Pg mpaa in Music & Musicals DVDs & Videos

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The vinyl toy market has proved extremely lucrative, with collectors willing to pay mind-boggling amounts for these tiny creations. This documentary takes a look at the evolution of vinyl toys.

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An all-star cast--including Val Kilmer, Ralph Fiennes, Michelle Pfeiffer, and Sandra Bulock--leads this full-length, animated musical version of the story of Moses. After being raised as the son of a Pharaoh, Moses learns that he is a Hebrew and must accept his destiny as the leader of his people. Moses' brother Rameses refuses to let the Hebrews go, and brings down the wrath of God upon Egypt. This triumph of animated storytelling and colorful design won the Academy Award for Best Song with "When You Believe."

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This film adaptation of GREASE is the zippy smash hit translation from the Broadway musical tribute to the fabulous 1950s. As a new school year begins, wholesome Australian exchange student Sandy (pop star Olivia Newton-John) and duck-tailed, leather-jacketed Danny (John Travolta) parlay their summertime romance into an on-and-off attraction that may or may not cross clique lines. Sandy seriously cramps Danny's style, so he dumps her. In response, Sandy begins dating a wholesome athlete, but, as a hedge, she also joins the gum-chewin', tough-talkin' clique known as the Pink Ladies. One of the most beloved musicals of all time, the popular soundtrack includes "You're the One that I Want," "Hopelessly Devoted to You," "Sandy," "Summer Nights," and the title tune.

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All the gang from the original "Breakin'" movie is back, and this time they're up against a greedy developer who wants to turn their community center into a shopping mall.

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Big-screen shenanigans from the Spice Girls, who cavort harmlessly in backstage vignettes whilst changing costumes, mugging in the kitschy environs of their Union Jack tour bus (piloted by no less significant a personage than Meat Loaf), and evading a bothersome paparazzo. Trashy, guilty fun, littered with celebrity cameos.

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The best of Led Zeppelin's legendary 1973 appearances at Madison Square Garden. Interspersed throughout the concert footage are behind-the-scenes moments with the band. THE SONG REMAINS THE SAME is Led Zeppelin at Madison Square Garden in NYC concert footage colorfully enhanced by sequences which are supposed to reflect each band member's individual fantasies and hallucinations. Includes blistering live renditions of "Black Dog," "Dazed and Confused," "Stairway to Heaven," "Whole Lotta Love," "The Song Remains the Same," and "Rain Song" among others.

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Originally written and directed by filmmaker John Waters in 1988, and then put on Broadway, the camp musical HAIRSPRAY could easily have run its course with viewers. But thanks to playful direction, flashy costumes, over-the-top performances, and a positive message of peace, this newest spin proves to be yet another enjoyable incarnation. Set in 1960s Baltimore, the story follows a plump young girl named Tracy Turnblad (played by impressive newcomer Nikki Blonski) on an amazing journey as her dream of dancing on the popular Corny Collins Show becomes a reality. The local television program is a shiny spectacle spear-headed by Corny Collins (James Marsden), a gang of young dancers, and producer Velma Von Tussle (Michelle Pfeiffer), a seductress ice queen whose manipulative ways ensure her daughter Amber (Brittany Snow) gets more than her fair share of screen time as one of the show's stars. When Tracy shows up at an open call, Velma can barely contain her rage, and sets out to rid the show of Tracy and the talented black dancers who make up the show's popular "Negro Day." Thus begins a war of talent and a battle for justice, with those in favor of integration meeting many obstacles along the way. While less out-there than Waters's original, the film still contains some very quirky humor. John Travolta playing Tracy's overweight mother may seem an odd concept at first, but in this context it works. Scenes that would ordinarily be cheesy are made more interesting due to the odd dynamic between Christopher Walken and John Travolta playing man and wife. As the two dance and woo one another, the strange smile on Travolta's lipsticked lips and the grace of Walken's dancing will be sure to fascinate viewers. Viewers should also watch for cameos by Ricki Lake, and by John Waters as a Baltimore streaker. With all the wacky comedy, it's often easy to forget that the meat of HAIRSPRAY is a battle over racial integration. The film manages to create some touching moments in the midst of sparkling musical numbers.

