Warner Archive announces their packed October 14th Blu-ray release slate featuring meticulously restored classics and horror titles. George Feltenstein returns to share details about five key releases that showcase Warner's commitment to film preservation.
• Curse of Frankenstein arrives in both 4K and Blu-ray editions with unprecedented special features
• A Summer Place (1959) features restored color from the original camera negative, correcting yellow layer collapse issues
• Lovely to Look At (1952) presents Jerome Kern's music in a Technicolor MGM musical starring Kathryn Grayson and Howard Keel
• Rafferty and the Gold Dust Twins (1975) makes its home video debut, jumping from VHS straight to Blu-ray
• The Racket (1951) showcases Robert Mitchum and Robert Ryan in a film noir with commentary by Eddie Muller
• Four new multi-film collections featuring Judy Garland, Bette Davis, Joan Crawford, and horror classics offer great value for collectors
Amazon pre-order purchase links are already available:
A SUMMER PLACE
LOVELY TO LOOK AT
THE RACKET
RAFFERTY AND THE GOLD DUST TWINS
THE CURSE OF FRANKENSTEIN BLU-RAY
JOAN CRAWFORD 4-Film Collection (Blu-ray)
Bette Davis 4-Film Collection (Blu-ray)
Judy Garland 6-Film Collection (Blu-ray
Hollywood Legends Of Horror (Blu-ray) 6-Film Collection (Blu-ray)
Music by Max Steiner: The Epic Life of Hollywood's Most Influential Composer
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Warner Archive & Warner Bros Catalog Group
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
TimMillard (00:03):
Hello and welcome to The Extras.
I'm Tim Millard, your host, andjoining me as always is George
Feltenstein, who announced theOctober Blu-ray releases from
the Warner Archive.
Hi, George.
GeorgeFeltenstein (00:14):
Hello, Tim.
Great to be with you as always.
TimMillard (00:18):
And these monthly announcements we talk about are
always so much fun to go over tohear the new, in this instance,
classic films that are comingfrom the Warner Archive.
And you mentioned previously,we're going to have two
different announcements forOctober.
Today, we're going to talkabout the four films coming out
October 14th.
(00:39):
And then we'll have anotherpodcast for those coming out
later in October.
But before we dive into those,George, there's a another huge
4K release for October 14th.
Why don't you remind us aboutthat one?
GeorgeFeltenstein (00:54):
Well, you took the words right out of my
mouth because I was going tosay, actually, there's five on
the 14th.
We actually have nine newreleases for the month of
October, which is a very strongmonth.
I also think the titles arediverse and of great appeal to
different groups.
So that's exciting.
(01:16):
But the big event for us OurHalloween event, if you will, is
the 4K Deluxe Collector'sEdition of The Curse of
Frankenstein, which was acollaboration between Warner
Brothers and Hammer in the UK.
And it's been a wonderfulcollaboration, especially in
(01:41):
light of the fact that thecompanies have had a
relationship that goes backalmost 70 years.
We're very proud that this iscoming out.
I think the collectors arereally going to love it because
it's 4K, UHD, HDR, Dolby Vision,presenting three different
aspect ratios, an enormousamount of extras, which is very
(02:05):
important, and beautifulpackaging.
I think people are going to bevery happy with it.
We've talked about it alreadyon the extras here.
Putting a pin in The Curse ofFrankenstein as the big monthly
event, but we've got eight otherfilms to talk about, four of
which we'll do today for theOctober 14th Street Gate.
TimMillard (02:27):
Yes, just a reminder, you can find our
discussion for The Curse ofFrankenstein, the 4K, at your
favorite podcast provider andalso on our YouTube channel.
So it's been very popular.
So check that out if you wantto go deep dive into that
release.
Well, let's go alphabeticaltoday, George, for these four
classic films.
And that would mean that firstup, we have A Summer Place from
(02:50):
1959.
What can you tell us about thisfilm?
GeorgeFeltenstein (02:55):
This was a huge...
popular success in 1959.
It's best known, really, forthe love theme that Max Steiner
wrote for the film.
Not the main title theme, butthe love theme, which became
theme from A Summer Place andwas a multi-million single.
(03:15):
It won the Grammy for Record ofthe Year.
It was recorded by Percy Faith.
And Right.
Right.
There's conflict and adulteryand teens in love and all those
(04:00):
nasty, terrible things.
Meanwhile, the production codewas still highly being enforced.
So the film would probably berated PG today at the most.
And if it had been rated by theMPAA in 68, they would have
given it the G.
So it basically is the story oftwo families.
(04:23):
One family is Richard Egan andhis, and his wife who don't
particularly get along.
And the other family is DorothyMcGuire and her husband who
don't particularly get along.
And each of them have a teenageoffspring.
(04:46):
And those offspring fall inlove with, During this little
vacation and Richard Egan andDorothy McGuire had prior to
their marriages been in love andnever quite got together.
And that's why they marriedother people.
So their romance is rekindledamongst.
(05:10):
the pain of their bittermarriages.
And meanwhile, the two kidswere played by Troy Donahue and
Sandra Dee.
They fall in love.
And it's a beautifully shotmovie, a lot of location
photography.
(05:30):
And it does have a sensibilitythat I think comes close to the
kind of things that Douglas Sirkwas doing at Universal in the
50s with these lush romanticdramas and the scandals that
dare not speak their name and soforth and so on.
(05:50):
So it's got a little bit ofthat quality.
So if you like MagnificentObsession, All That Heaven
Allows, Written on the Wind,this is similar to that.
Delmer Daves was a longtimeWarner Brothers writer and
director, and he kind of movedfrom more action-related films
(06:15):
to these romantic melodramas,and A Summer Place was such a
hit that it led to others withsimilar co-stars.
There was Parrish and SusanSlade and Rome Adventure.
It was kind of a similar If youwill, because the thematics
(06:39):
work so well in getting peopleinto the theaters and it was
instant box office.
And back in the old days ofDVD, we put together a Warner
Brothers romance collection withthese films in it.
So Summer Place is finallymaking the leap to high
definition.
It's a 4K scan off the originalcamera negative.
(07:01):
And it is from that period oftime, 1959, where the Eastman
College Color 5248, negativestock, succumbs to yellow layer
failure.
And so we had to work with theseparations as well as the
original negative to rebuild thecolor.
