Roger Corman, Borders.com in DVDs & Videos

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This compilation brings together four action-dramas from the 1930s and '50s. THE BLOODY BROOD tells the story of a man who wants to expose a sleazy drug dealer as his brother's murderer, while THE FAST AND THE FURIOUS follows an innocent man who escapes from prison and tries to reach the Mexico border by car. A young convict befriends the prison's priest in MUTINY IN THE BIG HOUSE, and SWAMP WOMEN--directed by B-movie maestro Roger Corman (HOUSE OF USHER)--tells the story of an undercover policewoman who tries to gain the trust of some female gang members. Please see individual titles for complete synopsis information.

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When a member of the girl gang the Black Widows turns up dead, her fellow gang members spend the night in search of her killer--a girl from the right side of the tracks named Barbara (Joan Kenney), who finds herself running for her life. Eventually Barbara seeks refuge at the underground auto-yard clubhouse of the Vandals, where their leader, Eddie (John Brinkley), who pretended to love Barbara, now delights in tormenting her. It all leads to a big rumble, with lots of perverse characters, sleepy cops, and impoverished urban strife along the way. Glimpses are provided of the girls' depressing home lives: One keeps her half-starved little sister alone in a shack; another watches her attractive older sister (Barboura Morris) get ready for a date with her loathsome boss; and another steals her policeman father's gun. One can't fault the pacing, or the editing, both of which are nice and tight. King of the Bs Roger Corman directed with his usual budget-defying style. Fay Spain, Sandy Smith, Ziva Rodann, and Colette Jackson are the Widows who, cigarettes aside, seem much too cute and well mannered to be gang members. Bruno Ve Sota is a drunken witness; Richard Devon plays the concerned detective.

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A unique 1969 version of the tale of the Marquis de Sade, produced by Roger Corman and Samuel Z. Arkoff. Keir Dullea plays the title character in a film characterized by its psychedelic imagery and go-go sensibilities. He is terrorized by his uncle and haunted by his own past before embarking on a pattern of debauchery. Originally released with an "X" rating, this film has lost its edge over time, although the final orgy sequence is 20 minutes of erotic filmmaking that offers release after the teasting first hour which acts ostensibly as art cinema. John Huston shines in a supporting role.

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This wartime drama from 1964 features an all-star cast including Stewart Granger, Raf Vallone, Mickey Rooney, and Henry Silva.

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THE FRENCH CONNECTION: Released in the same year as Clint Eastwood's DIRTY HARRY (1971), William Friedkin's THE FRENCH CONNECTION marked the beginning of a new era of gritty, urban police dramas. Here, the theme of tough-cop amorality serves a conservative demand for a police-state crackdown on the domestic chaos and subversive youth culture of the Vietnam War period. The film is based on the true story of two New York City police detectives and their investigation into a French heroin smuggling operation. THE FRENCH CONNECTION is perhaps best known for its infamous, masterfully filmed chase scene (influenced by Peter Yates' BULLITT) in which the lead policeman, Popeye Doyle (Gene Hackman), recklessly drives a stolen car through oncoming traffic in pursuit of a sniper escaping by elevated train. The thrill of this crime drama is accentuated by director William Friedkin's early European influences, perhaps best represented by the handheld documentary-style visuals and Friedkin's claims that the Oscar-winning screenplay was frequently disregarded in favor of improvisation. THE FRENCH CONNECTION marked not only a significant change of course for his career, but also a stylistic shift that all of Hollywood would soon follow. THE ST. VALENTINE'S DAY MASSACRE: Roger Corman was given the huge budget (for him) of one million dollars by 20th Century Fox to produce this documentary-esque depiction of the infamous 1929 shooting of seven Chicago mobsters. It's a fascinating reproduction of a time when bloodshed was plotted in business boardrooms and tommy guns were a daily fact of urban living. Jason Robards stars as mob boss Al Capone, with Ralph Meeker as his North Side rival Bugsy Moran. George Segal is Peter Gusenberg, one of Bugsy's henchmen targeted for takedown. To add a little sex and spice, there's a lengthy domestic-dispute scene between Gusenberg and his lovely negligee-clad moll (Jean Hale). The rest is strictly business and bullets though, with Robards chewing the scenery to nice little splinters and lots of Corman regulars appearing in bit parts, including Barboura Morris and Dick Miller. Bruce Dern appears a getaway driver. One has to keep a sharp watch to find Jack Nicholson, who floats through several scenes as one of Capone's assassins. It's a fast-moving, well-told saga, with excellent period reproduction thanks to sets refurbished from MY FAIR LADY and great deadpan narration by Paul Frees. THE SEVEN-UPS: A team of New York City policemen set out to avenge the murder of a fellow officer. They form a squad known as the "Seven-Ups" who, as a rule, shoot first and ask questions later. MURDER, INC.: MURDER, INC. uses the true story of Louis "Lepke" Buchhalter, the capo of a notorious crime syndicate, as the backdrop for the fictional narrative about a nightclub singer and a dancer.

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A collection of three Roger Corman camp classic "Creature Features." Includes CREATURE FROM THE HAUNTED SEA, BEAST FROM HAUNTED CAVE, and THE WASP WOMAN. See individual titles for complete details.

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