Planes,Trains and Automobiles

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This wonderfully detailed German Shepherd outdoor garden or porch statue has a solar powered lantern light hanging from his mouth. The lantern turns on automatically in dark conditions, and lasts up to 10 hours under a full charge. The light is a super bright White LED, and casts a nice soft glow under dark conditions. Made of cold cast resin, the dog measures 16 inches tall, 11 inches wide and 8 inches deep. He's hand-painted, and shows great detail.This statue makes a wonderful gift for any German Shepherd lover.

The best-known of Errol Flynn's movies are already out there on DVD, so surely there can't be much left over to keep the second volume of the Errol Flynn Signature Collection from being an anticlimax. Except it's not. The new boxed set includes a splendid historical adventure, two aviation movies impressive in different ways, and a late swashbuckler that operates as a droll gloss on the star's persona. Plus (wait for it...) it also contains the best movie Errol Flynn ever made, and very likely his best performance as well. Let's take that last one first. Raoul Walsh's Gentleman Jim (1942) is a great, boisterous gift box of a movie, a high-spirited biopic of late-19th-century prizefighter James J. Corbett. The setting is San Francisco in the Gay '90s, with Flynn/Corbett starting out as a brash, egotistical bank teller fast with his mouth and light on his feet. Given a chance to crash high society, he becomes a pugilist for the amusement of the nabobs, then sets out on a boxing career that will bring him glove-to-glove with the Great John L. ... Sullivan, that is, and portrayed with Walshian gusto by Ward Bond. Gentleman Jim is fragrant with period atmosphere, exhilarating in its feeling for space and back-slapping human contact, and so big-hearted and exuberant that it finally invites the audience right into the film. Alexis Smith--as a socialite who ribs Corbett mercilessly--and Flynn conduct a strikingly egalitarian mating duel. The supporting cast includes Jack Carson, Alan Hale, and the epically grumpy William Frawley, and the whirlwind montages are by future director Don Siegel. This is great fun--and a masterpiece to boot. The adventure movie is The Charge of the Light Brigade (1936), Flynn's second star vehicle in Hollywood. A step up in scale and gloss from Captain Blood, this Michael Curtiz picture is historical poppycock but thrilling spectacle, with exotic doings in India and Asia Minor building to the horrendous siege of Chukoti, then a lateral move to the Crimea for the big Tennyson finish every perennial schoolboy in the audience has been waiting for. The Flynn of this swashbuckler-one-step-removed isn't the buoyant and boyish fellow we expect; he even comes in second to fellow Bengal Lancer (and dull brother) Patric Knowles for the heart of Olivia De Havilland. But he wears nobility well, and there's genuine tenderness in his performance. The camerawork and editing of the Charge will lift your heart rate, and the large supporting cast includes Donald Crisp, Nigel Bruce, Spring Byington, C. Henry Gordon, and Flynn pal David Niven. Niven and Flynn are together again in The Dawn Patrol (1938), a memorable WWI tale of British airmen flying perilous missions in flimsy planes, and the flight commanders who have to send them out to do it. Basil Rathbone (in a rare departure from villainy in a Flynn movie) plays the tortured commandant whom hotshot Flynn will be obliged to succeed. Although this is the Dawn Patrol most people know, it's actually the remake of a 1930 Howard Hawks classic. The original has a starker feel (inseparable from its early-talkie creakiness), as if its airbase were at the edge of the known world. The more up-to-date Flynn version, directed by Edmund Goulding, is smoother entertainment, with a stronger supporting cast--but all the flying footage is from Hawks's movie. The other aviation drama is Dive Bomber (1941), a big hit just before America's entry into WWII. Flynn plays it more sober than usual (no pun intended) as a Navy flight surgeon helping to lick the challenge of high-altitude sickness. There's no good reason for the movie to last 132 minutes, and both the macho griping of aviator Fred MacMurray and the garish treatment of the peripheral females (including Alexis Smith in her first featured role) get tiresome. But these are worth enduring for the breathtaking flight scenes in vivid Technicolor--which looks every bit as great as it must have in 1941. Director Michael Curtiz, in what would be his last film with Flynn, even sets up the ground scenes to include low-altitude flyovers. The Adventures of Don Juan (1948), made near the end of Flynn's Warner years, is a footnote to the star's swashbuckling legacy and a not-very-inside joke on his reputation as real-life Don Juan; the picture is at least as interested in eliciting chuckles as serving up thrills. Director Vincent Sherman lacked the brio of Curtiz and the gusto of Walsh, but he ably steers the actor past self-parody to a reasonably graceful performance. Again, the real excitement is the ultra-radiant Technicolor--a perhaps inadvertent result of veteran film noir cameraman Woody Bredell lighting the movie as though he were still working that black-and-white territory. Viveca Lindfors supplies urbane love interest as the Queen of Spain, and Robert Douglas stands in for Basil Rathbone as villain-in-chief. Consistent with previous Warner practice, all but one of the features in Volume 2 come packaged with a "Warner Night at the Movies" set of shorts: cartoons, comedy shorts, trailers for contemporaneous WB movies, and sometimes newsreels. The disc of Gentleman Jim also includes an audio-only bonus, a radio reenactment featuring Flynn and costars Alexis Smith and Ward Bond. Probably because of its two-hour-plus running time, Dive Bomber is accompanied only by its trailer and a brief documentary, in which historian Rudy Behlmer shares a choice anecdote about Mike Curtiz attempting to direct airplanes. Unfortunately, of Flynn and his various directors, only Vincent Sherman was still available to do a commentary track (on Adventures of Don Juan, which also includes Behlmer commentary); Sherman passed away in 2006 at the age of 99. --Richard T. Jameson