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The 1899 New York newsboys' strike is the subject of this full-scale musical set against a stylized backdrop depicting turn-of-the-century New York City. In a series of rousing song and dance routines, choreographer/director Kenny Ortega chronicles the "newsies'" struggle with publishing mogul Joseph Pulitzer, their battering at the hands of strikebreakers, and their eventual triumph over the powerful newspaper establishment.

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A young album-painter learns a lesson about daring to dream when he is kissed by a magical muse. Throwing caution to the wind, he partners up with a wealthy former jazz musician to start-up a roller disco nightclub, but finds that one of his dreams might be too lofty--even for the powers that be. A modern musical featuring the musical talents of Olivia Newton-John, Electric Light Orchestra, the Tubes, and Cliff Richard, with a touch of cartoon from animator Don Bluth.

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Since hitting the scene in the late 1970s, Elvis Costello (along with his band, The Attractions) has been both popular with knowledgeable music fans and enormously influential, and this collection brings together a treasure trove of material from the beloved, bespectacled, and extremely talented rock icon. The fascinating evolution of his brand of eclectic, geeky-yet-cool rock and bracingly intelligent lyrics is on full display here, as 27 of his music videos are arranged chronologically (from 1978 to 1994, when he made his last video for Warner). Costello's early videos are a bit rough around the edges, but the terrific songs always sustain them, and they provide a fascinating look at his less polished early persona. His later videos are often visually excellent in their own right; highlights are the lovely black-and-white "New Lace Sleeves," the odd and intense "I Wanna Be Loved," and "Veronica," which emphasizes the originally intended and often overlooked meaning behind one of Costello's most popular songs. Each video has optional commentary from the artist, who is alternately thoughtful and hilarious here (like many of us, Costello looks back at the clothing of the 1980s and winces). Always prolific and unusually generous with his material, Costello also includes 18 additional videos of rare live television performances. Taken all together, this collection is thorough enough to satisfy even the most ardent fans, and good enough to convert casual ones.

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This stellar Broadway play from Arthur Laurent, Jule Styne, and Stephen Sondheim ranks as one of the great pieces of American musical theater. The play and the subsequent film feature the enormously popular "Everything Is Coming Up Roses" and also includes "Small World," "All I Need Is the Girl," "You Gotta Have a Gimmick," "Let Me Entertain You," "Broadway, Broadway," and a half dozen others. The story follows the life of Rose Louise Hovick, the infamous queen of burlesque. Mama Rose, played by Rosalind Russell, propelled by the fame she never achieved, is determined to make her two daughters vaudeville stars whether they like it or not. Her bets rest with the older daughter, June, until June strikes off on her own, putting all the pressure on Louise (Natalie Wood), who isn't particularly interested in her mother's aspirations. At the same time, the world of vaudeville is decaying slowly around them, with many of the stages turning to burlesque acts. In a spontaneous move, Louise creates her own strip show onstage, and even though Louise doesn't display any skin, the act catches on fire. Actresses Russell and Wood pull off the difficult dramatic roles, but the real charm of the film rests in the excellent soundtrack.

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The final shot of the hit film CABARET is a Nazi meeting reflected in a mirror, providing the chilling historical subtext for this groundbreaking musical movie, set in prewar Berlin. Not since GONE WITH THE WIND (1939) had Hollywood produced a more successful film. CABARET was a convention-shattering story that dealt with themes like bisexuality that were still under the radar in the US. Additionally, CABARET made the enormously talented Liza Minnelli an American icon. Minnelli plays Sally Bowles, an aspiring singer and dancer. The main plot revolves around her relationship with two different men and her life as a singer at the Kit Kat Klub. The film utilizes the traditional conventions of American musical theater while adding in the fiendishly painted Master of Ceremonies (Joel Grey) who comments on the proceedings through song and dance. Director Bob Fosse showcases the range of his vision as a director of stage and screen, serving as both choreographer and musical director. Based on the Kander-Ebb musical from John van Druten's play I AM A CAMERA (which, in turn, was derived from Christopher Isherwood's novel GOODBYE TO BERLIN), CABARET was nominated for 10 Academy Awards and won eight, making it one of the most acclaimed films in movie history.

