November 13, 2025 • 32 mins
We announce the Warner Archive's December lineup with seven new releases plus the Tom and Jerry Golden Era anthology. Get the details about the restoration and included extras you can expect for these new Blu-ray releases.
Purchase links:
THE VALLEY OF DECISION Blu-ray
LIPPY THE LION AND HARDY HAR HAR (1962-63) Blu-ray
Touche Turtle and Dum Dum: The Complete Series Blu-ray
Pre‑order link for Tom & Jerry Golden Era Anthology Collection Blu-ray
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tim Millard (00:00):
Hello and welcome to The E
xtras, I'm Tim Millard your hostand joining me is George
Feltenstein to announce theDecember Blu-ray releases from
the Warner Archive.
George Feltenstein (00:09):
Hi George, hello too.
Tim Millard (00:11):
Great to see you, it's always yes, and this is our
last month of 2025.
Uh it seems to have gonequickly, but each month it feels
like there's just been a wealthof uh of releases this year.
So this has just been afantastic year for the Warner
Archive.
George Feltenstein (00:30):
Well, I I would share your sentiment, and
uh I'm very excited about allthe things we have going in the
pipeline for next year, too.
So uh things aren't gonna slowdown, they're gonna keep a pace.
unknown (00:43):
Yeah.
George Feltenstein (00:43):
And that's what's very, very exciting.
Tim Millard (00:46):
You've mentioned this on previous podcasts, but
just in case anybody missed it,you have a bunch of titles being
worked on right now that peoplecan look forward to in the
coming year.
And that's just fantastic tohear.
So there's no slowdown for theWarner Archive.
And today we're going to betalking about seven December
(01:08):
releases, but there's actuallyeight because of the previously
announced Tom and Jerry Goldenera anthology.
And that releases on December2nd, I believe.
So very early in the month.
So uh just a pack December.
And there are a couple moreanimation titles coming in
December.
(01:28):
We're gonna hold off on divinginto those till after we talk
about the classic films, but uhuh that will be exciting for
animation fans.
So, well, first off, why don'twe jump right into I Love Melvin
from 1953?
What can you tell us about thisTechnicolor musical?
George Feltenstein (01:49):
Well, you said the magic word technicolor.
All of our efforts when we'rerecombining the Technicolor
negatives just have blown me outof the water.
I think people have had asimilar experience of being
really impressed on how greatthese films look.
In this case, this is a verydifferent kind of film.
(02:12):
Very different kind of musical.
This was an MGM musical, and itwas the studio's thought to
reunite Donald O'Connor andDebbie Reynolds after they fit
together so well in Singing inthe Rain.
And what's interesting aboutthis film is it doesn't come
from the traditional producersof musicals at MGM.
(02:35):
It doesn't come from ArthurFreed, it doesn't come from Joe
Pasternak, it doesn't come fromJack Cummings, it comes from
George Wells, who was also ascreenwriter, and produced a
handful of films.
But the other thing I findreally interesting about this
film is that they shot it onlocation in Manhattan, which was
(02:57):
a very expensive thing to do.
And I've tried to find out inmy research what precipitated
that to happen, that they said,well, we can't film this on lot
two.
We need to go to New York City.
But there is Donald O'Connorand Debbie Reynolds doing a
musical number in a littleportion of Central Park, I know
(03:18):
very well, as you get towardsColumbus Circle.
It's a delightful, Spritemusical.
He is a photographer from Lookmagazine.
She's a uh would-be actresswho's dreaming of stardom, and
their chemistry together isreally just sizzling.
(03:40):
It's a shame that they didn'tdo more work together because
they're just charming.
And the film is filled withgreat dances and lovely songs,
and you get an unbilled cameoappearance from Robert Taylor at
the beginning.
It moves along at a clip, anduh just as we did when this film
(04:05):
was released on DVD, we have anouttake musical number, what
was supposed to be the finale ofthe film.
It's something that we used alittle bit of in That's
Entertainment 3, but thatdeleted finale musical number is
on the disc as an extra.
So that's wonderful to talkabout on the extras.
But if you're a fan of DonaldO'Connor and Debbie Reynolds,
(04:27):
this is a delightful 76 minutesof technicolored musical
entertainment coming from theDream Factory.
Tim Millard (04:36):
Yeah, it's a it's a terrific uh cast here.
And you have a few other extrasuh we should probably mention
as well.
George Feltenstein (04:44):
Yeah, we've got two MGM cartoons from 1953,
neither of which have Tom andJerry.
We have the Impossible Possumwith Barney Bear and Tech
Savory's TV of tomorrow, whichhas always been a favorite of
mine.
So it's a it's a lovelypackage, and I think people are
gonna be knocked out when theysee how great the movie looks,
(05:06):
and it's gonna be just a funthing to add to the collection
on the shelf.
Tim Millard (05:10):
Yeah, yeah.
Well, that's terrific.
And I love it that you haveTechnicolors almost every month
uh this year, it feels like.
Uh, so that's been a real treatfor everyone.
Well, next we have anothermusical, Interrupted Melody from
1955.
What can you tell us about thisfilm?
George Feltenstein (05:28):
Well, I I classify this as a drama with
music in it.
Okay.
Uh, because it's the true storyof an Australian opera singer,
opera star, Marjorie Lawrence,who at the height of her career
was stricken with polio.
And how she overcame thedisease physically as well as
(05:56):
spiritually, that's really thekey to the story of the film.
And Glenn Ford is, as in reallife, Marjorie Lawrence married
a doctor.
Glenn Ford plays the doctor,Eleanor Parker plays Miss
Lawrence.
Miss Lawrence was a big star atthe Metropolitan Opera at the
(06:17):
time this movie uh was released.
She had written anautobiography.
The autobiography rights werebought by MGM to make the film,
and there were several otheractresses considered to play the
part, and the studio finallysettled on Eleanor Parker, and
she got an Oscar nomination asBest Actress for her
(06:39):
performance.
It's a really, really goodfilm, and uh it's very poignant
and very well done.
So I always like to distinguishthat this is a drama that has
music in it.
People don't just start singingand dancing in the middle of
the story to advance the plot.
Tim Millard (06:59):
Right.
George Feltenstein (06:59):
Um but it's very well done, directed by
Curtis Bernhardt, who's a greatdirector, did fine work at MGM
and Warner Brothers.