And it looks and soundssensational.
(07:23):
And the acting is really quitegood.
You've got Dorothy McGuire, whowe talked about a couple of
months ago with the EnchantedCottage.
Richard Egan is terrific.
Their rekindled romance isquite believable.
Dorothy McGuire is married to anasty man played by Arthur
(07:47):
Kennedy, who really succeeded inplaying nasty men.
If anybody's seen Peyton Place,he's pretty awful in that, his
character.
But that only spoke to what agood actor he was.
And he made early appearancesat Warner Brothers in the early
40s.
He had quite an impressivecareer and isn't as well known
(08:09):
today as he should be.
And as the shrewish, awful lifeof Richard Egan, you have
Constance Ford, who gives a, youknow, Full throttle performance
as the most despicable,horrible wife and mother.
(08:29):
She's one of the great screenvillains of all time.
The way the film isconstructed, you don't have any
compassion for the spurnedhusband and spurned wife because
they're just awful to theirspouses.
And you want Sandra Dee andTroy Donahue to fall in love.
(08:52):
of and all to the beautifulmusic of Max Steiner.
It's great entertainment.
Is it a masterpiece of cinema?
No.
Is it populist entertainmentthat continues to really attract
an audience?
Yes.
And I think our newpresentation coming from The
(09:14):
Negative and scanning in 4K,it's a gorgeous Blu-ray.
I think people are going toenjoy it.
It is a longer movie than thenormal 90-minute movie of the
era.
It's 130 minutes becausethere's a lot of storytelling
going on.
So when I was putting togetherextras for this, I only saw
(09:38):
selected one Looney Tunescartoon, and that is Bugs Bunny
and Witch Hazel and A Witch'sTangled Hair.
And I was able to go back tothe Los Angeles Times from 1959
and see what cartoon opened withthis movie, and it was A
Witch's Tangled Hair.
So that made it very easy forme to select which cartoon.
(10:02):
Of course, the cartoon isremastered in HD.
It's been available before, butit's nice to have it there So
you recreate that movie goingexperience from 1959.
So all hail a summer place.
TimMillard (10:15):
Looking forward to it.
It's going to look and soundfantastic.
And at 130 minutes, that is amuch longer movie than usual.
GeorgeFeltenstein (10:24):
Yeah, especially for a melodrama, you
know, not a biblical epic.
It's not Ben Hur.
TimMillard (10:31):
Well, next we have a musical that's lovely to look
at from 1952.
What can you tell us about thisTechnicolor film?
GeorgeFeltenstein (10:40):
Well, it is very much a Technicolor film.
And I say that first andforemost because I'm very proud
and awed by what we as a companyand specifically what Warner
Brothers Motion Picture Imaginghas been able to do with our
Technicolor films in recombiningthe three original negatives
(11:03):
and getting the perfectalignment with our proprietary
technology.
The sharpness.
And the vivid colors are just,they really blow you out of the
water with this film.
And it's beautifully shot.
It was directed by MervynLeRoy, who was a very, very
(11:24):
legendary director, did a lot ofwork here at Warner Brothers,
and then moved over to MGMaround 1939, produced a movie
called The Wizard of Oz, anddirected a lot of really
terrific films.
Lovely to look at is actually aremake of the 1935 RKO film
(11:45):
Roberta which in itself was anadaptation of a Broadway musical
called Roberta and Roberta onstage I believe one of the cast
members was Bob Hope before hebecame famous but Jerome Kern
wrote the music for Roberta andwhen they transferred it to the
(12:11):
screen at RKO in 1935 Theychanged the story around a
little bit so they could add inkind of meaty supporting roles
for a guy named Fred Astaire anda woman named Ginger Rogers.
They had to figure a way to getFred and Ginger in this movie.
And the song, I Won't Dance,which is an American songbook
(12:35):
popular standard, was added tothe score for Roberta in 1935.
And of course, that was...
perfect opportunity for Mr.
Astaire to do his thing.
So Roberta was a successful,Broadway show was a successful
film, but MGM bought theproperty from RKO specifically
(13:00):
to make it more advantageousvehicle for some of their most
popular musical entertainers.
So you've got lovely KatherineGrayson playing opposite Howard
Keel, who the year before, theywere teamed in the 1951 version
(13:22):
of Show Boat, in which I thinkthey were magnificent.
Then you have My dear latefriend, Ann Miller, who
initially is the girlfriend ofHoward Keel, but ends up getting
together with Red Skelton.
And Marge and Gowra Championround out the cast.
(13:44):
And this film is aparticular...
It's a particularly wonderfulopportunity for Marge and Gower
Champion, who had been in ShowBoat, like Kiel and Grayson, to
have a wonderful dance sequenceto Smoke Gets in Your Eyes,
which was written for Roberta.
(14:05):
It's such an American classicsong, but it's one of the many
great songs that were in thisscore.
They also do their own versionof I Won't Dance, which is
charming So you've got a lot ofdifferent performers all getting
to celebrate the music ofJerome Kern.
(14:26):
And many of the originalBroadway lyrics, or I should
maybe say some of the Broadwaylyrics, were rewritten for this
screenplay.
And the new lyrics were createdby Dorothy Fields, who was a
frequent collaborator withJerome Kern.
(14:47):
They wrote the score for Fredand Ginger's Swing Time in 1936.
And Dorothy Fields was alyricist on Broadway, really up
to her passing.
I think the last Broadway showshe did was Seesaw with Cy
Coleman in 1973.
So you had this amalgam oftalent, and we often talk about
(15:09):
the musicals at MGM that wereproduced by the great Arthur
Freed, and then the differentkind of more populist musicals
that were produced by JoePasternak.
But there's a third person thatusually gets overlooked when
they talk about MGM musicals,and that's Jack Cummings, who,
(15:31):
by the way, was a nephew of L.B.
Mayer, but that had no effecton his ability to produce
musicals.
Quite an amazing group of finefilms, including Seven Brides
for Seven Brothers, Kiss MeKate, and even Viva Las Vegas.
I think Jack Cummings needs tobe appreciated a little more.
(15:54):
And this is really a delight.
It's a confection.
It's beautifully shot, butthe...
The Thing That Makes This FilmReally Special thought it was
best if a guy who was hangingaround the MGM lot, if he had a
(16:18):
little spare time, that maybe heshould be the one to direct the
fashion show.