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This acclaimed film version of Peter Stone's Pulitzer Prize-winning musical, which was one of the last big-budget studio musicals, stars William Daniels (TV's Saint Elsewhere) as John Adams and Howard Da Silva as Ben Franklin. A rollicking, anachronistic treatment of the creation of the Declaration of Independence, with the American forefathers conducting themselves with uncharacterstic--and comical--indignity. Academy Award Nominations: Best Cinematography (Harry Stradling, Jr.)

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When Elvis stopped making movies in Hollywood and returned to making music following his triumphant 1968 comeback, he gathered together a group of hot Nashville cats to back him up. THAT'S THE WAY IT IS follows Elvis as he prepares to return to the stage and follows him up to his opening nights. This is a compelling, fascinating, and highly amusing musical documentary where Elvis' overall talent and musicality come through while watching him rehearse, jam and arrange his list of songs. Simultaneously celebrating and poking good-natured fun at the Las Vegas era of Elvis's career, director Denis Sanders often just sits back and lets the performances speak for themselves. The film includes the King preparing offstage for his 1970 tour and culminates in his opening night performance in Las Vegas. The film includes more than 30 of the King's fabulous songs.

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In the 1990s, following California's passing of the Zero Emission Vehicle mandate, American car companies began producing electric cars for mainstream consumption. GM's EV1, which was by all accounts quiet, fast, and capable of driving up to 80 miles on one charge, used no gasoline and quickly developed an intensely devoted following in California. But even as its popularity grew, car manufacturers were fighting the mandate; it was overturned, and by 2005 just about every single EV1 had been recalled, crushed, and shredded. GM put its resources into the Hummer instead. WHO KILLED THE ELECTRIC CAR? looks at the tangled web of interests behind the car's untimely demise, laying out convincing cases against the auto industry, big oil, corrupt federal and state governments, and consumers themselves. Chris Paine's directorial debut is not especially stylish, but it is effective. He leads viewers through the twisty maze of politics and profit that surrounds the main story, taking time to dwell on the passionate attachment that many of the cars' drivers still feel for them. Appropriately, the film is narrated by Martin Sheen--the embodiment for many Americans of socially conscious leadership, thanks to his many years on THE WEST WING--and features interviews with a motley array of celebrities from Mel Gibson to Ed Begley, Jr., but the real star of the movie is the doomed car itself and all that it stands for. The film is not especially fair or balanced; very little screen time is devoted to criticism of electric cars, and the only person on camera defending the oil companies is a singularly slimy and unappealing spokesperson from whom most viewers would be unwilling to buy a used car of any variety. But it certainly succeeds as a rousing, if occasionally depressing, call to awareness and action.

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Paul Justman's inspiring documentary pays tribute to one of the most influential, yet unrecognized, collection of musicians that has ever been assembled. The Funk Brothers played the background music on the seemingly endless string of Motown classics in the 1960s and 1970s, resulting in a resume that boasts more number one hits than The Beatles, the Beach Boys, The Rolling Stones, and Elvis Presley combined. Shot on location in Detroit, STANDING IN THE SHADOWS OF MOTOWN reunites the surviving members as they reflect on the groups' storied past. Most celebrated is departed bassist James Jamerson, whose fiery presence and technical prowess was largely responsible for shaping the Funk Brothers' supremely distinct sound. In addition to interviews, as well as reenactments and archival footage, Justman gathers together the musicians for an unforgettable reunion concert. Featuring the vocal support of several contemporary artists, including Joan Osborne, Ben Harper, Chaka Kahn, Gerald Levert, and Bootsy Collins, the Funk Brothers prove that they haven't lost a beat. Based on the book by Allan "Dr. Licks" Slutsky, STANDING IN THE SHADOWS OF MOTOWN gives overdue credit to a group of unassuming musicians who quietly created one of popular music's most enduring and spectacular musical legacies.