It's a CinemaScope movie, andit's got an awesome soundtrack,
and I think people will reallyenjoy it, especially people
who've never seen it before.
It'll be a rediscovery.
Tim Millard (07:19):
And this must be a fairly young Roger Moore.
George Feltenstein (07:22):
Very young Roger Moore.
Yeah.
Roger Moore was under contractat MGM before he moved to Warner
Brothers to be a contractplayer and ended up doing TV
before everything was before TheSaint.
The Saint turned it around forhim, and then of course, Live
and Let Die and being Bondnumber two, you know.
(07:44):
Right, right.
So uh, but yes, you get to seeRoger Moore and Eleanor Parker
and Glenn Ford.
Great cast.
Yeah.
And uh MGM really pulled outall the stops for this.
And the Cinema Scope really,between that and the
stereophonic sound, it's awonderful presentation.
I think people are gonna bereally impressed with it.
Tim Millard (08:05):
Well, I always uh am happy to see more Eleanor
Parker.
And then let's see, you have afew extras on here as well.
George Feltenstein (08:13):
We have one cartoon that's also in Cinema
Scope, Tom and Cherie, which ofcourse is in the Tom and Jerry
collection that's coming outDecember 2nd.
But the reason I selected thatcartoon was that's the cartoon
it opened with in Los Angeles.
Tim Millard (08:29):
Oh, fun.
Yeah, that's it.
George Feltenstein (08:30):
I went to the movie ad and said, okay,
what played with this movie?
And that was it.
And it's a love story for Tom,so uh it fits in well with the
feature.
Tim Millard (08:40):
And you have the original theatrical trailer, of
course.
George Feltenstein (08:44):
Yeah, so yeah, that's great.
If it's after 1933 and it'sMGM, there is a 99% chance we
have the trailer.
Okay.
So we're glad to be able toinclude it.
Right, right.
Tim Millard (08:57):
Well, next we have On Borrowed Time.
What can you tell us about this1939 film?
George Feltenstein (09:04):
It's a film we've had a lot of requests for.
It's based on a book whichbecame a very successful
Broadway play that in turn waspurchased by MGM to make the
movie.
And it deals with I would sayit has a supernatural aspect to
(09:27):
it because Sir Cedric Hardwickbasically plays death twenty
years before the seventh seal.
It's very moving.
The crux of it basically isLionel Barrymore, in one of his
best performances, and that'ssaying something, plays a man
(09:47):
who's confronting death andtrying to put it off in the
persona of Sir Cedric Hardwick.
And there's this other aspectto it where his grandson, you
know, he's trying to conditionhis grandson to be prepared for
the fact that Gramps isn't goingto be around very much longer.
(10:08):
These are very tough things todeal with in life as well as
certainly in cinema.
The way this film handles thematerial is with a very
intelligent touch.
This was one of the earlyWarner Archive DVDs, 2009 or
(10:32):
2010, and not looking very good.
We've now got the 4K scan offthe preservation elements, and
uh it looks and soundsremarkable.
And this film isn't betterknown, but then again, it was
made in 1939, and with 1939being the apex of not just MGM
(11:00):
or Warner Brothers or RKO, butevery studio, every studio was
turning out like phenomenal workin 1939.
That's why many people,including myself, think it is
the greatest year in the historyof Hollywood.
There are others who disputethat, and I respect them for
(11:23):
disputing it, but for me, theamount of 1939 movies that don't
even get consideration for topflight is because the year was
so stuffed with greatness,coming from every single studio,
both the A Studios and the Bstudios.
Remarkable films.
So Onborrow Time now gets theWarner Archive Class A treatment
(11:48):
with a gorgeous new master, abeautiful Blu-ray.
And uh I'm very, very happythat people will get to own
this, and we've added not onebut two radio shows.
We have a Screen Guild theaterproduction from 1946 with Lionel
Barrymore, and then a greatscenes from great plays
(12:10):
treatment of the story with noneother than Boris Karloff.
So that's pretty impressive.
We have an MGM black and whitecartoon that's kind of a
one-shot called Wanted NoMaster.
Die Hard animation fans will behappy about that.
And then we have a TechnicolorFitzpatrick Travel Talks uh day
(12:31):
on Treasure Island.
It's from 1939.
That's the only thing that tiesit to the film.
And then the trailer.
The trailer is very interestingtoo because you see how MGM was
trying to sell this moviewithout saying to everybody,
hey, you want to come see amovie all about death and dying?
You know, um, no, theyobviously weren't going to do
(12:54):
that.
But there's a reason why theywere considered the Tiffany of
Studios.
And this is just one example of52 films a year at Warner
Brothers, 52 films a year atMGM, and the other studios as
well, because they had to feedthe pipeline of their theaters.
(13:14):
And the work that was done in1939 by all the studios really
warrants this kind of acclaim.
Because it was the last yearbefore World War II began in
Europe, September of 1939, andthat kind of cut off half the
(13:35):
world from financial support forfilmmaking.
And stories also had to startto reflect what was going on in
the time.
So I highly recommend thisfilm.
Gotten a lot of uh notes today,uh social media and emails and
things, uh, people reallythrilled about this movie
(13:56):
finally coming to Blu-ray andlooking and sounding good.
It deserves it.
Tim Millard (14:01):
Yeah, yeah.
So many people are excited forthese films that are from the
30s, especially, you know, thatuh once they get the Warner
Archive treatment, I'm alwaysamazed.
I always say it over and overagain, these films from the 30s,
how great they look and howthat really helps make them so
much more accessible to thosewho aren't familiar with films
(14:23):
of that era.
So uh I think it's great.
As you mentioned, 1939, wemeant we talk about that fact uh
frequently uh when it comes upthat it's such a great year.
So this is uh this is exciting.
Well, next we have anotherErrol Flynn film, George.
You promised that to people,and it's been flooding through
the release schedule here.
(14:44):
And this one's a Western SanAntonio from 1945.
What can you tell us about thisrelease?
George Feltenstein (14:51):
Well, not only is it a Western, but it's a
Technicolor Western.
So once again, we get to useour proprietary technology to
make Technicolor look betterthan it did when the movie
opened.
And this is one of those filmsthat on DVD was soft and a
little bit out of alignment.