So Mr.
Vincent Minnelli took on theassignment, and it is pure
Minnelli from start to finish.
And to add a little bit of MGMhistory even more so here, all
the beautiful gowns in thefashion show sequence were
(16:41):
designed by Gilbert Adrian,better known as Adrian, who was
the chief MGM costume designerup until 1941.
And he returned to MGM after adecade to design the gowns for
that fashion show.
So the fashion show sequence isreally spectacular.
(17:04):
Because it uses different songsfrom the score.
And my favorite of thesequences, because there's kind
of like four, there is a pas dedeux that's got a real jazz feel
to it.
The Marge and Gower Championdance to the song Yesterday's.
(17:25):
And it's completelyantithetical to the soft ballad
that that song is usuallyperformed in.
It's jazzy.
and it's got power and the useof color Minnelli's red is very
visible and you'll see otherMinnelli trademarks visually
(17:47):
through that number it's greatentertainment and our DVD was so
ugly in the past the work wasdone from an interpositive that
was not particularly wellaligned and all the people in
the movie looked like they hadtuberculosis.
(18:08):
The colors were just gray andashen.
It's important for us to getthese films that have looked
terrible to look great.
We can check one off the listwith Lovely to Look At.
We're very proud of it.
I think people are going toreally enjoy it.
We've got a Tom and Jerrycartoon there and we have a Pete
(18:32):
Smith short there and thetrailer just a balance
everything out.
But if you're an MGM musicalsfan, this is definitely for you.
TimMillard (18:43):
Well, next, George, we have a 1975 drama, Rafferty
and the Gold Dust Twins.
What can you tell us about thisfilm?
GeorgeFeltenstein (18:54):
First of all, the fact that it's 50 years old
is something I can't wrap mybrain around.
But this was a road movie fromthe mid-70s and really evocative
of the era of sally kellermanhad established herself as the
(19:15):
original hot lips hula hand inthe movie mash that robert
altman made mackenzie phillipshad just made such an impression
as the young girl in americangraffiti and of course in the
lead role you have alan arkinwho had already established
himself as an actor to bereckoned with between The
(19:40):
Russians Are Coming and WaitUntil Dark.
And he had, Hart is a lonelyhunter.
He had just done so manywonderful things.
So to have him in this movie,he's basically a nebbish type of
guy that somehow gets involvedwith this crazy woman and this
teenage girl, and they end upgetting in the car and going on
(20:04):
for a road trip.
Along the way, you'll findpeople like Charles Martin
Smith, who was in Red andGraffiti, and notably a lesser
known at the time, Harry DeanStanton.
The performances are fun.
The film has a nice energy toit.
You see these three oddindividuals kind of bonding
(20:30):
together as they travel.
The three stars really make themovie.
They really make the experienceenjoyable.
And this was a modest successwhen it was released.
It wasn't a huge blockbuster,but it was successful.
And it was available on VHSwhen Warner Home Videos started
(20:52):
putting movies out on VHS andBetamax.
But it never came out on DVD.
This is a Blu-ray premiere thathas skipped over the DVD.
And I had wanted to put it outon DVD years ago, and we had no
intermediate film element towork with.
(21:14):
It is a scope film.
It's a 2.39 aspect ratio.
So there was no interpositive.
There was no...
Anything except the originalnegative.
And until recently, webasically were not touching
original negatives.
Now that we can scan originalnegatives without the negative
(21:39):
actually being touched bysprocket movement or anything,
everything runs delicatelythrough the scanners.
We were able to scan theoriginal negative at 4K yet
again.
And so it really looksmagnificent.
And it's a film that we oftengot many requests for.
A lot of 70s films that havefallen into this abyss of being
(22:04):
forgotten have not beenforgotten by people who enjoyed
them.
And I'm really glad we're ableto add this film to the Warner
Archive collection.
TimMillard (22:14):
Yeah, I think that's so huge that this finally is
going to get a release.
I mean, VHS, that's so ancient,right, in our memory.
So it's good that it's finallygetting an HD release looking
and sounding so good.
GeorgeFeltenstein (22:29):
With a 4K scan off the camera negative.
Exactly.
The quality is quite wonderful.
Right.
TimMillard (22:37):
Well, the last of the four we're going to talk
about today, George, is a 1951gangster film, The Racket.
What can you tell us about thisrelease?
GeorgeFeltenstein (22:46):
Well, There's two Roberts in this movie, and
I think that's really the mostimportant thing.
You've got Robert Mitchum, andyou've got Robert Ryan.
Together again, they had workedbefore, most notably in
Crossfire.
They are powerhouse actors, inmy opinion.
And this is a great noir.
(23:09):
And it's a gangster film wherethere's definitely a femme
fatale in the personage ofElizabeth Scott.
And it's actually based on aplay that was written in the
1920s called The Racket.
And it was made as a silentfilm in 1928 called The Racket.
(23:29):
But RKO bought the rights tomake it and this is during
Howard Hughes tenure as theowner and the guy that was
running RKO so this film islooked upon I would say as one
(23:51):
of the better film noirs fromRKO which is saying something
because RKO made so many filmnoirs, and I can't think of any
of them that aren't at leastgood.
This is an excellent film, andit deserves an excellent
presentation.
So we brought in the originalnegative, scanned it 4K.
(24:16):
We have this new, beautifulBlu-ray, and it's a quantum leap
from what we had on DVD.
So I'm very excited about that.
And our good friend, EddieMuller, who everyone now knows
as one of the TCM hosts.
(24:36):
But when we were preparing thisfilm for DVD, Eddie was very
involved, as he still is, withthe Film Noir Foundation.
So we asked Eddie to record acommentary for this movie.
And that is part of what wehave.
And he has introduced the filmon...
(24:56):
classic movies many times withhis insight and his passion for
the particular film and with acomprehensive feature length
commentary you just get to learnso much more.
He goes into great detail aboutthe history of what was going
on at RKO at the time and whythis is so important in the
(25:20):
history of RKO and the historyof film noir and we have so many
noirs that need and deserve theupgrade.
And I'm so glad that the racketis finally getting that.
TimMillard (25:32):
And you mentioned, I mean, this is from the original
nitrate.
So this should look fantastic.
GeorgeFeltenstein (25:38):
It does.
It really does.
