully photographs it in Remington-like Technicolor tones. The combination of melancholy and farce (Victor McLaglen makes a perfect court jester) evokes comparisons to Shakespeare. Best of all, the scene in which Wayne fights back tears when receiving a gold watch from his troops is unforgettably bittersweet. If you view the whole trilogy, it actually makes sense to save this for last. It's hardly shameful that Three Godfathers ranks as the slightest John Ford Western in a five-year arc that includes My Darling Clementine, Fort Apache, She Wore a Yellow Ribbon, Wagon Master, and Rio Grande. The story had already been filmed at least five times--once by Ford himself. Just before Christmas, three workaday outlaws (John Wayne, Pedro Armendáriz, Harry Carey Jr.) rob a bank and flee into the desert. The canny town marshal (Ward Bond) moves swiftly to cut them off from the wells along their escape route, so they make for another, deep in the wasteland. There's no water waiting for them, but there is a woman (Mildred Natwick) on the verge of death--and also of giving birth. The three badmen accept her dying commission as godfathers to the newborn. Motley variants of the Three Wise Men, they strike out for the town of New Jerusalem with her Bible as roadmap. Ford's is the softest retelling of the tale, but it's all played with great gusto and tenderness--especially by Wayne, who's rarely been more appealing. Visually the film is one knockout shot after another. This was Ford's first Western in Technicolor, as well as his first collaboration with cinematographer Winton Hoch. What they do with sand ripples and shadows and long plumes of train smoke is rapturously beautiful. It's also often too arty by half, but who can blame them? Eugene O'Neill loved The Long Voyage Home, the feature-length adaptation of his one-act sea plays, with intelligent bridging material written by Dudley Nichols and a final movement, both hellish and elegiac, appropriate to the onset of World War II. John Ford directed, in his more self-consciously arty vein but with no loss of power or passion. The focus is on the working seamen aboard a merchant ship making its way from the Caribbean to New York harbor and then England, with dangerous cargo on the transatlantic leg. Thomas Mitchell (who had won a 1939 Oscar in Ford's Stagecoach) gives a career-best performance as Driscoll; Ian Hunter plays the enigmatic shipmate known only as "Smitty"; Ford regulars Barry Fitzgerald, John Qualen, Ward Bond, Arthur Shields, and Joseph Sawyer fill key roles; and the top-billed John Wayne contributes a surprisingly effective supporting performance as Ole, a gentle Swedish giant who really belongs on a farm somewhere. Although neglected in recent years, this movie has a permanent place of honor in one of the most amazing three-year creative streaks any director ever had. John Ford had a big emotional investment in The Wings of Eagles, and his favorite star John Wayne rewarded the director with one of his strongest performances. The subject is Frank "Spig" Wead, Naval aviation legend turned Hollywood screenwriter, who had written Ford's very good 1932 movie Air Mail and his magnificent WWII elegy They Were Expendable (1945). Ford was fond of exploring the theme of "victory in defeat." Wead's life was made to order for that. The hell-raising flyboy shenanigans, and his flailing marriage to a scrappy Irish redhead (The Quiet Man's Maureen O'Hara reporting for duty), were abruptly curtailed by a fall that left him with severe spinal damage. He should never have been able to walk again, but he fought his way back to limited mobility and built a new career as a writer. And when WWII broke out, Wead made a key contribution to the Pacific air war. It would be satisfying to report that The Wings of Eagles is a triumph--that the broad comedy of the early reels cuts brilliantly against the raw pain of the Weads' marriage, the grief of a family broken and mended and broken again, the film's specters of death and deep frustration. There are powerful moments, but the low comedy is very low, the visual style sometimes stark but more often just drab, and the screenplay is very choppy about the passage of time. They Were Expendable is the greatest American film of the Second World War, made by America's greatest director, John Ford, who himself saw action from the Battle of Midway through D-day. Yet it's been oddly neglected. Or perhaps not so oddly: for as the matter-of-fact title implies, the film commemorates a period, from the eve of Pearl Harbor up to the impending fall of Bataan, when the Japanese conquest of the Pacific was in full cry and U.S. forces were fighting a desperate holding action. Although stirring movies had been made about these early days, they were gung ho in their resolve to see the tables turned. They Were Expendable, however, which was made when Allied victory was all but assured, is profoundly elegiac, with the patient grandeur of a tragic poem. "They" are the officers and men of the Navy's PT boat service, an experimental motor-torpedo force relegated to courier duty on Manila Bay but eventually proven effective in combat. Their commander is played by Robert Montgomery, who actually served on a PT and later commanded a destroyer at Normandy (he also codirected the breathtaking second-unit action sequences). John Wayne's costarring role as Montgomery's volatile second-in-command initially looks stereotypically blustery, but as the drama unfolds, Wayne sounds notes of tenderness and vulnerability that will take Duke-bashers by surprise. They Were Expendable is a heartbreakingly beautiful film, full of astonishing images of warfare, grief, courage, and dignity. This is a masterpiece. |