(15:12):
And now it's crisp as a bell,tight, looks wonderful, and it's
just a well-written, enjoyableWestern.
Now, how a Tasmanian-bornperformer such as Mr.
Flynn could easily fit intoroles in Westerns just spoke to
(15:32):
his versatility.
And uh when this movie wasreleased in 1945, uh Mr.
Flynn was 33, I believe.
He was still looking great, youknow, and at the height of his,
you know, movie star peak.
But he plays opposite AlexisSmith, who is just stunningly
(15:54):
gorgeous.
And you've got a great cast ofWarner Stock supporting players,
a rousing screenplay, music byMax Steiner, who could ask for
anything more.
I love Flynn's Westerns.
There's always one line inthere that kind of justifies,
you know, where the accent camefrom and why he doesn't sound
(16:16):
like most of the other cowboys.
But this is uh a really funmovie, and it's now getting that
special treatment with a 4Kscan of the Technicolor nitrate.
It's gonna make people really,really happy.
And uh, we've added a WarnerBrothers Technicolor two reels
short called Frontier Days,which is from 1945, also, and
(16:41):
that was on the DVD release ofthis, and we also added a 1945
Technicolor Porky Pig cartooncalled Trap Happy Porky and the
trailer.
So it's a nice package, veryentertaining.
And uh, if you love WarnerBrothers Westerns, you're gonna
love San Antonio.
Tim Millard (17:00):
I think Gerald Flynn's great in everything.
So uh I do too.
And do you really have to doyou really have to excuse an
accent in the West when Americawas just really full of
immigrants and they all were inthe West anyway?
George Feltenstein (17:12):
So uh, but uh but that's that's and we have
several more Flynn's in in theworks.
So uh given that his work atthe studio was so prolific, and
he also did some films for MGM,we've got a lot of Errol Flynn
still in our quiver inpreparation at this time.
(17:35):
So we'll be talking about Errolduring 2026, as well as his
fellow Warner cohorts likeCagney and Robinson and Betty
Davis.
There'll be a lot to talkabout.
Very exciting.
Tim Millard (17:48):
Yeah, more great news for uh for fans of those
amazing, amazing stars forWarner Brothers.
So well, next we have TheValley of Decision, also from
1945.
What can you tell us about thisfilm?
George Feltenstein (18:02):
Well, this is an adaptation of a book.
It's a love story and a storyof class versus class.
And Greer Garson was really atthe height of her movie stardom
when she did this picture, andit was a huge hit.
It's very different from thebook that it's based on,
(18:25):
probably because they had todeal with production code
issues.
But basically, Gregory Peck,who was relatively a newcomer
when he made this movie, he haddone a few pictures before this,
but this cemented his bigstardom.
And he was borrowed for thismovie.
(18:46):
I think he was, if I'm correct,I think he was under contract
to David O'Celznick.
And uh Selznick made a lot ofmoney just lending out the stars
that were under contract tohim.
Garson and Gregory Pecktogether were really uh
sensational.
And these stories of upperclass versus lower class, you
(19:11):
know, set in a steel miningPittsburgh of the late 1800s.
It deals with the IndustrialRevolution.
It was promoted as MGM'sTempestuous Romance.
It was a big hit at the boxoffice, uh, one of their biggest
pictures of the year.
So, yet again, this is anotherfinally leaving the roots of a
(19:33):
35-year-old, terrible standarddefinition master made off of
print.
And we've gone off thepreservation materials to create
this new 4K scan Blu-ray.
It's just going to bewonderful.
And we've added a lot of coolstuff on this, too.
We have a Lux Radio Theaterbroadcast with Greer Garson and
(19:54):
Gregory Peck.
And if my memory serves mecorrectly, William Keeley, who
had taken over the hosting ofLux by that time, makes a really
big deal about this is the filmyou wanted us to bring to the
Lux Radio Theater, and here theyare.
We also have a great Tex Averycartoon with quote-unquote Red
Riding Hood and thequote-unquote wolf, wild and
(20:16):
wolfie.
All those cartoons arebasically kind of around the
same thematics, but Tex doesamazing things that makes each
of them distinctly different.
And then we have a shortsubject, a musical short subject
called Spread and the Jam,which is really kind of fun, and
it it relates to people tryingto raise enough money to pay
(20:40):
the.
They have like a party to getthe rent together.
And if my memory is serving mecorrectly, this was directed by
Charles Walters, who was achoreographer at the studio, and
it was kind of like the test tosee if he could direct a
feature, which he did a year anda half later with Good News in
1947.
Uh, and then he stayed at MGMas a top director of comedies as
(21:05):
well as musicals and even a fewdramas.
So uh this is a verywell-packed release, but the
feature is of course theattraction.
And as with On Borrowed Time,once again we have Lionel
Barrymore in a scene-stealingperformance.
But uh the really remarkableaspect of the acting in this
(21:26):
film is Peck, and seeing how,even at such a young age, he so
commanded attention on screen.
I think Gregory Peck, I thinkAtticus Finch, and then there's
everything else.
But, you know, he was reallygreat in everything he did.
And uh this is him at the veryearly age.
(21:49):
But the following year afterthis, he did what I think is one
of his very best films, whichwe're proud to have in the
Warner Archive collection as aTechnicolor Restoration, The
Yearlink.
He was just unbelievablywonderful in that.
The whole relationship he hadwith Claude Jarman Jr.
(22:10):
as his son and Jane Wyman andhis wife, I find that film
remarkable.
And we may have released it afew years ago, but I really want
people to look back at thehundreds and hundreds of
Blu-rays we've put out in thelast 13 years because there's a
lot of gold in them Dar Hills,and that's part of why we've
been doing these multi-features,so that for things that we did
(22:34):
put out in the past, we findways of making them economically
more attractive for peoplewho've yet to dip their toe in
the water for a particular genreor actor.
So there will be moremulti-features coming in 2026 as
well.
Tim Millard (22:50):
Well, I'm looking forward to this one.
I I was glad you mentionedLionel Barrymore.
I saw his name.
I'm like, wow, we've gotseveral of uh his films in
December, but he's also been ina lot of films you've released
this year.
And this comes in at almost twohours.
It's quite a long, powerfulfilm.
