Diane in Drama DVDs & Videos

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Set in 1966; Produced and released in 1983. Francis Ford Coppola's stylized teen melodrama is based on the popular novel by S. E. Hinton. In 1960s Tulsa, the "right" and "wrong" sides of the tracks are represented by rival gangs, the upscale Socs and the underprivileged Greasers. Darrel Curtis (Patrick Swayze) is doing his best to raise his two younger brothers, Sodapop (Rob Lowe in his first film role) and Ponyboy (C. Thomas Howell). Sensitive Ponyboy is a budding writer in love with Cherry (Diane Lane), the unobtainable beauty from the enemy gang. When Ponyboy's buddy, troubled Johnny Cade (Ralph Macchio), kills one of the Socs in self-defense, their friend Dallas (Matt Dillon) helps the two youths hide out in an abandoned country church. There they live as exiles from a society that doesn't want them. But not all is lost, when Ponyboy, Johnny, and Dallas save some children caught in a fire they become unlikely heroes. The young cast is the jewel of this sensitive, moving film. Tom Cruise and Emilio Estevez play Greasers, and pop singer Leif Garrett plays rich-kid Bob. Dillon also starred that year in another S. E.Hinton adaptation directed by Coppola--the fascinating and extremely entertaining RUMBLE FISH.

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Jodie Foster and Anthony Hopkins will likely be forever associated with their roles in this bone-chilling masterpiece, based on the novel by Thomas Harris and directed by Jonathan Demme. FBI trainee Clarice Starling (Foster) is sent by her supervisor (Scott Glenn) to interview ferociously intelligent serial killer Hannibal "The Cannibal" Lechter (Hopkins) at his cell in a Maryland mental hospital. The FBI hopes Lechter can provide insight into the mind of killer-at-large, Buffalo Bill (Ted Levine), whose current abductee happens to be the daughter of a senator. Intrigued by Clairice, Lechter demands information about her personal life and in exchange for clues, and the two begin to form a strangely intimate connection, with a girl's life hanging in the balance. Starling is gradually revealed as a woman struggling out of her own darkness, bound to aid the dysfunctional males around her on their own paths of transformation, liberation, and destruction. This is a film of brilliant and disturbing beauty that transcends its B-movie origins (though it does honor them with a cameo appearance by Roger Corman). Its enduring influence has led to a slew of similarly dark-toned serial killer films, and a sequel, HANNIBAL (2001).

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A heartwarming coming-of-age tale set in 1940s Yazoo, Mississippi. Willie Morris (Frankie Muniz) is an introverted eight-year-old whose best friend is Dink Jenkins (Luke Wilson), a high school football star. Willie's mother convinces his stern father to buy Willie a puppy for his ninth birthday, in light of the fact that Dink has left Yazoo to fight in the war. Immediately, Willie's world brightens. When he stumbles upon a team of evil bootleggers and welcomes home a despondent Dink, he must learn a very valuable lesson about life. Based on Morris' memoir, MY DOG SKIP should have even the most hardened viewer reaching for the tissues.

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Produced under the supervision of director Francis Ford Coppola and cinematographer Gordon Willis, this boxed set presents THE GODFATHER trilogy in visually restored versions with remastered audio. Please see individual titles--THE GODFATHER, THE GODFATHER PART II, and THE GODFATHER PART III--for complete synopsis information.