TimMillard (25:41):
You know, I'm a huge fan of the Noir and having
Eddie's commentary on there willbe wonderful to have.
But I've got a lot of shelfspace over here reserved for
more of the Noir coming from thewater.
GeorgeFeltenstein (25:53):
Well, we have a lot of them in the queue.
I mentioned, I think on ourlast talk, that we had 79
different films in variousstages of planning and
production.
Well, that number justincreased to 85 because we were
able to add a couple more to thequeue, and we're trying to hit
(26:18):
as many different types of filmsand genres and eras.
we understand that, you know,certain people get kind of
morose when they say, why isn'tfilm X available?
And why did you, this isimportant.
(26:40):
Also, they see us putting out afilm with a particular talent
and that particular talent hasother films that might be even
more important and better, butthey, what comes out initially
versus what comes out later isjust a matter of what's ready.
(27:01):
And we don't have the luxury ofmaking sure that all the best
films are are first taken careof.
And there is also a factorbecause we all kind of work
together in deciding what we'regoing to do.
(27:24):
I have my request lists and Iget down on my knees and beg.
I'm almost being literal aboutthat.
But in this case, The racket isjust one of many noirs that I
see people asking about, youknow, why is film X not
(27:46):
available?
Why is film Y not available?
And we're actually working onthose films while people are
complaining.
So once we announce thosefilms, then they'll find
something else to complainabout.
This is a given, but.
Our pleasure is to provide asmuch of our library as we can in
(28:08):
a responsible manner to keepour division profitable and to
keep having people trying tomake more room on their shelves
for new Warner Archive releases.
TimMillard (28:20):
Yeah, I mean, the way I see you, George, is you
are the advocate for the fansputting out their comments,
their requests.
We would love to have thisfilm, that film.
And you're already advocatingYou're ahead of the, because
you've been doing this fordecades, working in classic
cinema.
You know these films and whatpeople want.
(28:44):
You're already advocating forthem.
So that's how I see you.
And then when they finally aredone and we announce them here,
it's a joy because of all of theefforts and work that you've
been putting into it, advocatingthese classic releases so they
won't be forgotten.
GeorgeFeltenstein (29:02):
It's an ongoing process, but every film
that gets...
the new treatment that getsbeautiful restoration that has a
great presentation everyone isa victory right so it is just
part of the business that youjust have to keep pushing in
(29:25):
there keep pushing in thereright and uh we've got a lot of
great things in store for therest of the year and of course
2026 and hopefully going forwardum it's a very exciting Right.
Right.
TimMillard (30:04):
Well, before we wrap this up, George, I did want to
also bring in this filmcollections that are releasing
on October 14th.
You have four of them, and theyare not to be missed because
you have Judy Garland's six-filmcollection, Betty Davis'
four-film collection, JoanCrawford's four-film collection.
Those three alone, oh mygoodness.
(30:26):
And then you have, because it'sOctober, perfect timing with
the Hollywood Legends of Horrorsix-film collection.
So I just want to remind peoplethat those are coming out
October 14th.
And maybe you can just tell usa little bit about who these are
geared for.
GeorgeFeltenstein (30:43):
Well, these sets are primarily geared for
people who are either casualcollectors or who perhaps are
getting sick of not being ableto see the movies they want to
see on a streaming servicebecause streaming services don't
have them.
And the only way to see them isto buy them and own them.
(31:05):
And you don't have to worryabout your internet knocking out
physical media rules.
Physical media rules.
so That is why it's soimportant to have these
collections because they alsoare great gift giving items.
Right.
And they have a built-in valueproposition.
(31:28):
In these collections, nothingin them is making its debut in
the Blu-ray format.
They've already been availablesingularly.
Right.
But by putting them together ina collection, there's a
built-in value propositionbasically equal $10 a movie and
(31:50):
we've already made our profitback on those releases.
So we're able to make thesemore popularly priced so that
people who may have not gottenany of them at all or may have
one film in a collection.
The most unique one isHollywood Legends of Horror
(32:14):
because that started as a DVDset.
And I'm going to say, I thinkit was 19 years ago.
It was 2006.
Very, very successful.
And then it became a WarnerArchive manufactured on demand
(32:35):
DVD set because it had gone outof print.
And subsequently, we've doneA-plus grade remasters on all
six films, and they look andsound incredible.
And now, for a very reasonableprice, you can own them.
So I want to make it veryclear, we're not putting
(32:57):
together collections of filmsthat have never been available
before.
It's a way to make things thathave been available affordable
at a lower price to people whomay have been on the fence, or
there are a lot of people nowwho are buying for the first
time in a long time, they'rebuying a Blu-ray player.
(33:17):
Or maybe they've only had DVDand they have it in the closet
and they can buy a very goodBlu-ray player for very little
money.
And they're starting to buildcollections because there's no
other way to see these movies.
And especially to see thesemovies with such...
perfect quality or as close toperfection as we can get.
(33:41):
We're very particular aboutthat and we don't have any
intention of changing ourfastidiousness in aiming towards
perfection.
TimMillard (33:51):
Well, George, I do have an opinion on these and I
like the way you are marketingthese collections.
I have noticed some otherstudios forcing the consumer to
buy a big box or a bigcollection that is very
expensive.
And if you only want a few ofthose movies, you have to wait.
(34:13):
And I prefer the fact that youare releasing them individually
And then if you want to get thecollection, then great.
But I get a little frustratedwhen I see a title that I'm
like, it's in a box or insomething that's a really high
price point.
And I don't want all the othermovies.
So I think this is a great wayfor the fans and the consumer.
(34:33):
I think it really services theconsumer.
So I say kudos.
And it's great.
GeorgeFeltenstein (34:39):
That's the goal.
I thank you for that.
And I just use my own personalexperience because I am a
collector.
I am an avid buyer of all theother studios' releases that
interest me.
And like you just mentioned,there have been some very, very
(35:03):
enticing sets released.
of films released by othercompanies where I wanted one
film out of six.
Am I going to spend $150 if Ijust want the one film?
I understand the thoughtprocess of going the other way,
(35:24):
but that's not really consumerfriendly in my opinion.
And we really try, we won'talways succeed.
We can't make everybody happy,but we really try to make
consumers feel good about theirpurchases from us and feel like
they're getting good value.
TimMillard (35:43):
Yeah.
Yeah.
Yeah.