And and I think uh it you yousaid here also, maybe in the
(23:11):
release, that this was quite asuccessful film at the box
office.
George Feltenstein (23:14):
Very, very successful.
Tim Millard (23:16):
Yeah.
George Feltenstein (23:16):
And it earned some Oscar nominations.
It didn't win any Oscars, butit was nominated, I believe,
Greer Garson for Best Actressand Herbert Stothert, who did
the instrumental underscoring.
They were both nominated.
And I think it did win like thePicture of the Year Award from
Photoplay magazine, becausethat's representative of like
(23:39):
the People's Choice Awardstoday.
That was what the people saidwas the best picture of 1945.
So people may not have beenthrilled to deal with like the
best picture the Oscars gave in1945, which was The Lost
Weekend, all about alcoholism.
This is a little more populist,shall we say?
(23:59):
Yeah.
And it's a it was a film thatappealed to both men and women
and was very, very successful.
It just represents the kind offilms that MGM made so very
well.
Yeah.
Tim Millard (24:13):
Well, now we're gonna turn to animation, George,
for the last uh couple ofreleases you're gonna talk
about.
And and we'll we'll kind ofgroup them together because I
think they obviously gotogether.
Um, but what can you tell usabout these two Hanna-Barbera
series?
George Feltenstein (24:27):
Well, uh two months ago, we gave the world
Touche Turtle and Dum Dum, andpart of the series of three new
animated adventures with threenew sets of characters.
There was Touche Turtle and DumDum.
And then Wally Gator, whichwe're putting out all 52
(24:50):
episodes of on two discs for theprice of one, and then Lippy
the Lion and Hardy Harhar.
Also 52 episodes on two discsfor the price of one.
Um, these cartoons, I alwaystry to underscore this because
people need to understand, theywere produced on a much lower
(25:11):
budget.
They were produced on 16millimeter film.
The original camera elementsare actually positives.
From that came Internegativesand Prince and so forth and so
on.
These were not half-hour showsof each character, but they
(25:31):
could have been if theindividual state television
station decided to run them thatway.
Hannah Barbera prepared these52 cartoons for each of the
characters, and the cartoons runabout five minutes each, and
they could be split with othercharacters that are from other
(25:52):
owners.
If the station had Popeyecartoons or Rocky and his
friends' cartoons, they couldmix them all together.
But they all hit the market inSeptember of 1962.
And as Hanna-Barberacharacters, they hold their own
alongside with a lot of ourfavorites, like Huck and Yogi
(26:15):
and Quick Dormagras and so forthand so on.
So people really love thesecharacters.
And to put them all togethernicely in the order that they
were originally offered to thestations is uh it's a delight.
And they look much better thanthey ever have before.
They don't look as good as theHuckleberry Hound cartoons that
(26:37):
came off 35mm camera negativesbecause this is a 16 millimeter
production done on a lowerbudget.
But we've done our very best tomake the pictures as clean and
sharp as possible, and uh theanimation comes across very,
very well.
And the writing is excellenttoo.
So there's a lot of laughs inthere.
(26:58):
It's not condescending kittyfair, it's entertainment.
Right, right.
Tim Millard (27:03):
And there aren't any extras included in these,
uh, George.
No, yeah.
And part of that is because Iknow you're really trying to
keep the cost, which you alreadymentioned, two discs for the
price of one.
You're trying to keep thesecosts, I'm assuming, very you
know, affordable.
Because otherwise, you know, itit could really add up if it
was $40 or whatever per release.
George Feltenstein (27:26):
I mean, in today's market, we're trying to
find that sweet spot where wecan everything has to be
profitable or else we can't goon.
Tim Millard (27:39):
Yeah.
George Feltenstein (27:40):
So thankfully, uh we are having a
more profitable year than we'veever had before.
But it is something that we'revery, very focused on.
That's why I also want to makeit very clear, as I've said
before, the suggested retailprice for our releases had to go
(28:00):
up because you know, after 12,13 years, we had to raise our
SRP a little bit to $24.98.
But if you see somebody sellingit for two or three dollars
over the SRP, we have no controlover that.
And some parties are takingadvantage of that.
(28:22):
We're trying to put together agood package for a fair price
and put a lot of heart and souland work into it.
With the whole group of manyindividuals here at the studio
who are all dedicated to makingeverything look and sound
wonderful.
Right, right.
Tim Millard (28:41):
Well, I I'm I'm really just happy that these are
coming out so soon after ToucheTurtle just because they they
are, you know, grouped togetherin in historically, even though
later on they were dispersed andshown in various different
forms or whatever.
And I think that having them asindividual sets, you know,
(29:02):
allows people not only to tochoose which ones might be their
favorite, but also to kind ofbreak up the the cost, you know,
uh to keep them at a cheaper,lower price point, more
affordable for everyone, for thecollectors, and uh to get them
in this, you know, with the 4Kscan so that they look as good
as possible now.
So I think that's a win-win foruh for animation fans.
George Feltenstein (29:25):
I think so too.
Tim Millard (29:26):
Well, another great month, uh, seven titles
releasing, plus we mentioned theeighth with the Tom and Jerry.
Can't forget that.
Six discs.
Six discs, yeah.
That's a that's a hugecollection there.
Um, but so much for animationyou know fans to enjoy.
And then also all of theseclassic films for the classic
(29:49):
film fans.
So another great month and justin time for the Christmas
holiday.
George Feltenstein (29:53):
Absolutely.
Tim Millard (29:57):
It's always great when George comes on to tell us
what's coming.
Next month from the WarnerArchive.
As a fan, just like you, itfills me with joy as I hear what
these films and TV series andanimation are that are being
released for the very first timein HD.
So it's an exciting time tohear that.
And this has just been afantastic year with so many
(30:20):
announcements, just of so manytitles, and such a great
resurgence of animation and somuch more.
We will be posting thepre-order links when they become
available.
Usually that's uh in a fewweeks uh before those do become
available, but we'll have thosethere for you.
The Tom and Jerry Golden Eraanthology is available for
(30:41):
pre-order.
So if you haven't yet pickedthat up, be sure and check out
the pre-order link in the shownotes as well.
I recommend getting thatpre-order in so that you're in
the list to have those shippedout right away.
Because I do imagine thatthere's a possibility that if
you wait too long, you could notget it before the holiday.