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Was Diane Arbus a brilliant innovator whose photographs captured the beauty in the most desperate of subjects? Or was she an exploiter of "freaks," shilling pictures of the deformed as a modern-day sideshow? Regardless of where one stands on her work, few can argue its impact on the art world. In FUR: AN IMAGINARY PORTRAIT OF DIANE ARBUS, director Steven Shainberg makes a bold first attempt at bringing the artist to the big screen. The film opens with Arbus (Nicole Kidman) living as a depressed housewife in a ritzy Park Avenue apartment. Assisting her husband Allen (Ty Burrell) in his photography studio, Arbus helps him shoot ads for women's magazines. One night, after spying her mysterious next door neighbor--a sharply dressed man with a hood over his face--Arbus decides to heed her husband's advice to step out and take some photos of her own. She climbs the stairs to her neighbor's apartment with the intention of taking his portrait, and there she meets Lionel (Robert Downey, Jr.). Lionel suffers from hypertrichosis, a disease that causes thick hair to grow over every inch of his body, including his face. He and Arbus strike up a flirtatious friendship, and he introduces her to the underworld of New York. They party with dwarves, dominatrixes, and circus performers--all future subjects of Arbus photographs. Arbus's marriage soon begins to fall apart, and her relationship with Lionel builds towards a traumatic, but transformative, end. In an unusual twist, screenwriter Erin Cressida Wilson has completely fabricated the character of Lionel, and his ensuing effect on Arbus. He is Wilson's fantastical idea of what might have spurred Arbus's metamorphosis from repressed housewife to daring documentarian of those living on the fringe. As the title states, this isn't a biopic--it's an "imaginary portrait," and while some might take exception to FUR's surreal spin on reality, others might find the unconventional film a fitting tribute to the always unconventional artist.

Description:

Set in 1966; Produced and released in 1983. Francis Ford Coppola's stylized teen melodrama is based on the popular novel by S. E. Hinton. In 1960s Tulsa, the "right" and "wrong" sides of the tracks are represented by rival gangs, the upscale Socs and the underprivileged Greasers. Darrel Curtis (Patrick Swayze) is doing his best to raise his two younger brothers, Sodapop (Rob Lowe in his first film role) and Ponyboy (C. Thomas Howell). Sensitive Ponyboy is a budding writer in love with Cherry (Diane Lane), the unobtainable beauty from the enemy gang. When Ponyboy's buddy, troubled Johnny Cade (Ralph Macchio), kills one of the Socs in self-defense, their friend Dallas (Matt Dillon) helps the two youths hide out in an abandoned country church. There they live as exiles from a society that doesn't want them. But not all is lost, when Ponyboy, Johnny, and Dallas save some children caught in a fire they become unlikely heroes. The young cast is the jewel of this sensitive, moving film. Tom Cruise and Emilio Estevez play Greasers, and pop singer Leif Garrett plays rich-kid Bob. Dillon also starred that year in another S. E.Hinton adaptation directed by Coppola--the fascinating and extremely entertaining RUMBLE FISH.

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Three Boston teens cling together for support in the face of the competing pressures of gang membership and involvement in their local youth center. Filmed on a shoestring budget with teenage amateurs from the Dorchester Youth Collaborative.

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This ambitious undertaking, adapting William Shakespeare's classic tale of star-crossed lovers and setting the story in a glossy music-video style in 1990s Florida. Leonardo DiCaprio and Claire Danes play the famous lovers kept apart by rival industrialist families. Bookended by newscastsers reciting Shakespeare's prose as their copy, this clever glam updating of ROMEO AND JULIET is one of the most unusual adaptations of the Bard's work in the history of cinema. The stylish and colorful sets earned the film an Oscar nomination for art direction. John Leguizamo gives a memorable performance as a devilish Tybalt.

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All three of Francis Ford Coppola's classic films detailing the trials and tribulations of the Corleone family and their involvement in the world of organized crime come to DVD in this collection. Each film is given widescreen treatment with commentary from Coppola himself. The fifth disc contains over three hours of exclusive bonus features, including several behind-the-scenes featurettes. See individual film titles for descriptions.

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Based on the article "The Man Who Knew Too Much," THE INSIDER depicts the true story of Jeffrey Wigand (Russell Crowe), a successful scientist who is fired from the Brown & Williamson tobacco company for objecting to certain lab tests. He signs a confidentiality agreement to ease the company's nervousness, but when hotshot 60 MINUTES producer Lowell Bergman (Al Pacino) recruits Wigand to help him decipher some technical documents, he realizes that there's a bigger story hiding inside Wigand. Eventually Bergman convinces him to break the agreement and sit for an interview with Mike Wallace (Christopher Plummer). The resulting media frenzy causes Wigand to lose the support of his family and forces Bergman to confront the harsh reality of his business. Additionally, Wigand is recruited by the state of Mississippi to testify on its behalf that cigarettes are, in fact, addictive. To pay the rent, he begins teaching high school chemistry, waiting for Bergman to convince the network to air the piece. Buckling under corporate pressure, CBS pulls the plug, which sparks Bergman to leak information to the press. As Wigand deals with his personal dilemma, Bergman battles the corporation that begins to show its true colors. Both men must decide for themselves if they've made the right choices. Like his other films THIEF, MANHUNTER, and HEAT, director Michael Mann takes on the theme of a man trying to do the right thing while trapped by circumstances that could destroy him. Once again Mann pulls terrific performances from his entire cast. Crowe is outstanding as Jeff Wigand, the beleaguered insider who risks everything for the truth. Pacino is suitably tenacious as the once-radical producer Bergman, and Christopher Plummer is excellent as news anchor Mike Wallace. With its brilliant performances and stunning cinematography, THE INSIDER is an emotionally intense film that reveals the consequences of standing up for the truth.