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In what is widely considered to be even better than the Broadway stage musical, this film version of HAIR, directed by Milos Forman, gives a boost to what was, on the stage, a nonexistent plotline, and highlights the already fabulous score with this epic musical. Filmed on location in and around New York City, the main plotline follows Claude (John Savage) a farm boy turned draftee from Oklahoma on his way to Vietnam. In New York, he is adopted by a group of flower children, led by Berger (Treat Williams) and including Jeannie (Annie Golden), who take him on a series of counter-cultural adventures that introduce Claude to hallucinogens and to a flaky but loveable debutante named Sheila (Beverly D'Angelo). Along with this experience come an introduction to issues of race, gender, politics, and war. The performances--both the acting and the singing--are extraordinary, and choreographer Twyla Tharp stages some of the most inventive and exquisite dance sequences ever seen, including a "horse ballet" by mounted police in Central Park, and an LSD trip-fantasy sequence. The sheer visual energy in HAIR--and the energy of its stars--propels this unique and nostalgic film forward every minute, and gives new insight into the Vietnam War era.

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A STAR IS BORN was conceived as a comeback vehicle for Judy Garland, who gives a fascinating and heartrending performance in perhaps the finest work of her career. This film was director George Cukor's first musical and first color picture; the tale of a doomed Hollywood couple, it was a remake of the 1937 William Wellman movie with Janet Gaynor and Fredric March. Garland plays young singer Esther, who saves Norman Maine (James Mason), a famous star, from making a fool of himself onstage. Maine is an alcoholic whose career is on the wane but who manages, nonetheless, to acknowledge Esther's talent and help her jump-start a career in Hollywood. But as her star rises and his declines, Maine's misery grows. Harold Arlen and Ira Gershwin provided Garland with songs that would become standards in her concert repertoire, including "The Man That Got Away," which earned an Oscar nomination for Best Song. A STAR IS BORN is also based on the earlier Cukor picture WHAT PRICE HOLLYWOOD?

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Elvis just happens to land a summer job working at a dude ranch completely staffed by pretty cowgirls, but falls in love with the club's lovely owner. Featured hits include "Slowly But Surely," "Put the Blame on Me" and "Night Riders."

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A red-haired mop-top orphan (Aileen Quinn), yearning to break out of her dreary life in an orphanage run by an iron-fisted, boozy matron (Carol Burnett), charms billionaire Oliver "Daddy" Warbucks (Albert Finney) into adopting her--but what she really wants is to find her real parents. Academy Award Nominations: 2, including Best Art Direction-Set Decoration, Best Original Score.

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Lucille Ball stars as Auntie Mame, an eccentric and wealthy woman who teaches her young orphaned nephew how to live life to the fullest. Based on the popular stage play. Featured songs include "Mame," "If He Walked Into My Life," and "We Need a Little Christmas."

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Pete Seeger is a revered singer and performer, an ambassador of the world's folk music traditions, and a patriot, but whenever Jim Brown's very moving documentary verges too close to hagiography, interviews with the gently self-effacing subject himself steer the focus back onto the issues and the music. Using a rich array of archival film footage, photography, and intimate one-on-one conversations, Brown tells the story of the singer's life, from his roustabout childhood as the son of itinerant musicians, through his radical days on the Harvard University campus (where, during WWII he received his political awakening), his military service, and marriage to lifetime love Toshi Seeger. The documentary spends a lot of time covering his early career with the Weavers singing group, who were blacklisted from television and live appearances and lost their record contract for holding leftist political views at the height of the McCarthy era. Clips of Seeger testifying before the House Un-American Activities Committee, humbly standing by his First Amendment rights in response to their questions about his politics, and pointing out the Un-American nature of such an invasion of privacy, is required viewing for any conscious citizen. The film also documents his outspoken anti-war activities during the '60s, and, in more recent years, his grass roots efforts to clean up the Hudson River. Brown's documentary succeeds wildly not only as a thorough biographical account, but as a rousing testament to the power of music to communicate ideas and unite people around worthwhile causes.

