Holiday Gifts? Some Recommended DVD Boxed Sets

As distinctly American as jazz. During its heyday in the 1940s-1950s, the noir movement dominated American pop culture, rivaling the outlaw toughness of the Western, the darkness of the Gothic. The films of the era were urban and racy--the dialogue snapped, sex underscored the sleaze, blood soaked the pavements. All boil together in this fine collection from Warner, which showcases five films--1949’s “Border Incident,” with Ricardo Montalban; 1951’s “His Kind of Woman,” with Robert Mitchum, Jane Russell and Vincent Price; 1946’s “Lady in the Lake,” with Robert Montgomery; 1952’s “On Dangerous Ground,” with Ida Lupino; and from 1951, “The Racket,” with Mitchum again and a commentary by film historian Eddie Mueller. The additional bonus disc includes the worthwhile documentary, “Film Noir: Bringing Darkness to Light,” as well as several shorts, the highlight of which is “Woman in Hiding.” Grade: A-

“Harold Lloyd Comedy Collection”
Perhaps now, with the release of this excellent collection from New Line, Harold Lloyd will have his day. It's overdue. During a time when Chaplin’s Tramp and Keaton’s antics ruled, so also did Harold Lloyd, though history hasn't been as kind to him. Ask most who the former performers are, and you'll at least get a flash of recognition. Mention Lloyd, and you might get a blank stare. All of this is curious since Lloyd, who appeared in more than 200 films and who found his hook in a pair of round eyeglasses that offset a blanched face, became one of the foremost comedians of the silent era. It’s his inventiveness that grabs you, his physical comedy and the great risks he took (just witness him hanging from a clock in 1923’s “Safety Last!”) that are so compelling--and so funny. Watching Lloyd, you can see how he influenced such actors as Jim Carrey. Filmed mostly in the 1920s, the 13 feature films and seven shorts included in this smashing boxed set are all digitally remastered, restored and rescored, with a bonus disc that includes Lloyds personal home movies, as well as several interviews and featurettes. A terrific collection, the best boxed set of the year. Grade: A

"The Glamour Collections"
From Universal, three women, three collections, 15 movies--"The Marlene Dietrich Glamour Collection," "The Mae West Glamour Collection," "The Carole Lombard Glamour Collection." Each is a must. In "Dietrich," some fine films are assembled, including "Morocco," "Blonde Venus," "The Devil is a Woman," "Flame of New Orleans" and "Golden Earrings." For West, look for "Go West Young Man," "Goin' to Town," 'I'm No Angel," "My Little Chickadee" and "Night After Night." In "Lombard," slapstick is key in the movies "Hands Across the Table," "Love Before Breakfast," "Man of the World," "The Princess Comes Across," "True Confessions" and "We're Not Dancing." Thing is, all three of these women were dancing, with some scenes in these collections proving so memorable, they've become iconic. In "Morocco," for example, Dietrich dons a tux with tails and bends to kiss a woman, which caused a sensation upon the film's 1930 release. In "Blonde Venus," she appears in a monkey suit to sing "Hot Voodoo," and strips to reveal the sort of glamour for which she was known (Madonna learned plenty from her). For West, all she has to do is put a hand on her hip, flash her eyes and screw up her face, and she gets a laugh. It's the surprise that comes out of her mouth, however, that sends you over the edge. Grade: A

“Myrna Loy and William Powell Collection”
W.S. Van Dyke’s “The Thin Man” was an enormous hit upon its 1934 release. It caused a sensation, earning four Academy Award nominations--including Best Picture and Best Actor--and spawning a series of five additional “Thin Man” films, the last of which appeared in 1947. Not bad for a movie shot in just 12 days. Based on Dashiell Hammett’s novel, the film is beautifully shallow, sophisticated, and smart; there’s no keeping it down. It’s pure slapstick noir, a breezy social comedy whose likable characters are consistently half in the bag, which is much of the fun. As written by Albert Hackett and Frances Goodrich, the film is a post-prohibition potboiler that slyly thumbs its nose at the end of a ridiculously restrictive era, with the robust, non-stop drinking of its main characters fueling an atmosphere that’s at once giddy and infectious. The movie follows Nick and Nora Charles (William Powell and Myrna Loy), two high-flying millionaires who love their martinis almost as much as they love solving crime. With their dog, Asta, at their side, these two are a gas, so loaded with booze, bitchy bon mots, swanky digs and couture, you’d think the movie was shot in the 1920s rather than the Depression. But of course that’s the point. With the exception of a few hangovers--and the occasional dead body turning up for good measure--there isn’t a trace of hardship here, just grand living punctuated with rounds of clever repartee. Is there anything better? Not here. This is an escape movie of the first order, with Van Dyke and company boldly taking the world with them. The plot is almost secondary to the chemistry blistering between Powell and Loy--theirs was one of the great screen romances. Still, a primer is helpful. In the film, Nick and Nora find themselves involved in the disappearance of the wealthy inventor Clyde Wynant (Edward Ellis), who may or may not be responsible for several grisly murders. What begins as a way to pass the time for couple-- they’re spectacularly bored and only enter into this whodunit because Wynant’s daughter, Dorothy (Maureen O’Sullivan), is a friend of Nick’s--quickly becomes all-engrossing as they set out to learn the truth. Several shady characters add dice to the mix, but then so do the conniving high society types. It’s the final clash between those two groups at a dinner party thrown by the Charleses that gives “The Thin Man” one of cinema’s best climactic moments. Grade: A

“The Tennessee Williams Film Collection”
The boxed set to beat this year. Five films, some among our best, inspired by the great playwright, Tennessee Williams. Included are 1951’s “A Street Car Named Desire,” with Marlon Brando and Vivien Leigh; 1958’s “Cat on a Hot Tin Roof,” with Elizabeth Taylor, Paul Newman and Burl Ives (“The mendacity!”); 1964’s “The Night of the Iguana” with Richard Burton, Ava Gardner and Deborah Kerr; Elia Kazan’s 1956 film, “Baby Doll,” with Karl Malden; 1961’s “The Roman Spring of Mrs. Stone,” smoldering with Vivien Leigh and Warren Beatty; and 1962’s “Sweet Bird of Youth,” with Paul Newman, Geraldine Page and Rip Torn. Includes a bonus DVD, “Tennessee Williams South,” which cuts to the heart of the complicated, fascinating Williams. An excellent set. Grade: A