Well, George, as always, it'sgreat to hear about the new
releases and there are just somany for our Well...
GeorgeFeltenstein (36:03):
I am excited and looking forward to October
14th, as I know a lot of peopleare, for multiple reasons.
Right.
And that's just half the month.
TimMillard (36:12):
Yeah,
GeorgeFeltenstein (36:12):
exactly.
TimMillard (36:14):
For those who'd like more information about the
films announced today, you cancheck out our Facebook page and
our Warner Archive Facebookgroup.
We'll be posting moreinformation there and the
pre-order links when they becomeavailable.
You can also follow the show onsocial media, so look for those
links in the podcast show notesas well.
If you aren't yet subscribed,you're following the show.
Appreciate it if you would dothat.
(36:35):
That helps us get the word outto more people about the great
work that's being done by theWarner Archive.
Until next time, you've beenlistening to Tim Millard.
Stay slightly obsessed.
Hello and welcome to The Extras.
I'm Tim Millard, your host, andjoining me as always is George
Feltenstein, who announced theOctober Blu-ray releases from
the Warner Archive.
Hi, George.
GeorgeFeltenstein (00:14):
Hello, Tim.
Great to be with you as always.
TimMillard (00:18):
And these monthly announcements we talk about are
always so much fun to go over tohear the new, in this instance,
classic films that are comingfrom the Warner Archive.
And you mentioned previously,we're going to have two
different announcements forOctober.
Today, we're going to talkabout the four films coming out
October 14th.
(00:39):
And then we'll have anotherpodcast for those coming out
later in October.
But before we dive into those,George, there's a another huge
4K release for October 14th.
Why don't you remind us aboutthat one?
GeorgeFeltenstein (00:54):
Well, you took the words right out of my
mouth because I was going tosay, actually, there's five on
the 14th.
We actually have nine newreleases for the month of
October, which is a very strongmonth.
I also think the titles arediverse and of great appeal to
different groups.
So that's exciting.
(01:16):
But the big event for us OurHalloween event, if you will, is
the 4K Deluxe Collector'sEdition of The Curse of
Frankenstein, which was acollaboration between Warner
Brothers and Hammer in the UK.
And it's been a wonderfulcollaboration, especially in
(01:41):
light of the fact that thecompanies have had a
relationship that goes backalmost 70 years.
We're very proud that this iscoming out.
I think the collectors arereally going to love it because
it's 4K, UHD, HDR, Dolby Vision,presenting three different
aspect ratios, an enormousamount of extras, which is very
(02:05):
important, and beautifulpackaging.
I think people are going to bevery happy with it.
We've talked about it alreadyon the extras here.
Putting a pin in The Curse ofFrankenstein as the big monthly
event, but we've got eight otherfilms to talk about, four of
which we'll do today for theOctober 14th Street Gate.
TimMillard (02:27):
Yes, just a reminder, you can find our
discussion for The Curse ofFrankenstein, the 4K, at your
favorite podcast provider andalso on our YouTube channel.
So it's been very popular.
So check that out if you wantto go deep dive into that
release.
Well, let's go alphabeticaltoday, George, for these four
classic films.
And that would mean that firstup, we have A Summer Place from
(02:50):
1959.
What can you tell us about thisfilm?
GeorgeFeltenstein (02:55):
This was a huge...
popular success in 1959.
It's best known, really, forthe love theme that Max Steiner
wrote for the film.
Not the main title theme, butthe love theme, which became
theme from A Summer Place andwas a multi-million single.
(03:15):
It won the Grammy for Record ofthe Year.
It was recorded by Percy Faith.
And Right.
Right.
There's conflict and adulteryand teens in love and all those
(04:00):
nasty, terrible things.
Meanwhile, the production codewas still highly being enforced.
So the film would probably berated PG today at the most.
And if it had been rated by theMPAA in 68, they would have
given it the G.
So it basically is the story oftwo families.
(04:23):
One family is Richard Egan andhis, and his wife who don't
particularly get along.
And the other family is DorothyMcGuire and her husband who
don't particularly get along.
And each of them have a teenageoffspring.
(04:46):
And those offspring fall inlove with, During this little
vacation and Richard Egan andDorothy McGuire had prior to
their marriages been in love andnever quite got together.
And that's why they marriedother people.
So their romance is rekindledamongst.
(05:10):
the pain of their bittermarriages.
And meanwhile, the two kidswere played by Troy Donahue and
Sandra Dee.
They fall in love.
And it's a beautifully shotmovie, a lot of location
photography.
(05:30):
And it does have a sensibilitythat I think comes close to the
kind of things that Douglas Sirkwas doing at Universal in the
50s with these lush romanticdramas and the scandals that
dare not speak their name and soforth and so on.
(05:50):
So it's got a little bit ofthat quality.
So if you like MagnificentObsession, All That Heaven
Allows, Written on the Wind,this is similar to that.
Delmer Daves was a longtimeWarner Brothers writer and
director, and he kind of movedfrom more action-related films
(06:15):
to these romantic melodramas,and A Summer Place was such a
hit that it led to others withsimilar co-stars.
There was Parrish and SusanSlade and Rome Adventure.
It was kind of a similar If youwill, because the thematics
(06:39):
work so well in getting peopleinto the theaters and it was
instant box office.
And back in the old days ofDVD, we put together a Warner
Brothers romance collection withthese films in it.
So Summer Place is finallymaking the leap to high
definition.
It's a 4K scan off the originalcamera negative.
(07:01):
And it is from that period oftime, 1959, where the Eastman
College Color 5248, negativestock, succumbs to yellow layer
failure.
And so we had to work with theseparations as well as the
original negative to rebuild thecolor.
And it looks and soundssensational.
(07:23):
And the acting is really quitegood.
You've got Dorothy McGuire, whowe talked about a couple of
months ago with the EnchantedCottage.
Richard Egan is terrific.
Their rekindled romance isquite believable.
Dorothy McGuire is married to anasty man played by Arthur
(07:47):
Kennedy, who really succeeded inplaying nasty men.
If anybody's seen Peyton Place,he's pretty awful in that, his
character.
But that only spoke to what agood actor he was.
And he made early appearancesat Warner Brothers in the early
40s.
He had quite an impressivecareer and isn't as well known
(08:09):
today as he should be.
