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It’s one of the year’s most awaited discs: the recent restored and remastered The War of the Worlds ’53 in a glorious 4K Ultra HD edition. A second Blu-ray disc of When Worlds Collide ’51 is too good to be called a bonus extra: this edition looks better than anything seen since original Technicolor prints. In one show we endure scurvy invaders from The Red Planet; in the other a rogue Astral Body threatens Earth with obliteration, necessitating escape on a space ship. Don’t bother checking online for tickets, the flight is sold out. CineSavant has the lowdown for collectors: how good does the new release look?

The War of the Worlds on 4K Ultra-hd

When Worlds Collide on Blu-ray

Digital HD Access for both titles.

Paramount Presents

George Pal Sci-fi Double Feature

Color / 1:37 Academy / Street Date September 27, 2022 / 167 minutes / Available from Amazon / 39.99

Starring: Richard Derr, Barbara Rush, John Hoyt; Gene Barry,...

Chamber of Horrors

Blu-ray

Kino Lorber

1940 / B&W / 1:33 / Street Date March 21, 2017

Starring: Lilli Palmer, Leslie Banks.

Cinematography: Alex Bryce, Ernest Palmer

Film Editor: Ted Richards

Written by Gilbert Gunn, Norman Lee

Produced by John Argyle

Directed by Norman Lee

Near the turn of the century a struggling war correspondent named Edgar Wallace began churning out detective stories for British monthlies like Detective Story Magazine to help make the rent. Creative to a fault, his preposterously prolific output (exacerbated by ongoing gambling debts) soon earned him a legion of fans along with a pointedly ambiguous sobriquet, “The Man Who Wrote Too Much.”

A reader new to Wallace’s work could be excused for thinking the busy writer was making it up as he went along… because that’s pretty much what he did. He dictated his narratives, unedited, into a dictaphone for transcription by his secretary where they would then...

“They’ve poisoned your mind against me. That’s why you’re afraid!”

The Phantom Of The Opera (1943) plays on the big screen at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, October 8th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. Admission is only and the film will be introduced by Kmox Movie Reviewer Harry Hamm

1943’s Phantom Of The Opera is often criticized for straying too much from the original story, and for having too much focus on the opera. Monster kids have always felt that it’s too much Opera and not enough Phantom, but the heart of the story remains true to the classic story. A phantom (Claude Rains) stalks the Paris Opera House, and is attempting to get an opera starlet (Susanna Foster) into the spotlight. He murders and creates destruction to get his way.

I guess Howard Hughes wanted to go easy on Minnesota Nazis. William Cameron Menzies directs a Cold War thriller about an insidious germ warfare conspiracy -- it's an early paranoid suspense tale with apocalyptic consequences. But the story behind the movie's making -- and then remaking -- is even more fantastic. The Whip Hand DVD-r The Warner Archive Collection 1951 / B&W / 1:37 flat Academy / 82 min. / Street Date February 16, 2016 / available through the WBshop / 18.59 Starring Elliott Reid, Raymond Burr, Carla Balenda, Edgar Barrier, Otto Waldis, Michael Steele, Lurene Tuttle, Peter Brocco, Lewis Martin, Frank Darien, Olive Carey, George Chandler, Gregory Gaye. Cinematography Nicholas Musuraca Film Editor Robert Golden Original Music Music by Paul Sawtell Written by George Bricker, Frank L. Moss, Ray Hamilton Produced by Louis J. Rachmil Directed by William Cameron Menzies

Reviewed by Glenn Erickson

Film writers Bill Warren and Tom Weaver have reported extensively on the unusual production story...

William Cameron Menzies. William Cameron Menzies movies on TCM: Murderous Joan Fontaine, deadly Nazi Communists Best known as an art director/production designer, William Cameron Menzies was a jack-of-all-trades. It seems like the only things Menzies didn't do was act and tap dance in front of the camera. He designed and/or wrote, directed, produced, etc., dozens of films – titles ranged from The Thief of Bagdad to Invaders from Mars – from the late 1910s all the way to the mid-1950s. Among Menzies' most notable efforts as an art director/production designer are: Ernst Lubitsch's first Hollywood movie, the Mary Pickford star vehicle Rosita (1923). Herbert Brenon's British-set father-son drama Sorrell and Son (1927). David O. Selznick's mammoth production of Gone with the Wind, which earned Menzies an Honorary Oscar. The Sam Wood movies Our Town (1940), Kings Row (1942), and For Whom the Bell Tolls (1943). H.C. Potter's Mr. Lucky...