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Like a cross between TWIN PEAKS and THE GRAPES OF WRATH, HBO's acclaimed television drama CARNIVALE sets an allegorical fable about the mythic battle between good and evil against the surreal backdrop of a Depression-era traveling circus. Having lost both his farm and his mother to the 1930s Dust Bowl, prison escapee Ben Hawkins (Nick Stahl, IN THE BEDROOM) joins an itinerant carnival in a desperate bid to escape poverty, the police, and his own discomfort with his miraculous healing powers. Ben's story is juxtaposed with that of California preacher Justin Crowe (Clancy Brown, THE SHAWSHANK REDEMPTION), whose evangelical ministries with his sister, Iris (Amy Madigan), take on increasingly sinister overtones and hint at an eventual confrontation with young Hawkins through the mysterious figure of former circus showman and WWI veteran Henry Scudder (John Savage). This release includes the first two seasons of the show.

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Diane Lane and Richard Gere team up for the third time (after COTTON CLUB and UNFAITHFUL) for this three-hankie romance based on a Nicholas Sparks novel. Adrienne Willis (Lane) feels her life falling apart around her: her unfaithful husband (Christopher Meloni, LAW & ORDER: SVU) is begging to come home, and her teenage daughter (Mae Whitman, HOPE FLOATS) can't stand to be around her. When her friend (Viola Davis, ANTWONE FISHER) asks her to watch her bed and breakfast in the picturesque town of Rodanthe, Adrienne leaps at the chance to get away. But since it's late in the season, there's only one guest: the handsome Dr. Paul Flanner (Gere), who is quiet about his reason for coming to the town. Driven together by a powerful hurricane, Adrienne and Paul find love and comfort in each other's arms. Cinematic romances between grown-ups are rare, and this finely cast drama will appeal to people who love films like THE BRIDGES OF MADISON COUNTY and other adaptations of Sparks's books, particularly MESSAGE IN A BOTTLE. Gere and Lane are both veterans (who look none the worse for wear), and they have perfected starring in relationship-driven films. But the North Carolina town of Rodanthe deserves plenty of praise as well, since it takes a starring role. Director of photography Affonso Beato (a frequent collaborator with Pedro Almodovar) shoots the beautiful beaches and the welcoming inn with such affection that it's hard not to see it as the perfect place to fall in love.

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Robert De Niro and Al Pacino are finally together on screen in this riveting story about an intense rivalry between expert thief Neil McCauley (De Niro) and volatile cop Vincent Hanna (Pacino). McCauley will stop at nothing to do what he does best and neither will Hanna, even though it means destroying everything around them, including the people they love. With a solid supporting cast that includes Val Kilmer, Jon Voight, Ashley Judd, and Natalie Portman, HEAT is a truly epic crime story.

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Robert De Niro and Al Pacino are finally together on screen in this riveting story about an intense rivalry between expert thief Neil McCauley (De Niro) and volatile cop Vincent Hanna (Pacino). McCauley will stop at nothing to do what he does best and neither will Hanna, even though it means destroying everything around them, including the people they love. With a solid supporting cast that includes Val Kilmer, Jon Voight, Ashley Judd, and Natalie Portman, HEAT is a truly epic crime story.