(31:01):
So wait for that for theserious collectors.
So get your pre-order in forthat.
And if you haven't yetsubscribed, you may want to do
that because there is a lot ofexciting podcasts coming in the
future.
Until next time, you've beenlistening to Tim Millard.
Stay slightly obsessed.
Hello and welcome to The E
xtras, I'm Tim Millard your hostand joining me is George
Feltenstein to announce theDecember Blu-ray releases from
the Warner Archive.
George Feltenstein (00:09):
Hi George, hello too.
Tim Millard (00:11):
Great to see you, it's always yes, and this is our
last month of 2025.
Uh it seems to have gonequickly, but each month it feels
like there's just been a wealthof uh of releases this year.
So this has just been afantastic year for the Warner
Archive.
George Feltenstein (00:30):
Well, I I would share your sentiment, and
uh I'm very excited about allthe things we have going in the
pipeline for next year, too.
So uh things aren't gonna slowdown, they're gonna keep a pace.
unknown (00:43):
Yeah.
George Feltenstein (00:43):
And that's what's very, very exciting.
Tim Millard (00:46):
You've mentioned this on previous podcasts, but
just in case anybody missed it,you have a bunch of titles being
worked on right now that peoplecan look forward to in the
coming year.
And that's just fantastic tohear.
So there's no slowdown for theWarner Archive.
And today we're going to betalking about seven December
(01:08):
releases, but there's actuallyeight because of the previously
announced Tom and Jerry Goldenera anthology.
And that releases on December2nd, I believe.
So very early in the month.
So uh just a pack December.
And there are a couple moreanimation titles coming in
December.
(01:28):
We're gonna hold off on divinginto those till after we talk
about the classic films, but uhuh that will be exciting for
animation fans.
So, well, first off, why don'twe jump right into I Love Melvin
from 1953?
What can you tell us about thisTechnicolor musical?
George Feltenstein (01:49):
Well, you said the magic word technicolor.
All of our efforts when we'rerecombining the Technicolor
negatives just have blown me outof the water.
I think people have had asimilar experience of being
really impressed on how greatthese films look.
In this case, this is a verydifferent kind of film.
(02:12):
Very different kind of musical.
This was an MGM musical, and itwas the studio's thought to
reunite Donald O'Connor andDebbie Reynolds after they fit
together so well in Singing inthe Rain.
And what's interesting aboutthis film is it doesn't come
from the traditional producersof musicals at MGM.
(02:35):
It doesn't come from ArthurFreed, it doesn't come from Joe
Pasternak, it doesn't come fromJack Cummings, it comes from
George Wells, who was also ascreenwriter, and produced a
handful of films.
But the other thing I findreally interesting about this
film is that they shot it onlocation in Manhattan, which was
(02:57):
a very expensive thing to do.
And I've tried to find out inmy research what precipitated
that to happen, that they said,well, we can't film this on lot
two.
We need to go to New York City.
But there is Donald O'Connorand Debbie Reynolds doing a
musical number in a littleportion of Central Park, I know
(03:18):
very well, as you get towardsColumbus Circle.
It's a delightful, Spritemusical.
He is a photographer from Lookmagazine.
She's a uh would-be actresswho's dreaming of stardom, and
their chemistry together isreally just sizzling.
(03:40):
It's a shame that they didn'tdo more work together because
they're just charming.
And the film is filled withgreat dances and lovely songs,
and you get an unbilled cameoappearance from Robert Taylor at
the beginning.
It moves along at a clip, anduh just as we did when this film
(04:05):
was released on DVD, we have anouttake musical number, what
was supposed to be the finale ofthe film.
It's something that we used alittle bit of in That's
Entertainment 3, but thatdeleted finale musical number is
on the disc as an extra.
So that's wonderful to talkabout on the extras.
But if you're a fan of DonaldO'Connor and Debbie Reynolds,
(04:27):
this is a delightful 76 minutesof technicolored musical
entertainment coming from theDream Factory.
Tim Millard (04:36):
Yeah, it's a it's a terrific uh cast here.
And you have a few other extrasuh we should probably mention
as well.
George Feltenstein (04:44):
Yeah, we've got two MGM cartoons from 1953,
neither of which have Tom andJerry.
We have the Impossible Possumwith Barney Bear and Tech
Savory's TV of tomorrow, whichhas always been a favorite of
mine.
So it's a it's a lovelypackage, and I think people are
gonna be knocked out when theysee how great the movie looks,
(05:06):
and it's gonna be just a funthing to add to the collection
on the shelf.
Tim Millard (05:10):
Yeah, yeah.
Well, that's terrific.
And I love it that you haveTechnicolors almost every month
uh this year, it feels like.
Uh, so that's been a real treatfor everyone.
Well, next we have anothermusical, Interrupted Melody from
1955.
What can you tell us about thisfilm?
George Feltenstein (05:28):
Well, I I classify this as a drama with
music in it.
Okay.
Uh, because it's the true storyof an Australian opera singer,
opera star, Marjorie Lawrence,who at the height of her career
was stricken with polio.
And how she overcame thedisease physically as well as
(05:56):
spiritually, that's really thekey to the story of the film.
And Glenn Ford is, as in reallife, Marjorie Lawrence married
a doctor.
Glenn Ford plays the doctor,Eleanor Parker plays Miss
Lawrence.
Miss Lawrence was a big star atthe Metropolitan Opera at the
(06:17):
time this movie uh was released.
She had written anautobiography.
The autobiography rights werebought by MGM to make the film,
and there were several otheractresses considered to play the
part, and the studio finallysettled on Eleanor Parker, and
she got an Oscar nomination asBest Actress for her
(06:39):
performance.
It's a really, really goodfilm, and uh it's very poignant
and very well done.
So I always like to distinguishthat this is a drama that has
music in it.
People don't just start singingand dancing in the middle of
the story to advance the plot.
Tim Millard (06:59):
Right.
George Feltenstein (06:59):
Um but it's very well done, directed by
Curtis Bernhardt, who's a greatdirector, did fine work at MGM
and Warner Brothers.
It's a CinemaScope movie, andit's got an awesome soundtrack,
and I think people will reallyenjoy it, especially people
who've never seen it before.
It'll be a rediscovery.
Tim Millard (07:19):
And this must be a fairly young Roger Moore.