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Elvis Presley is Lucky Jackson, an aspiring auto racer with a dream of winning the Grand Prix. Sexy, spunky Ann-Margret is Rusty Martin, the swimming instructor who falls for him against her will, hating the idea of her man risking his life in a race car. Lucky struggles to raise the money to buy a new engine while Rusty tries to convince him to give up racing for her. George Sidney, a seasoned veteran of the lavish Hollywood musical, proves the perfect helmsman for this high-voltage Elvis vehicle. The King croons, shakes, and shimmies while Ann-Margret shows her mastery of 1960s-style gyrations in the glitzy, electric production numbers. The two charismatic stars are at their best during a hilarious first date, which includes dancing, motorcycling, dressing up at a wild West show, skiing, and going for a ride in a helicopter. How could they not hit it off? Their powerful magnetism centers this glittering, extravagant treasure chest of a film that ranks among Elvis's best.

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The best of Led Zeppelin's legendary 1973 appearances at Madison Square Garden. Interspersed throughout the concert footage are behind-the-scenes moments with the band. THE SONG REMAINS THE SAME is Led Zeppelin at Madison Square Garden in NYC concert footage colorfully enhanced by sequences which are supposed to reflect each band member's individual fantasies and hallucinations. Includes blistering live renditions of "Black Dog," "Dazed and Confused," "Stairway to Heaven," "Whole Lotta Love," "The Song Remains the Same," and "Rain Song" among others.

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After learning to play guitar and sing during a stint in the Big House, a minor-league punk kid becomes a rock star, with a little help from a beautiful agent. But the pressures of fame wear him down. Considered by many to be Elvis Presley's best film because of its eerie narrative prescience, noirish setting, and quality songs, especially the poolside performance of "You're So Square."

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This film adaptation of GREASE is the zippy smash hit translation from the Broadway musical tribute to the fabulous 1950s. As a new school year begins, wholesome Australian exchange student Sandy (pop star Olivia Newton-John) and duck-tailed, leather-jacketed Danny (John Travolta) parlay their summertime romance into an on-and-off attraction that may or may not cross clique lines. Sandy seriously cramps Danny's style, so he dumps her. In response, Sandy begins dating a wholesome athlete, but, as a hedge, she also joins the gum-chewin', tough-talkin' clique known as the Pink Ladies. One of the most beloved musicals of all time, the popular soundtrack includes "You're the One that I Want," "Hopelessly Devoted to You," "Sandy," "Summer Nights," and the title tune.

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That red-headed orphan is back in this made-for-TV movie based on the classic Harold Gray comic strip. This time she and her faithful canine pal Sandy are up to hijinks in jolly olde England after Daddy Warbucks is called over to be knighted by the Queen.

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So much mayhem ensues that it takes two Elvises to handle it! In his only dual role, Presley is both of the titular cousins: a redneck moonshiner, and an emissary sent by the Army to convince the hillbillies on Tatum Mountain to allow the government to use half their land as a missile launch site. The locals' antipathy for Uncle Sam provides a convenient opportunity for a fistfight between the dueling Elvises.

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Donna Douglas of TV's The Beverly Hillbillies and perennial hip-wiggler Elvis Presley team up for this romantic musical set on a riverboat. Presley plays a riverboat gambler down on his luck and out of a girlfriend when he becomes involved with a redhead, a gypsy, and a roulette wheel. Features some great songs such as "When the Saints Go Marchin' In" and "Down By the Riverside."

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Henry Edwards creates a thin story line to tie the Beatles' popular album together. Grinch-like Mean Mr. Mustard menaces the happy hamlet of Heartland until pop wunderkind Billy Shears (Frampton) resurrects the villain's musical nemeses--the titular band--and brings mirth back to the town.