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Jodie Foster and Anthony Hopkins will likely be forever associated with their roles in this bone-chilling masterpiece, based on the novel by Thomas Harris and directed by Jonathan Demme. FBI trainee Clarice Starling (Foster) is sent by her supervisor (Scott Glenn) to interview ferociously intelligent serial killer Hannibal "The Cannibal" Lechter (Hopkins) at his cell in a Maryland mental hospital. The FBI hopes Lechter can provide insight into the mind of killer-at-large, Buffalo Bill (Ted Levine), whose current abductee happens to be the daughter of a senator. Intrigued by Clairice, Lechter demands information about her personal life and in exchange for clues, and the two begin to form a strangely intimate connection, with a girl's life hanging in the balance. Starling is gradually revealed as a woman struggling out of her own darkness, bound to aid the dysfunctional males around her on their own paths of transformation, liberation, and destruction. This is a film of brilliant and disturbing beauty that transcends its B-movie origins (though it does honor them with a cameo appearance by Roger Corman). Its enduring influence has led to a slew of similarly dark-toned serial killer films, and a sequel, HANNIBAL (2001).

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The life and triumph of Burt Munro, the elderly Kiwi man who, at the far from spritely age of 68, broke motorcycle racing records in Utah, has fueled director Roger Donaldson's creative energy for years. In the early 1970s, just a few years after Munro's incredible triumph, Donaldson directed OFFERINGS TO THE GOD OF SPEED, a documentary on the sensational senior. Here, with the help of the fine actors Anthony Hopkins and Diane Ladd, the director brings the story to vivid, dramatic life yet again, constructing a gripping and inspirational narrative. Hopkins's Munro is a rich and magnetic character, a man who wears his notable physical ailments (which include an embarrassing prostate condition and deficient eardrums) like quirky idiosyncrasies rather than debilitating defects. An active playboy, Munro is a lovable character in his small New Zealand town, an attractively unique old man with a zest for life and a love of his vintage motorcycle--a bright red 1920 Indian model. After racing his own times obsessively every day, he becomes determined to live out his dream of participating in the annual Speed Week motorcycle event at Utah's Bonneville Salt Flats. Through local support and innovative fundraising, Munro is finally able to afford the long nautical journey across the world to Mormon-land and, beating all the incredible odds, not only enter the race but break its records with a jaw-dropping speed of 201 miles an hour. Besides telling a classic tale of individual triumph, THE WORLD'S FASTEST INDIAN offers a sociological look at the American West of the late 1960s, an iconic landscape peppered with colorful characters that include a wizened Native American and a generous drag queen, both of whom help the eccentric elder on his quixotic quest.

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As George Roy Hill observed, A LITTLE ROMANCE is, in many ways, a remake of his earlier take on adolescence, THE WORLD OF HENRY ORIENT. But in this film the delicate relationship between stars Thelonious Bernard as Daniel and Diane Lane as Lauren is reciprocal. Both on the cusp of adolescence, they meet on a film set in Paris when Daniel spots Lauren reading a book. The mutual discovery of their shared intellectual precocity sparks a romance, and the two begin dating amid the City of Lights. When Daniel ends up slugging the egomaniacal director boyfriend (David Dukes) of her self-absorbed actress mother, Kay (Sally Kellerman), Lauren is forbidden to see him. Naturally, she refuses to obey. After Julius (Laurence Olivier), a charming old con man, spins a tale for the couple about lovers kissing under the Bridge of Sighs in Venice at sunset, they arrange to go, taking him along as chaperone. Since none of their parents has been informed about the impromptu trip, an international search is soon under way. A completely charming fable of adolescent romance set against picture-postcard European backgrounds, the film is less about the emotional roller coaster of love than the innocent joy of finding a soulmate at last. The kids are perfectly cast in what may be Lane's best film, and one only has to see Olivier kiss his fingers and press them against the window as he watches the couple disappear to appreciate genius at work.