The swashbuckling romantic lover Don Juan is sent back to Spain in disgrace, where he discovers the oppression of the people and wins the heart of the queen; a fictionalized account of events leading up to the suicidal charge on Russian forces by the BritGenre: Feature Film-DramaRating: NRRelease Date: 27-MAR-2007Media Type: DVD

Good condition and a great way to start someone in classical appreciation.

This digitally mastered SP mode Laserlight edition of "Secret Agent" includes a short introduction by Tony Curtis. Many Laserlight classics have an intro like this. Mr. Curtis provides interesting production tidbits, a few still photos and publicity shots are shown; this version is a welcome addition to the many poorer quality budget releases of this title out there. Laser Light has also added an original theatrical trailer to the 1955 Hitchcock trailer, THE MAN WHO KNEW TOO MUCH. As for the movie itself... For a 1936 suspense thriller, it holds up pretty well. A charming villain, an innocent man who appears guilty--these trademark Hitchcock touches make The Secret Agent a wonderfully offbeat mystery. Suspense builds to a shattering climax as a novice British agent, a lovely spy apprentice, and an eccentric assassin unmask their enemy. Hitchcock fans won't want to miss it. There is a lot of humor in this film, most of it courtesy of Peter Lorre, who steals the film as The General.

This compelling 1992 drama is often cited as the third film in writer-director Paul Schrader's trilogy of "nocturnal alienation" that includes Martin Scorsese's Taxi Driver (which Schrader wrote) and American Gigolo. Like those other films, this one deals with a solitary man who works almost exclusively at night, and the film immerses us in the rhythms and psychology of his lifestyle. In this case, Willem Dafoe plays a cocaine addict who has kicked the habit that almost killed him, but still delivers drugs to clients for a dealer (Susan Sarandon) who dreams of opening a legitimate cosmetics business. He meets an old lover (Dana Delany) who fears he will draw her into their old life of drug abuse, but that proves to be the least of their worries. Simultaneously sad, funny, and fascinating, the film inevitably leads to the outburst of violence that has become a kind of signature in Schrader's work. It lacks the visceral impact of Taxi Driver, but few directors can match Schrader's gift for creating fully realized characters on the fringes of a society to which they don't quite belong. Insomnia, in Schrader's world, is a condition suffered by those whose dreams remain elusive, just beyond their grasp. --Jeff Shannon