And as the shrewish, awful lifeof Richard Egan, you have
Constance Ford, who gives a, youknow, Full throttle performance
as the most despicable,horrible wife and mother.
(08:29):
She's one of the great screenvillains of all time.
The way the film isconstructed, you don't have any
compassion for the spurnedhusband and spurned wife because
they're just awful to theirspouses.
And you want Sandra Dee andTroy Donahue to fall in love.
(08:52):
of and all to the beautifulmusic of Max Steiner.
It's great entertainment.
Is it a masterpiece of cinema?
No.
Is it populist entertainmentthat continues to really attract
an audience?
Yes.
And I think our newpresentation coming from The
(09:14):
Negative and scanning in 4K,it's a gorgeous Blu-ray.
I think people are going toenjoy it.
It is a longer movie than thenormal 90-minute movie of the
era.
It's 130 minutes becausethere's a lot of storytelling
going on.
So when I was putting togetherextras for this, I only saw
(09:38):
selected one Looney Tunescartoon, and that is Bugs Bunny
and Witch Hazel and A Witch'sTangled Hair.
And I was able to go back tothe Los Angeles Times from 1959
and see what cartoon opened withthis movie, and it was A
Witch's Tangled Hair.
So that made it very easy forme to select which cartoon.
(10:02):
Of course, the cartoon isremastered in HD.
It's been available before, butit's nice to have it there So
you recreate that movie goingexperience from 1959.
So all hail a summer place.
TimMillard (10:15):
Looking forward to it.
It's going to look and soundfantastic.
And at 130 minutes, that is amuch longer movie than usual.
GeorgeFeltenstein (10:24):
Yeah, especially for a melodrama, you
know, not a biblical epic.
It's not Ben Hur.
TimMillard (10:31):
Well, next we have a musical that's lovely to look
at from 1952.
What can you tell us about thisTechnicolor film?
GeorgeFeltenstein (10:40):
Well, it is very much a Technicolor film.
And I say that first andforemost because I'm very proud
and awed by what we as a companyand specifically what Warner
Brothers Motion Picture Imaginghas been able to do with our
Technicolor films in recombiningthe three original negatives
(11:03):
and getting the perfectalignment with our proprietary
technology.
The sharpness.
And the vivid colors are just,they really blow you out of the
water with this film.
And it's beautifully shot.
It was directed by MervynLeRoy, who was a very, very
(11:24):
legendary director, did a lot ofwork here at Warner Brothers,
and then moved over to MGMaround 1939, produced a movie
called The Wizard of Oz, anddirected a lot of really
terrific films.
Lovely to look at is actually aremake of the 1935 RKO film
(11:45):
Roberta which in itself was anadaptation of a Broadway musical
called Roberta and Roberta onstage I believe one of the cast
members was Bob Hope before hebecame famous but Jerome Kern
wrote the music for Roberta andwhen they transferred it to the
(12:11):
screen at RKO in 1935 Theychanged the story around a
little bit so they could add inkind of meaty supporting roles
for a guy named Fred Astaire anda woman named Ginger Rogers.
They had to figure a way to getFred and Ginger in this movie.
And the song, I Won't Dance,which is an American songbook
(12:35):
popular standard, was added tothe score for Roberta in 1935.
And of course, that was...
perfect opportunity for Mr.
Astaire to do his thing.
So Roberta was a successful,Broadway show was a successful
film, but MGM bought theproperty from RKO specifically
(13:00):
to make it more advantageousvehicle for some of their most
popular musical entertainers.
So you've got lovely KatherineGrayson playing opposite Howard
Keel, who the year before, theywere teamed in the 1951 version
(13:22):
of Show Boat, in which I thinkthey were magnificent.
Then you have My dear latefriend, Ann Miller, who
initially is the girlfriend ofHoward Keel, but ends up getting
together with Red Skelton.
And Marge and Gowra Championround out the cast.
(13:44):
And this film is aparticular...
It's a particularly wonderfulopportunity for Marge and Gower
Champion, who had been in ShowBoat, like Kiel and Grayson, to
have a wonderful dance sequenceto Smoke Gets in Your Eyes,
which was written for Roberta.
(14:05):
It's such an American classicsong, but it's one of the many
great songs that were in thisscore.
They also do their own versionof I Won't Dance, which is
charming So you've got a lot ofdifferent performers all getting
to celebrate the music ofJerome Kern.
(14:26):
And many of the originalBroadway lyrics, or I should
maybe say some of the Broadwaylyrics, were rewritten for this
screenplay.
And the new lyrics were createdby Dorothy Fields, who was a
frequent collaborator withJerome Kern.
(14:47):
They wrote the score for Fredand Ginger's Swing Time in 1936.
And Dorothy Fields was alyricist on Broadway, really up
to her passing.
I think the last Broadway showshe did was Seesaw with Cy
Coleman in 1973.
So you had this amalgam oftalent, and we often talk about
(15:09):
the musicals at MGM that wereproduced by the great Arthur
Freed, and then the differentkind of more populist musicals
that were produced by JoePasternak.
But there's a third person thatusually gets overlooked when
they talk about MGM musicals,and that's Jack Cummings, who,
(15:31):
by the way, was a nephew of L.B.
Mayer, but that had no effecton his ability to produce
musicals.
Quite an amazing group of finefilms, including Seven Brides
for Seven Brothers, Kiss MeKate, and even Viva Las Vegas.
I think Jack Cummings needs tobe appreciated a little more.
(15:54):
And this is really a delight.
It's a confection.
It's beautifully shot, butthe...
The Thing That Makes This FilmReally Special thought it was
best if a guy who was hangingaround the MGM lot, if he had a
(16:18):
little spare time, that maybe heshould be the one to direct the
fashion show.
So Mr.
Vincent Minnelli took on theassignment, and it is pure
Minnelli from start to finish.
And to add a little bit of MGMhistory even more so here, all
the beautiful gowns in thefashion show sequence were
(16:41):
designed by Gilbert Adrian,better known as Adrian, who was
the chief MGM costume designerup until 1941.
And he returned to MGM after adecade to design the gowns for
that fashion show.
So the fashion show sequence isreally spectacular.
(17:04):
Because it uses different songsfrom the score.
And my favorite of thesequences, because there's kind
of like four, there is a pas dedeux that's got a real jazz feel
to it.
The Marge and Gower Championdance to the song Yesterday's.