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With INLAND EMPIRE, David Lynch--creator of such mind-bending works as ERASERHEAD and LOST HIGHWAY--delivers his most avant-garde, abstract, and impenetrable vision yet. A three-hour fever nightmare of a motion picture, INLAND EMPIRE takes the basic structure of Lynch's 2001 masterpiece, MULHOLLAND DRIVE, and spins it even further out of control. A blonde actress (Laura Dern) is preparing for her biggest role yet, but when she finds herself falling for her co-star (Justin Theroux), she realizes that her life is beginning to mimic the fictional film that they're shooting. Adding to her confusion is the revelation that the current film is a remake of a doomed Polish production, 47, which was never finished due to an unspeakable tragedy. And that's the only the beginning. Soon, a seemingly endless onslaught of indescribably bizarre situations flashes across the screen: a sitcom featuring humans in bunny suits, a parallel story set in a wintry Poland, a houseful of dancing streetwalkers, screwdrivers in stomachs, menacing Polish carnies, and much, much more. By the time the film's electrifying closing-credit sequence arrives, even diehard Lynch fans will be gasping for air. What most glaringly differentiates INLAND EMPIRE from Lynch's previous work is the format on which it was shot. This is the first time that he has chosen to shoot on digital video, as opposed to film, and while the decision is jarring at first, the grainy imagery nonetheless casts a creepy, haunting spell. Laura Dern's multi-fractured performance is downright heroic. She gives the film the human grounding that it so desperately needs. Not for the fragile or timid, INLAND EMPIRE is a full-blown assault to the senses.

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This saga of the Civil War, from 1859 to the assassination of Abraham Lincoln in 1865, is based on the works and original materials of Pulitzer Prize winner Bruce Catton. It focuses on the trials and conflicts of that national trauma as seen through the eyes and sketches of artist John Geyser, whose own family is torn apart by conflicting political sentiments. This acclamied television production was filmed entirely on location with 160 characters and over 6,300 extras.

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Riding high after the box office success of SHAMPOO and HEAVEN CAN WAIT, Warren Beatty used his seemingly limitless power to write, produce, direct, and star in this epic historical romance. The film recounts a particularly eventful period in the life of notorious American communist John Reed (Beatty), who journeyed to Russia to witness the Bolshevik Revolution firsthand. Before that, he met the already wed Louise Bryant (Diane Keaton) in Portland in 1915. However, they shared such a mutual attraction for words, and each other, that soon Bryant was living with Reed in New York City. It was here where they befriended some of the early 20th Century's most recognizable faces: Eugene O'Neill (Jack Nicholson), Emma Goldman (Maureen Stapleton), Max Eastman (Richard Herrmann), and Horace Whigham (George Plimpton). Yet Reed's commitment to his craft caused an endless friction in the relationship, until Louise found her own journalistic voice, leading the couple to Russia at a crucial moment in history. But just when they appeared to have come to a perfect place in their relationship, tragedy struck. REDS is one of the last vestiges of early Hollywood, a broad, sweeping spectacle that is simultaneously thought provoking and unabashedly entertaining. Beatty inserts fascinating interviews with actual participants from that earlier era throughout the film to provide even more context and insight. At a time when Ronald Reagan had just become the president of the United States, Beatty's sympathetic portrait of notorious American communist John Reed seemed even more daring. Yet, as it continues to age, the film only continues to grow in relevance, assuring its rightful place at the top of the Hollywood canon.

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In terms of psychological power and innovative visual techniques, MARNIE ranks alongside VERTIGO and PSYCHO as one of Alfred Hitchcock's most exceptional films, though it is less well known than these classics. This thriller, based on a best-selling novel by Wilson Graham, revolves around a pathological liar and compulsive thief (Tippi Hedren) who is befriended by her latest victim, Mark Rutland (Sean Connery). The core of the story concerns a wealthy man who marries a beautiful woman who steals from his business. Despite his sincere love, dashing looks, and wealth, some deep-seated neurosis makes her emotionally inaccessible, causing him to search her past for an explanation. This is Connery's American film debut, and he portrays his character's fascination with Marnie with a conviction that allows the psychological turmoil of the young woman to emerge. Hedren's performance as the deeply conflicted and emotionally scarred woman walks the fine line favored by Hitchcock, balanced between an icy sexuality and emotional fragility. The director wants to show the audience Marnie's world and fears, so he uses a range of innovative visual techniques--including awkward rear projections, flashes of color, and a menacing atmosphere of storms--to convey her troubled state of mind. MARNIE is one of Hitchcock's most underrated and underappreciated films.