Two years after 1963's The Great Escape thrilled movie audiences with a tale of Allied soldiers working cooperatively to flee a World War II-era prisoner-of-war camp, CBS found a hit situation comedy in the loosely similar Hogan's Heroes. Initially dismissed by critics as being in poor taste, the half-hour show starred Bob Crane (previously known for a supporting role on The Donna Reed Show) as Colonel Robert Hogan, leader of a resourceful band of French, British and American guests of the German Luftwaffe. Rather than sit out the war with his fellow captives, Hogan essentially used the POW camp, Stalag 13, as a base for sabotaging Nazi operations whenever possible, helping important prisoners escape, supporting the Resistance, gathering intelligence for the Allies, and generally screwing up enemy battlefield plans. The work was always dangerous, but Hogan's crew had a number of advantages: a network of underground tunnels beneath the camp (some leading to a nearby town), a flair for disguises, the complementary talents of Hogan's key staff, and the reliable idiocy of camp Commandant Klink (Werner Klemperer) and willful ignorance of lead officer Sergeant Schultz (John Banner). Season one of Hogan's Heroes found all of these elements securely in place and the series balancing farce with suspense. Typical storylines include "Hold the Tiger," in which the boys smuggle a new German Tiger Tank into the camp, disassemble it to construct a blueprint, and then reassemble it under Klink's nose. "The Prisoner's Prisoner" finds Hogan kidnapping a Nazi general, sneaking him into Stalag 13, and tricking him—a la Mission: Impossible--to reveal troop plans. In "The Prince from the Phone Company," one of Hogan's most-trusted confederates, radio operator Kinchloe (Ivan Dixon), disguises himself as an African prince trying to secure money from the Third Reich. Half the fun of these shows is watching Hogan thinking quickly on his feet whenever things start to go wrong, or when one of Klink's more intelligent superiors becomes suspicious that not everything at Stalag 13 is as under control as it seems. Besides Dixon, the other players making up Hogan's elite squad include Richard Dawson as the slightly disreputable Newkirk (with a talent for thievery), Larry Hovis as chemistry whiz Carter, and Robert Clary as the charming LeBeau. --Tom Keogh

Allied soldiers in a German POW camp cause havoc for their captors and the Nazi war effort.

A love story set amidst the chaos and horror of World War II, Dresden tells the tale of a beautiful young German nurse who falls in love with an injured British pilot. Anna (Felicitas Woll) is engaged to a wealthy doctor, but she wants more than the bland certainty he can offer her. While on her rounds at the hospital, she discovers Robert (John Light), who is in hiding. Anna knows little about him and is initially unaware that he is a British soldier, and therefore her enemy. What starts as a quiet, private romance escalates into an affair that the couple has a difficult time containing. Woll and Light make beautiful leads, but it's the supporting characters who stand out. Dr. Carl Mauth (Heiner Lauterbach), Anna's father, is a complicated and compelling man who will resort to stealing morphine if his patients are in need. Watching his emotive face, viewers understand his intent without having to hear him speak. Dresden's filmmakers do a formidable job of presenting both the Brits and the Germans as flawed people who aren't sure what is right and wrong. Set in January, 1945, prior to the Allied bombings of Dresden, the German production team does a fine job of meshing soap opera type melodrama with feverish action. There are some scenes that are horrific and gruesome to watch. But more often than not, they succinctly set the tone for the violence that accompanies war. Though the three-hour miniseries (which offers both English and German with English subtitles) has been favorably compared with the epic love story portrayed in Titanic, it also shares some of the sweet aspects of Summer of My German Soldier, a 1978 made-for-TV movie that depicts the unlikely friendship between a young Jewish girl and a German POW. As with war, there sometimes is no explanation for love. It just happens. --Jae-Ha Kim

In the final weeks of World War II, a German nurse discovers a wounded British soldier hiding in the basement of a Dresden hospital and risks her life

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