(17:25):
And it's completelyantithetical to the soft ballad
that that song is usuallyperformed in.
It's jazzy.
and it's got power and the useof color Minnelli's red is very
visible and you'll see otherMinnelli trademarks visually
(17:47):
through that number it's greatentertainment and our DVD was so
ugly in the past the work wasdone from an interpositive that
was not particularly wellaligned and all the people in
the movie looked like they hadtuberculosis.
(18:08):
The colors were just gray andashen.
It's important for us to getthese films that have looked
terrible to look great.
We can check one off the listwith Lovely to Look At.
We're very proud of it.
I think people are going toreally enjoy it.
We've got a Tom and Jerrycartoon there and we have a Pete
(18:32):
Smith short there and thetrailer just a balance
everything out.
But if you're an MGM musicalsfan, this is definitely for you.
TimMillard (18:43):
Well, next, George, we have a 1975 drama, Rafferty
and the Gold Dust Twins.
What can you tell us about thisfilm?
GeorgeFeltenstein (18:54):
First of all, the fact that it's 50 years old
is something I can't wrap mybrain around.
But this was a road movie fromthe mid-70s and really evocative
of the era of sally kellermanhad established herself as the
(19:15):
original hot lips hula hand inthe movie mash that robert
altman made mackenzie phillipshad just made such an impression
as the young girl in americangraffiti and of course in the
lead role you have alan arkinwho had already established
himself as an actor to bereckoned with between The
(19:40):
Russians Are Coming and WaitUntil Dark.
And he had, Hart is a lonelyhunter.
He had just done so manywonderful things.
So to have him in this movie,he's basically a nebbish type of
guy that somehow gets involvedwith this crazy woman and this
teenage girl, and they end upgetting in the car and going on
(20:04):
for a road trip.
Along the way, you'll findpeople like Charles Martin
Smith, who was in Red andGraffiti, and notably a lesser
known at the time, Harry DeanStanton.
The performances are fun.
The film has a nice energy toit.
You see these three oddindividuals kind of bonding
(20:30):
together as they travel.
The three stars really make themovie.
They really make the experienceenjoyable.
And this was a modest successwhen it was released.
It wasn't a huge blockbuster,but it was successful.
And it was available on VHSwhen Warner Home Videos started
(20:52):
putting movies out on VHS andBetamax.
But it never came out on DVD.
This is a Blu-ray premiere thathas skipped over the DVD.
And I had wanted to put it outon DVD years ago, and we had no
intermediate film element towork with.
(21:14):
It is a scope film.
It's a 2.39 aspect ratio.
So there was no interpositive.
There was no...
Anything except the originalnegative.
And until recently, webasically were not touching
original negatives.
Now that we can scan originalnegatives without the negative
(21:39):
actually being touched bysprocket movement or anything,
everything runs delicatelythrough the scanners.
We were able to scan theoriginal negative at 4K yet
again.
And so it really looksmagnificent.
And it's a film that we oftengot many requests for.
A lot of 70s films that havefallen into this abyss of being
(22:04):
forgotten have not beenforgotten by people who enjoyed
them.
And I'm really glad we're ableto add this film to the Warner
Archive collection.
TimMillard (22:14):
Yeah, I think that's so huge that this finally is
going to get a release.
I mean, VHS, that's so ancient,right, in our memory.
So it's good that it's finallygetting an HD release looking
and sounding so good.
GeorgeFeltenstein (22:29):
With a 4K scan off the camera negative.
Exactly.
The quality is quite wonderful.
Right.
TimMillard (22:37):
Well, the last of the four we're going to talk
about today, George, is a 1951gangster film, The Racket.
What can you tell us about thisrelease?
GeorgeFeltenstein (22:46):
Well, There's two Roberts in this movie, and
I think that's really the mostimportant thing.
You've got Robert Mitchum, andyou've got Robert Ryan.
Together again, they had workedbefore, most notably in
Crossfire.
They are powerhouse actors, inmy opinion.
And this is a great noir.
(23:09):
And it's a gangster film wherethere's definitely a femme
fatale in the personage ofElizabeth Scott.
And it's actually based on aplay that was written in the
1920s called The Racket.
And it was made as a silentfilm in 1928 called The Racket.
(23:29):
But RKO bought the rights tomake it and this is during
Howard Hughes tenure as theowner and the guy that was
running RKO so this film islooked upon I would say as one
(23:51):
of the better film noirs fromRKO which is saying something
because RKO made so many filmnoirs, and I can't think of any
of them that aren't at leastgood.
This is an excellent film, andit deserves an excellent
presentation.
So we brought in the originalnegative, scanned it 4K.
(24:16):
We have this new, beautifulBlu-ray, and it's a quantum leap
from what we had on DVD.
So I'm very excited about that.
And our good friend, EddieMuller, who everyone now knows
as one of the TCM hosts.
(24:36):
But when we were preparing thisfilm for DVD, Eddie was very
involved, as he still is, withthe Film Noir Foundation.
So we asked Eddie to record acommentary for this movie.
And that is part of what wehave.
And he has introduced the filmon...
(24:56):
classic movies many times withhis insight and his passion for
the particular film and with acomprehensive feature length
commentary you just get to learnso much more.
He goes into great detail aboutthe history of what was going
on at RKO at the time and whythis is so important in the
(25:20):
history of RKO and the historyof film noir and we have so many
noirs that need and deserve theupgrade.
And I'm so glad that the racketis finally getting that.
TimMillard (25:32):
And you mentioned, I mean, this is from the original
nitrate.
So this should look fantastic.
GeorgeFeltenstein (25:38):
It does.
It really does.
TimMillard (25:41):
You know, I'm a huge fan of the Noir and having
Eddie's commentary on there willbe wonderful to have.
But I've got a lot of shelfspace over here reserved for
more of the Noir coming from thewater.
GeorgeFeltenstein (25:53):
Well, we have a lot of them in the queue.
I mentioned, I think on ourlast talk, that we had 79
different films in variousstages of planning and
production.
Well, that number justincreased to 85 because we were
able to add a couple more to thequeue, and we're trying to hit
(26:18):
as many different types of filmsand genres and eras.
we understand that, you know,certain people get kind of
morose when they say, why isn'tfilm X available?
And why did you, this isimportant.