George Feltenstein (07:22):
Very young Roger Moore.
Yeah.
Roger Moore was under contractat MGM before he moved to Warner
Brothers to be a contractplayer and ended up doing TV
before everything was before TheSaint.
The Saint turned it around forhim, and then of course, Live
and Let Die and being Bondnumber two, you know.
(07:44):
Right, right.
So uh, but yes, you get to seeRoger Moore and Eleanor Parker
and Glenn Ford.
Great cast.
Yeah.
And uh MGM really pulled outall the stops for this.
And the Cinema Scope really,between that and the
stereophonic sound, it's awonderful presentation.
I think people are gonna bereally impressed with it.
Tim Millard (08:05):
Well, I always uh am happy to see more Eleanor
Parker.
And then let's see, you have afew extras on here as well.
George Feltenstein (08:13):
We have one cartoon that's also in Cinema
Scope, Tom and Cherie, which ofcourse is in the Tom and Jerry
collection that's coming outDecember 2nd.
But the reason I selected thatcartoon was that's the cartoon
it opened with in Los Angeles.
Tim Millard (08:29):
Oh, fun.
Yeah, that's it.
George Feltenstein (08:30):
I went to the movie ad and said, okay,
what played with this movie?
And that was it.
And it's a love story for Tom,so uh it fits in well with the
feature.
Tim Millard (08:40):
And you have the original theatrical trailer, of
course.
George Feltenstein (08:44):
Yeah, so yeah, that's great.
If it's after 1933 and it'sMGM, there is a 99% chance we
have the trailer.
Okay.
So we're glad to be able toinclude it.
Right, right.
Tim Millard (08:57):
Well, next we have On Borrowed Time.
What can you tell us about this1939 film?
George Feltenstein (09:04):
It's a film we've had a lot of requests for.
It's based on a book whichbecame a very successful
Broadway play that in turn waspurchased by MGM to make the
movie.
And it deals with I would sayit has a supernatural aspect to
(09:27):
it because Sir Cedric Hardwickbasically plays death twenty
years before the seventh seal.
It's very moving.
The crux of it basically isLionel Barrymore, in one of his
best performances, and that'ssaying something, plays a man
(09:47):
who's confronting death andtrying to put it off in the
persona of Sir Cedric Hardwick.
And there's this other aspectto it where his grandson, you
know, he's trying to conditionhis grandson to be prepared for
the fact that Gramps isn't goingto be around very much longer.
(10:08):
These are very tough things todeal with in life as well as
certainly in cinema.
The way this film handles thematerial is with a very
intelligent touch.
This was one of the earlyWarner Archive DVDs, 2009 or
(10:32):
2010, and not looking very good.
We've now got the 4K scan offthe preservation elements, and
uh it looks and soundsremarkable.
And this film isn't betterknown, but then again, it was
made in 1939, and with 1939being the apex of not just MGM
(11:00):
or Warner Brothers or RKO, butevery studio, every studio was
turning out like phenomenal workin 1939.
That's why many people,including myself, think it is
the greatest year in the historyof Hollywood.
There are others who disputethat, and I respect them for
(11:23):
disputing it, but for me, theamount of 1939 movies that don't
even get consideration for topflight is because the year was
so stuffed with greatness,coming from every single studio,
both the A Studios and the Bstudios.
Remarkable films.
So Onborrow Time now gets theWarner Archive Class A treatment
(11:48):
with a gorgeous new master, abeautiful Blu-ray.
And uh I'm very, very happythat people will get to own
this, and we've added not onebut two radio shows.
We have a Screen Guild theaterproduction from 1946 with Lionel
Barrymore, and then a greatscenes from great plays
(12:10):
treatment of the story with noneother than Boris Karloff.
So that's pretty impressive.
We have an MGM black and whitecartoon that's kind of a
one-shot called Wanted NoMaster.
Die Hard animation fans will behappy about that.
And then we have a TechnicolorFitzpatrick Travel Talks uh day
(12:31):
on Treasure Island.
It's from 1939.
That's the only thing that tiesit to the film.
And then the trailer.
The trailer is very interestingtoo because you see how MGM was
trying to sell this moviewithout saying to everybody,
hey, you want to come see amovie all about death and dying?
You know, um, no, theyobviously weren't going to do
(12:54):
that.
But there's a reason why theywere considered the Tiffany of
Studios.
And this is just one example of52 films a year at Warner
Brothers, 52 films a year atMGM, and the other studios as
well, because they had to feedthe pipeline of their theaters.
(13:14):
And the work that was done in1939 by all the studios really
warrants this kind of acclaim.
Because it was the last yearbefore World War II began in
Europe, September of 1939, andthat kind of cut off half the
(13:35):
world from financial support forfilmmaking.
And stories also had to startto reflect what was going on in
the time.
So I highly recommend thisfilm.
Gotten a lot of uh notes today,uh social media and emails and
things, uh, people reallythrilled about this movie
(13:56):
finally coming to Blu-ray andlooking and sounding good.
It deserves it.
Tim Millard (14:01):
Yeah, yeah.
So many people are excited forthese films that are from the
30s, especially, you know, thatuh once they get the Warner
Archive treatment, I'm alwaysamazed.
I always say it over and overagain, these films from the 30s,
how great they look and howthat really helps make them so
much more accessible to thosewho aren't familiar with films
(14:23):
of that era.
So uh I think it's great.
As you mentioned, 1939, wemeant we talk about that fact uh
frequently uh when it comes upthat it's such a great year.
So this is uh this is exciting.
Well, next we have anotherErrol Flynn film, George.
You promised that to people,and it's been flooding through
the release schedule here.
(14:44):
And this one's a Western SanAntonio from 1945.
What can you tell us about thisrelease?
George Feltenstein (14:51):
Well, not only is it a Western, but it's a
Technicolor Western.
So once again, we get to useour proprietary technology to
make Technicolor look betterthan it did when the movie
opened.
And this is one of those filmsthat on DVD was soft and a
little bit out of alignment.
(15:12):
And now it's crisp as a bell,tight, looks wonderful, and it's
just a well-written, enjoyableWestern.
Now, how a Tasmanian-bornperformer such as Mr.
Flynn could easily fit intoroles in Westerns just spoke to
(15:32):
his versatility.