Description:

The life and triumph of Burt Munro, the elderly Kiwi man who, at the far from spritely age of 68, broke motorcycle racing records in Utah, has fueled director Roger Donaldson's creative energy for years. In the early 1970s, just a few years after Munro's incredible triumph, Donaldson directed OFFERINGS TO THE GOD OF SPEED, a documentary on the sensational senior. Here, with the help of the fine actors Anthony Hopkins and Diane Ladd, the director brings the story to vivid, dramatic life yet again, constructing a gripping and inspirational narrative. Hopkins's Munro is a rich and magnetic character, a man who wears his notable physical ailments (which include an embarrassing prostate condition and deficient eardrums) like quirky idiosyncrasies rather than debilitating defects. An active playboy, Munro is a lovable character in his small New Zealand town, an attractively unique old man with a zest for life and a love of his vintage motorcycle--a bright red 1920 Indian model. After racing his own times obsessively every day, he becomes determined to live out his dream of participating in the annual Speed Week motorcycle event at Utah's Bonneville Salt Flats. Through local support and innovative fundraising, Munro is finally able to afford the long nautical journey across the world to Mormon-land and, beating all the incredible odds, not only enter the race but break its records with a jaw-dropping speed of 201 miles an hour. Besides telling a classic tale of individual triumph, THE WORLD'S FASTEST INDIAN offers a sociological look at the American West of the late 1960s, an iconic landscape peppered with colorful characters that include a wizened Native American and a generous drag queen, both of whom help the eccentric elder on his quixotic quest.

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After a leisurely debut season, HBO's stunningly creative cable-television series CARNIVALE stepped up the pace in round two of its allegorical tale of good and evil set against the surreal backdrop of a Depression-era travelling circus. By the beginning of the second season, carnival-roustie-cum-Christ-figure Ben Hawkins (Nick Stahl) has grudgingly accepted his destiny as a "creature of light" while continuing to search for his godlike father, Henry Scudder (John Savage), in a neo-Homeric odyssey that takes him from his demented backwoods clan to an eerily cloying maker of death-masks. Meanwhile, Ben's nemesis, the evil preacher Brother Justin (Clancy Brown), does his best to instigate an apocalyptic showdown via an increasingly powerful right-wing political campaign that invites obvious comparisons to early-21st-century neocon politics. When polar-opposite avatars Ben and Justin finally meet in the season's final moments, the result is one of the most terrifying, emotional, and profound climaxes in television history. Though it was unduly cancelled after the second season (the show was conceived by creator Daniel Knauf as a six-season story arc), CARNIVALE is an ephemeral gem that will undoubtedly become a cult favorite as iconic as that other benchmark of the dark and bizarre, TWIN PEAKS. This collection presents all 12 episodes of the unjustly shortlived series' second and final season.

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Like a cross between CSI: CRIME SCENE INVESTIGATION and Darren Aronofsky's indie feature PI, the CBS television series NUMB3RS blends crime-drama with mathematics for a smart and creepy spin on the police-detective genre. Executive produced by Ridley Scott (ALIEN) and Tony Scott (TRUE ROMANCE), the series centers on a pragmatically minded FBI agent, Don Eppes (NORTHERN EXPOSURE's Rob Morrow), who invites his math-genius younger brother, Charlie (David Krumholz), to help him solve challenging cases using mathematical theories based on equations and probability. Dark and moody with a near-cinematic feel, NUMB3RS has won both fans and acclaim for its innovative approach to the conventional crime-drama formula. This collection presents the series' fourth season in its entirety, beginning with some startling revelations about a member of their team.

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Produced under the supervision of director Francis Ford Coppola and cinematographer Gordon Willis, this boxed set presents THE GODFATHER trilogy in visually restored versions with remastered audio. Please see individual titles--THE GODFATHER, THE GODFATHER PART II, and THE GODFATHER PART III--for complete synopsis information.

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An update of THE DAY OF THE JACKAL, this spy thriller offers a seasoned FBI man, a rigid Russian agent, and a black-sheep I.R.A. terrorist teaming up to stop a nasty and extremely well-paid assassin from offing a U.S. official. A winning thriller from director Michael Caton-Jones.

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Eight year-old Emily is forced with a difficult decision when she learns that her new dog could be the one thing that can save Curtis, a grown man who has been paralyzed in a construction accident.

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After her daughter dies, Natalie (Diane Keaton) retreats to her summer house to, with the help of her friends, begin the healing process.

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