Studio: Turner Hm Entertainm Release Date: 05/22/2007 Run time: 103 minutes Rating: Nr |
He's Dexter Riley (Kurt Russell), just a regular-guy college student at Medfield College--until one fateful night he is accidentally transformed into a human computer. His newfound genius makes him an overnight sensation when he gets all the answers right on a college quiz show. This instant celebrity status also brings an instant massive ego, which threatens his friendships as well as his safety. Caught up between battling college deans (Joe Flynn and Alan Hewitt) and a dangerous mobster (Cesar Romero), Dexter soon learns friends are more valuable than money. This movie, released in 1970, is a true romp with silly situations and madcap misadventures. The size of the computer itself is now good for a sight gag. It's likable but goofy, with no real weight. A fun, innocent diversion that the whole family can look and laugh at, each for different reasons. Did people really dress like that? --Peggy Maltby-Etra |
The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to jazz and flaunted their disdain for what was then considered "decent" behavior. Category: Anarchy |
The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to jazz and flaunted their disdain for what was then considered "decent" behavior. Category: Anarchy |
The term flapper in the 1920s referred to a "new breed" of young women who wore short skirts, bobbed their hair, listened to jazz and flaunted their disdain for what was then considered "decent" behavior. Category: Anarchy |
On Katy's birthday, all of her animal friends come to the party dressed in clothes of different colors. |
A Washington Post Book World Best Book of the Year When her carriage first crossed over from her native Austria into France, fourteen-year-old Marie Antoinette was taken out, stripped naked before an entourage, and dressed in French attire to please the court of her new king. For a short while, the young girl played the part. But by the time she took the throne, everything had changed. In Queen of Fashion, Caroline Weber tells of the radical restyling that transformed the young queen into an icon and shaped the future of the nation. With her riding gear, her white furs, her pouf hairstyles, and her intricate ballroom disguises, Marie Antoinette came to embody--gloriously and tragically--all the extravagance of the monarchy. |
'As a mother of two teenage daughters, I cannot think of any book more beautifully inspiring than And the Bride Wore White. My daughters love Dannah's insights, humor and her call for a life without regrets...I am deeply grateful for the realistic role model she is for my daughters...she has changed their lives and in doing so she has changed mine.' Tammy Maltby, author and co-host of Emmy nominated Aspiring Women.Dannah Gresh's And the Bride Wore White exposes our culture's lies about sex, and prepares young women and girls for the world's pressures. In this special edition there will be dozens of stories/personal testimonies of hurt and healing...first time salvations...confessions to parents that lead to accountability...and lots of wedding proposals, of course. |
Capturing an online community of artistic, peer-inspired and -supported fashion pioneers, this collection of more than 250 images gives an unprecedentedly unique insight into the real style of girls today. Forget the Paris runways to spot the style vanguard, here are young women for whom taking photos of themselves in their bedrooms, kitchens, and hallways and posting them to blogs and flickr is a daily ritual. The images include favorite peer-voted style gurus from flickr, MySpace, and fashion blogs. Fascinating as an intimate look at street style and as a record of the new wave of amateur portrait photography, this bright, colorful, eclectic read showcases the community where the internet generation get their real fashion inspiration. |
Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 11 x 17 inches - Great for Autographs |
Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 11 x 17 inches - Great for Autographs |
Brand New Officially Licensed Sports Photo - Guaranteed to Arrive Safe - Size: 11 x 17 inches - Great for Autographs |
The Puma Tres Coracoes was inspired by the performance soccer boots Pele wore in the 1970 World Cup in Mexico. Leather upper. Rubber outsole. |