And uh when this movie wasreleased in 1945, uh Mr.
Flynn was 33, I believe.
He was still looking great, youknow, and at the height of his,
you know, movie star peak.
But he plays opposite AlexisSmith, who is just stunningly
(15:54):
gorgeous.
And you've got a great cast ofWarner Stock supporting players,
a rousing screenplay, music byMax Steiner, who could ask for
anything more.
I love Flynn's Westerns.
There's always one line inthere that kind of justifies,
you know, where the accent camefrom and why he doesn't sound
(16:16):
like most of the other cowboys.
But this is uh a really funmovie, and it's now getting that
special treatment with a 4Kscan of the Technicolor nitrate.
It's gonna make people really,really happy.
And uh, we've added a WarnerBrothers Technicolor two reels
short called Frontier Days,which is from 1945, also, and
(16:41):
that was on the DVD release ofthis, and we also added a 1945
Technicolor Porky Pig cartooncalled Trap Happy Porky and the
trailer.
So it's a nice package, veryentertaining.
And uh, if you love WarnerBrothers Westerns, you're gonna
love San Antonio.
Tim Millard (17:00):
I think Gerald Flynn's great in everything.
So uh I do too.
And do you really have to doyou really have to excuse an
accent in the West when Americawas just really full of
immigrants and they all were inthe West anyway?
George Feltenstein (17:12):
So uh, but uh but that's that's and we have
several more Flynn's in in theworks.
So uh given that his work atthe studio was so prolific, and
he also did some films for MGM,we've got a lot of Errol Flynn
still in our quiver inpreparation at this time.
(17:35):
So we'll be talking about Errolduring 2026, as well as his
fellow Warner cohorts likeCagney and Robinson and Betty
Davis.
There'll be a lot to talkabout.
Very exciting.
Tim Millard (17:48):
Yeah, more great news for uh for fans of those
amazing, amazing stars forWarner Brothers.
So well, next we have TheValley of Decision, also from
1945.
What can you tell us about thisfilm?
George Feltenstein (18:02):
Well, this is an adaptation of a book.
It's a love story and a storyof class versus class.
And Greer Garson was really atthe height of her movie stardom
when she did this picture, andit was a huge hit.
It's very different from thebook that it's based on,
(18:25):
probably because they had todeal with production code
issues.
But basically, Gregory Peck,who was relatively a newcomer
when he made this movie, he haddone a few pictures before this,
but this cemented his bigstardom.
And he was borrowed for thismovie.
(18:46):
I think he was, if I'm correct,I think he was under contract
to David O'Celznick.
And uh Selznick made a lot ofmoney just lending out the stars
that were under contract tohim.
Garson and Gregory Pecktogether were really uh
sensational.
And these stories of upperclass versus lower class, you
(19:11):
know, set in a steel miningPittsburgh of the late 1800s.
It deals with the IndustrialRevolution.
It was promoted as MGM'sTempestuous Romance.
It was a big hit at the boxoffice, uh, one of their biggest
pictures of the year.
So, yet again, this is anotherfinally leaving the roots of a
(19:33):
35-year-old, terrible standarddefinition master made off of
print.
And we've gone off thepreservation materials to create
this new 4K scan Blu-ray.
It's just going to bewonderful.
And we've added a lot of coolstuff on this, too.
We have a Lux Radio Theaterbroadcast with Greer Garson and
(19:54):
Gregory Peck.
And if my memory serves mecorrectly, William Keeley, who
had taken over the hosting ofLux by that time, makes a really
big deal about this is the filmyou wanted us to bring to the
Lux Radio Theater, and here theyare.
We also have a great Tex Averycartoon with quote-unquote Red
Riding Hood and thequote-unquote wolf, wild and
(20:16):
wolfie.
All those cartoons arebasically kind of around the
same thematics, but Tex doesamazing things that makes each
of them distinctly different.
And then we have a shortsubject, a musical short subject
called Spread and the Jam,which is really kind of fun, and
it it relates to people tryingto raise enough money to pay
(20:40):
the.
They have like a party to getthe rent together.
And if my memory is serving mecorrectly, this was directed by
Charles Walters, who was achoreographer at the studio, and
it was kind of like the test tosee if he could direct a
feature, which he did a year anda half later with Good News in
1947.
Uh, and then he stayed at MGMas a top director of comedies as
(21:05):
well as musicals and even a fewdramas.
So uh this is a verywell-packed release, but the
feature is of course theattraction.
And as with On Borrowed Time,once again we have Lionel
Barrymore in a scene-stealingperformance.
But uh the really remarkableaspect of the acting in this
(21:26):
film is Peck, and seeing how,even at such a young age, he so
commanded attention on screen.
I think Gregory Peck, I thinkAtticus Finch, and then there's
everything else.
But, you know, he was reallygreat in everything he did.
And uh this is him at the veryearly age.
(21:49):
But the following year afterthis, he did what I think is one
of his very best films, whichwe're proud to have in the
Warner Archive collection as aTechnicolor Restoration, The
Yearlink.
He was just unbelievablywonderful in that.
The whole relationship he hadwith Claude Jarman Jr.
(22:10):
as his son and Jane Wyman andhis wife, I find that film
remarkable.
And we may have released it afew years ago, but I really want
people to look back at thehundreds and hundreds of
Blu-rays we've put out in thelast 13 years because there's a
lot of gold in them Dar Hills,and that's part of why we've
been doing these multi-features,so that for things that we did
(22:34):
put out in the past, we findways of making them economically
more attractive for peoplewho've yet to dip their toe in
the water for a particular genreor actor.
So there will be moremulti-features coming in 2026 as
well.
Tim Millard (22:50):
Well, I'm looking forward to this one.
I I was glad you mentionedLionel Barrymore.
I saw his name.
I'm like, wow, we've gotseveral of uh his films in
December, but he's also been ina lot of films you've released
this year.
And this comes in at almost twohours.
It's quite a long, powerfulfilm.
And and I think uh it you yousaid here also, maybe in the
(23:11):
release, that this was quite asuccessful film at the box
office.
George Feltenstein (23:14):
Very, very successful.
Tim Millard (23:16):
Yeah.
George Feltenstein (23:16):
And it earned some Oscar nominations.