The Phantom of the Opera

Written by John Jacoby, Samuel Hofffenstein, Eric Taylor

Directed by Arthur Lubin

U.S.A., 1943

It comes as a surprise to no one when stating that Hollywood is not averse to remaking movies. It is an old practice that goes back many decades, all the way back to the earliest days of the studio system. Great stories, apparently, bear retelling with more modern casts and more modern filmmaking techniques. In some cases, it is an issue of actually modernizing the setting, whereas in others instances the studio believes that audiences crave a new version of a familiar classic even though it was a period piece to begin with. Among several early attempts at refurbishing highly regarded motion pictures was 1943’s Phantom of the Opera, released not quite 20 years after the terrifying original and about 15 years after said original was itself the subject of tinkering to...

Teresa Wright ca. 1945. Teresa Wright movies on TCM: 'The Little Foxes,' 'The Pride of the Yankees' Pretty, talented Teresa Wright made a relatively small number of movies: 28 in all, over the course of more than half a century. Most of her films have already been shown on Turner Classic Movies, so it's more than a little disappointing that TCM will not be presenting Teresa Wright rarities such as The Imperfect Lady and The Trouble with Women – two 1947 releases co-starring Ray Milland – on Aug. 4, '15, a "Summer Under the Stars" day dedicated to the only performer to date to have been shortlisted for Academy Awards for their first three film roles. TCM's Teresa Wright day would also have benefited from a presentation of The Search for Bridey Murphy (1956), an unusual entry – parapsychology, reincarnation – in the Wright movie canon and/or Roseland (1977), a little-remembered entry in James Ivory's canon.

Teresa Wright: Later years (See preceding post: "Teresa Wright: From Marlon Brando to Matt Damon.") Teresa Wright and Robert Anderson were divorced in 1978. They would remain friends in the ensuing years.[1] Wright spent most of the last decade of her life in Connecticut, making only sporadic public appearances. In 1998, she could be seen with her grandson, film producer Jonah Smith, at New York's Yankee Stadium, where she threw the ceremonial first pitch.[2] Wright also became involved in the Greater New York chapter of the Als Association. (The Pride of the Yankees subject, Lou Gehrig, died of Amyotrophic Lateral Sclerosis in 1941.) The week she turned 82 in October 2000, Wright attended the 20th anniversary celebration of Somewhere in Time, where she posed for pictures with Christopher Reeve and Jane Seymour. In March 2003, she was a guest at the 75th Academy Awards, in the segment showcasing Oscar-winning actors of the past. Two years later,...

Orson Welles' Too Much Johnson, screened for the first time to a full house at Pordenone Festival of Silent Cinema, comes trailing clouds of mystery like so much else in the life and work of its maker.

We know Welles shot the film in 1938 with a newsreel cameraman, intending it as a series of insert sequence within a play he was producing with the Mercury Theater. For various reasons, the three sequences, intended to carry the exposition in William Gillette's 1894 farce, were not ready or could not be projected when the play opened, and as a result the show was not a success.

Now George Eastman House has restored what it describes as Welles' cutting copy, apparently discovered in a warehouse in Pordenone itself. It consists of several reels of loosely ordered material with multiple takes, and was presented without any alteration apart from the preservation necessary to make the material projectable.

This year's edition of the silent film festival featured Welles' previously-thought-lost Too Much Johnson amid a typically irreverent and varied selection

• Orson Welles's first professional film discovered in an Italian warehouse

• Review: Peter Bradshaw on Blancanieves

The first full day of the 32nd Giornate del Cinema Muto, the world's most prestigious silent-film festival, took place exactly 86 years after The Jazz Singer premiered in New York. There were no mournful faces in the town of Pordenone, Italy, where the Giornate is held, however. In this corner of the world, for one week only, it is not quite as if the talkies never arrived, but rather that they failed to stop the party. Silent cinema continues to reinvent itself, to surprise even its most protective guardians, and to multiply.

The opening gala night of the festival featured a recent film that paid tribute to European silent cinema, Pablo Berger's invigoratingly...

Too Much Johnson – which was intended for inclusion in a theatre show – forms an 'intellectual bridge' between the director's theatrical and cinematic careers, says its restorer

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It's hugely exciting discovery – and a bizarre, unexpected one too. An early Orson Welles film, previously thought lost, has been found in a warehouse in northern Italy. Too Much Johnson, the second film Welles ever created, is a silent movie, a slapstick comedy that has never been shown and was thought to have been destroyed in a fire.

"We may never fully understand the mystery of why it was abandoned. What matters now is that it is safe, and that it will be seen," says Dr Paolo Cherchi Usai, senior curator of motion pictures at the George Eastman House in Rochester, New York, which restored the footage.

The film, says Cherchi Usai, is the "intellectual bridge" between Welles's theatrical and cinematic careers.

Silent short Too Much Johnson features Joseph Cotton and Orson Welles.