(26:40):
Also, they see us putting out afilm with a particular talent
and that particular talent hasother films that might be even
more important and better, butthey, what comes out initially
versus what comes out later isjust a matter of what's ready.
(27:01):
And we don't have the luxury ofmaking sure that all the best
films are are first taken careof.
And there is also a factorbecause we all kind of work
together in deciding what we'regoing to do.
(27:24):
I have my request lists and Iget down on my knees and beg.
I'm almost being literal aboutthat.
But in this case, The racket isjust one of many noirs that I
see people asking about, youknow, why is film X not
(27:46):
available?
Why is film Y not available?
And we're actually working onthose films while people are
complaining.
So once we announce thosefilms, then they'll find
something else to complainabout.
This is a given, but.
Our pleasure is to provide asmuch of our library as we can in
(28:08):
a responsible manner to keepour division profitable and to
keep having people trying tomake more room on their shelves
for new Warner Archive releases.
TimMillard (28:20):
Yeah, I mean, the way I see you, George, is you
are the advocate for the fansputting out their comments,
their requests.
We would love to have thisfilm, that film.
And you're already advocatingYou're ahead of the, because
you've been doing this fordecades, working in classic
cinema.
You know these films and whatpeople want.
(28:44):
You're already advocating forthem.
So that's how I see you.
And then when they finally aredone and we announce them here,
it's a joy because of all of theefforts and work that you've
been putting into it, advocatingthese classic releases so they
won't be forgotten.
GeorgeFeltenstein (29:02):
It's an ongoing process, but every film
that gets...
the new treatment that getsbeautiful restoration that has a
great presentation everyone isa victory right so it is just
part of the business that youjust have to keep pushing in
(29:25):
there keep pushing in thereright and uh we've got a lot of
great things in store for therest of the year and of course
2026 and hopefully going forwardum it's a very exciting Right.
Right.
TimMillard (30:04):
Well, before we wrap this up, George, I did want to
also bring in this filmcollections that are releasing
on October 14th.
You have four of them, and theyare not to be missed because
you have Judy Garland's six-filmcollection, Betty Davis'
four-film collection, JoanCrawford's four-film collection.
Those three alone, oh mygoodness.
(30:26):
And then you have, because it'sOctober, perfect timing with
the Hollywood Legends of Horrorsix-film collection.
So I just want to remind peoplethat those are coming out
October 14th.
And maybe you can just tell usa little bit about who these are
geared for.
GeorgeFeltenstein (30:43):
Well, these sets are primarily geared for
people who are either casualcollectors or who perhaps are
getting sick of not being ableto see the movies they want to
see on a streaming servicebecause streaming services don't
have them.
And the only way to see them isto buy them and own them.
(31:05):
And you don't have to worryabout your internet knocking out
physical media rules.
Physical media rules.
so That is why it's soimportant to have these
collections because they alsoare great gift giving items.
Right.
And they have a built-in valueproposition.
(31:28):
In these collections, nothingin them is making its debut in
the Blu-ray format.
They've already been availablesingularly.
Right.
But by putting them together ina collection, there's a
built-in value propositionbasically equal $10 a movie and
(31:50):
we've already made our profitback on those releases.
So we're able to make thesemore popularly priced so that
people who may have not gottenany of them at all or may have
one film in a collection.
The most unique one isHollywood Legends of Horror
(32:14):
because that started as a DVDset.
And I'm going to say, I thinkit was 19 years ago.
It was 2006.
Very, very successful.
And then it became a WarnerArchive manufactured on demand
(32:35):
DVD set because it had gone outof print.
And subsequently, we've doneA-plus grade remasters on all
six films, and they look andsound incredible.
And now, for a very reasonableprice, you can own them.
So I want to make it veryclear, we're not putting
(32:57):
together collections of filmsthat have never been available
before.
It's a way to make things thathave been available affordable
at a lower price to people whomay have been on the fence, or
there are a lot of people nowwho are buying for the first
time in a long time, they'rebuying a Blu-ray player.
(33:17):
Or maybe they've only had DVDand they have it in the closet
and they can buy a very goodBlu-ray player for very little
money.
And they're starting to buildcollections because there's no
other way to see these movies.
And especially to see thesemovies with such...
perfect quality or as close toperfection as we can get.
(33:41):
We're very particular aboutthat and we don't have any
intention of changing ourfastidiousness in aiming towards
perfection.
TimMillard (33:51):
Well, George, I do have an opinion on these and I
like the way you are marketingthese collections.
I have noticed some otherstudios forcing the consumer to
buy a big box or a bigcollection that is very
expensive.
And if you only want a few ofthose movies, you have to wait.
(34:13):
And I prefer the fact that youare releasing them individually
And then if you want to get thecollection, then great.
But I get a little frustratedwhen I see a title that I'm
like, it's in a box or insomething that's a really high
price point.
And I don't want all the othermovies.
So I think this is a great wayfor the fans and the consumer.
(34:33):
I think it really services theconsumer.
So I say kudos.
And it's great.
GeorgeFeltenstein (34:39):
That's the goal.
I thank you for that.
And I just use my own personalexperience because I am a
collector.
I am an avid buyer of all theother studios' releases that
interest me.
And like you just mentioned,there have been some very, very
(35:03):
enticing sets released.
of films released by othercompanies where I wanted one
film out of six.
Am I going to spend $150 if Ijust want the one film?
I understand the thoughtprocess of going the other way,
(35:24):
but that's not really consumerfriendly in my opinion.
And we really try, we won'talways succeed.
We can't make everybody happy,but we really try to make
consumers feel good about theirpurchases from us and feel like
they're getting good value.
TimMillard (35:43):
Yeah.
Yeah.
Yeah.
Well, George, as always, it'sgreat to hear about the new
releases and there are just somany for our Well...
GeorgeFeltenstein (36:03):
I am excited and looking forward to October
14th, as I know a lot of peopleare, for multiple reasons.
Right.
And that's just half the month.
TimMillard (36:12):
Yeah,
GeorgeFeltenstein (36:12):
exactly.
TimMillard (36:14):
For those who'd like more information about the
films announced today, you cancheck out our Facebook page and
our Warner Archive Facebookgroup.
We'll be posting moreinformation there and the
pre-order links when they becomeavailable.
You can also follow the show onsocial media, so look for those
links in the podcast show notesas well.
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