It didn't win any Oscars, butit was nominated, I believe,
Greer Garson for Best Actressand Herbert Stothert, who did
the instrumental underscoring.
They were both nominated.
And I think it did win like thePicture of the Year Award from
Photoplay magazine, becausethat's representative of like
(23:39):
the People's Choice Awardstoday.
That was what the people saidwas the best picture of 1945.
So people may not have beenthrilled to deal with like the
best picture the Oscars gave in1945, which was The Lost
Weekend, all about alcoholism.
This is a little more populist,shall we say?
(23:59):
Yeah.
And it's a it was a film thatappealed to both men and women
and was very, very successful.
It just represents the kind offilms that MGM made so very
well.
Yeah.
Tim Millard (24:13):
Well, now we're gonna turn to animation, George,
for the last uh couple ofreleases you're gonna talk
about.
And and we'll we'll kind ofgroup them together because I
think they obviously gotogether.
Um, but what can you tell usabout these two Hanna-Barbera
series?
George Feltenstein (24:27):
Well, uh two months ago, we gave the world
Touche Turtle and Dum Dum, andpart of the series of three new
animated adventures with threenew sets of characters.
There was Touche Turtle and DumDum.
And then Wally Gator, whichwe're putting out all 52
(24:50):
episodes of on two discs for theprice of one, and then Lippy
the Lion and Hardy Harhar.
Also 52 episodes on two discsfor the price of one.
Um, these cartoons, I alwaystry to underscore this because
people need to understand, theywere produced on a much lower
(25:11):
budget.
They were produced on 16millimeter film.
The original camera elementsare actually positives.
From that came Internegativesand Prince and so forth and so
on.
These were not half-hour showsof each character, but they
(25:31):
could have been if theindividual state television
station decided to run them thatway.
Hannah Barbera prepared these52 cartoons for each of the
characters, and the cartoons runabout five minutes each, and
they could be split with othercharacters that are from other
(25:52):
owners.
If the station had Popeyecartoons or Rocky and his
friends' cartoons, they couldmix them all together.
But they all hit the market inSeptember of 1962.
And as Hanna-Barberacharacters, they hold their own
alongside with a lot of ourfavorites, like Huck and Yogi
(26:15):
and Quick Dormagras and so forthand so on.
So people really love thesecharacters.
And to put them all togethernicely in the order that they
were originally offered to thestations is uh it's a delight.
And they look much better thanthey ever have before.
They don't look as good as theHuckleberry Hound cartoons that
(26:37):
came off 35mm camera negativesbecause this is a 16 millimeter
production done on a lowerbudget.
But we've done our very best tomake the pictures as clean and
sharp as possible, and uh theanimation comes across very,
very well.
And the writing is excellenttoo.
So there's a lot of laughs inthere.
(26:58):
It's not condescending kittyfair, it's entertainment.
Right, right.
Tim Millard (27:03):
And there aren't any extras included in these,
uh, George.
No, yeah.
And part of that is because Iknow you're really trying to
keep the cost, which you alreadymentioned, two discs for the
price of one.
You're trying to keep thesecosts, I'm assuming, very you
know, affordable.
Because otherwise, you know, itit could really add up if it
was $40 or whatever per release.
George Feltenstein (27:26):
I mean, in today's market, we're trying to
find that sweet spot where wecan everything has to be
profitable or else we can't goon.
Tim Millard (27:39):
Yeah.
George Feltenstein (27:40):
So thankfully, uh we are having a
more profitable year than we'veever had before.
But it is something that we'revery, very focused on.
That's why I also want to makeit very clear, as I've said
before, the suggested retailprice for our releases had to go
(28:00):
up because you know, after 12,13 years, we had to raise our
SRP a little bit to $24.98.
But if you see somebody sellingit for two or three dollars
over the SRP, we have no controlover that.
And some parties are takingadvantage of that.
(28:22):
We're trying to put together agood package for a fair price
and put a lot of heart and souland work into it.
With the whole group of manyindividuals here at the studio
who are all dedicated to makingeverything look and sound
wonderful.
Right, right.
Tim Millard (28:41):
Well, I I'm I'm really just happy that these are
coming out so soon after ToucheTurtle just because they they
are, you know, grouped togetherin in historically, even though
later on they were dispersed andshown in various different
forms or whatever.
And I think that having them asindividual sets, you know,
(29:02):
allows people not only to tochoose which ones might be their
favorite, but also to kind ofbreak up the the cost, you know,
uh to keep them at a cheaper,lower price point, more
affordable for everyone, for thecollectors, and uh to get them
in this, you know, with the 4Kscan so that they look as good
as possible now.
So I think that's a win-win foruh for animation fans.
George Feltenstein (29:25):
I think so too.
Tim Millard (29:26):
Well, another great month, uh, seven titles
releasing, plus we mentioned theeighth with the Tom and Jerry.
Can't forget that.
Six discs.
Six discs, yeah.
That's a that's a hugecollection there.
Um, but so much for animationyou know fans to enjoy.
And then also all of theseclassic films for the classic
(29:49):
film fans.
So another great month and justin time for the Christmas
holiday.
George Feltenstein (29:53):
Absolutely.
Tim Millard (29:57):
It's always great when George comes on to tell us
what's coming.
Next month from the WarnerArchive.
As a fan, just like you, itfills me with joy as I hear what
these films and TV series andanimation are that are being
released for the very first timein HD.
So it's an exciting time tohear that.
And this has just been afantastic year with so many
(30:20):
announcements, just of so manytitles, and such a great
resurgence of animation and somuch more.
We will be posting thepre-order links when they become
available.
Usually that's uh in a fewweeks uh before those do become
available, but we'll have thosethere for you.
The Tom and Jerry Golden Eraanthology is available for
(30:41):
pre-order.
So if you haven't yet pickedthat up, be sure and check out
the pre-order link in the shownotes as well.
I recommend getting thatpre-order in so that you're in
the list to have those shippedout right away.
Because I do imagine thatthere's a possibility that if
you wait too long, you could notget it before the holiday.
(31:01):
So wait for that for theserious collectors.
So get your pre-order in forthat.
And if you haven't yetsubscribed, you may want to do
that because there is a lot ofexciting podcasts coming in the
future.
Until next time, you've beenlistening to Tim Millard.
Stay slightly obsessed.
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