A 1938 Orson Welles film has been discovered in a warehouse in Italy.

Silent film Too Much Johnson, starring Joseph Cotten in the lead role, was found in a warehouse by the staff of Cinemazero, an art house in Pordenone, Italy.

The silent film was originally intended to be used in conjunction with Welles’ stage adaptation of an 1894 play by William Gillette. The Mercury Theatre planned to show the three short films as prologues to each act of the play.

The nitrate print of the film - left unfinished by the Mercury Theatre and never shown in public - was given by Cinemazero to one of Italy’s major film archives, the Cineteca del Friuli in nearby Gemona, and transferred from there to George Eastman House in order to be preserved.

According to published sources, until now the only known print of Too Much Johnson had burnt...

Orson Welles made his feature film debut as a director with Citizen Kane and before that he directed the eight-minute short film Hearts of Age, which you can watch at the bottom of this post. However, Welles worked on another film between those two efforts, which was believed lost forever... until now. Dave Kehr at the New York Times has posted a feature article on Welles' Too Much Johnson, a 1938 film he wrote, directed and never finished based on the play by William Gillette, which has recently resurfaced "in the warehouse of a shipping company in the northern Italian port city of Pordenone, where the footage had apparently been abandoned sometime in the 1970s." Classic film organization Cinemazero is working with George Eastman House and the National Film Preservation Foundation to preserve and transfer the nitrate film to safety stock, after which the 40 minutes of surviving footage will be screened...

Paul Henreid: From Eleanor Parker to ‘The Four Horsemen of the Apocalypse’ (photo: Paul Henreid and Eleanor Parker in ‘Between Two Worlds’) Paul Henreid returns this evening, as Turner Classic Movies’ Star of the Month of July 2013. In Of Human Bondage (1946), he stars in the old Leslie Howard role: a clubfooted medical student who falls for a ruthless waitress (Eleanor Parker, in the old Bette Davis role). Next on TCM, Henreid and Eleanor Parker are reunited in Between Two Worlds (1944), in which passengers aboard an ocean liner wonder where they are and where the hell (or heaven or purgatory) they’re going. Hollywood Canteen (1944) is a near-plotless, all-star showcase for Warner Bros.’ talent, a World War II morale-boosting follow-up to that studio’s Thank Your Lucky Stars, released the previous year. Last of the Buccaneers (1950) and Pirates of Tripoli (1955) are B pirate movies. The former is an uninspired affair,...

Arabian Nights

Directed by John Rawlins

Starring Jon Hall, Maria Montez, and Sabu

USA, 86 min – 1942.

Part of a series of exotic pictures released by Universal in the 1940s (the others of which include Ali Baba and the Forty Thieves and White Savage), Arabian Nights places the Hollywood spin on the classic tale of Scheherazade and her murderous husband. The name of the source material’s heroine – Scheherazade – is kept the same, while others are changed. The tale is twisted, so that there seems to be very little of the original myth and of the original Scheherazade. What is left are some names, supposed exotic places (“Arabia”), a brother’s feud, and humorous references to the stories of Aladdin and Sinbad. Arabian Nights becomes a campy adventure film to take war-minded audiences away to a far off place, for a while. It works.

Universal’s Arabian Nights begins with a frame...

I was saddened to learn this morning that Betty Garrett, the great star of stage, screen, and TV, passed away yesterday at the age of 94 after suffering an aortic aneurysm.

Garrett was one of those rare people — like, say, Jack Valenti — who happened to be a witness to and/or participant in a remarkably high number of historic events of the 20th century. She was a member of Orson Welles’s famed Mercury Theatre company, and was with him on the night that he shook up America with his infamous radio broadcast of “The War of the Worlds” (1938); she was Frank Sinatra’s leading lady in two of the earliest great M-g-m musical-comedies, “Take Me Out to the Ballgame” (1949) and “On the Town” (1949); her career was greatly hurt by the Hollywood Red Scare after her husband, the Oscar nominated actor Larry Parks, refused to name names before the House Committee...

Film Noir Classic Collection: Vol. 5, has dusted off eight films of the celebrated genre and adapted them to DVD format. Collections like these, which bring older films to newer light, are godsends regardless (to a degree) of which films are selected, because as timeless as some of these stories and performances might be, the barrier of being stuck in an old format can bury them forever. And these stories deserve to be told. If you watch a few well made noir thrillers you will no doubt see the seeds that were planted in the heads of crime-thriller filmmakers the likes of Martin Scorsese or Michael Mann. Though there are better films in the noir genre that this collection could have culminated, there are also a lot worse. Any fan of noir films or old mysteries and thrillers will be pleased at what this box set has to offer.

Desperate (1947)

Directed...