Charles Lang (I) - News Poster


Bob & Carol & Ted & Alice

Bob & Carol & Ted & Alice

Blu ray

Twilight Time

1969 / 1:85 / 105 Min. / Street Date January 29, 2018

Starring Natalie Wood, Robert Culp, Elliot Gould, Dyan Cannon

Cinematography by Charles Lang

Written by Paul Mazursky, Larry Tucker

Music by Quincy Jones

Edited by Stuart H. Pappé

Produced by M.J. Frankovich, Larry Tucker

Directed by Paul Mazursky

John Updike and Philip Roth, those faithful chroniclers of American infidelity, had a kindred spirit in director Paul Mazursky. Employing a double-edged sword tempered with Updike’s Protestant angst and Roth’s hair-shirt humor, Mazursky served up 1969’s Bob & Carol & Ted & Alice, a shrewd and ultimately compassionate satire about lovelorn narcissists.

As it stumbled toward that decade’s finish line, 1969 found much of the counterculture in pursuit of a new Age of Aquarius (Fonda and Hopper were famously “searching for America” in that same year’s Easy Rider). Self help centers servicing those troubled souls began to spring up
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How Much Shock Can You Stand?

Ghosts are famous for their flexibility, spiraling through keyholes and up from the floorboards in search of their next mark. But movies about ghosts can be flexible too. Three classics of the genre, The Uninvited, House on Haunted Hill and The Innocents, demonstrate that there’s more than one way haunt a house.

These films never appeared on any triple bill that I know of, but I’d like to think they did, somewhere in some small town with a theater manager that knew a good scare when he saw it. How could the programmer resist it? Each film is united by a beautiful black and white sheen, eerie locales and their ability to scare the bejeezus out of you. But they’re also alike in their differences, coming at their specters from distinctly different vantage points.

1944’s The Uninvited, a three-hankie haunted house tale with a dysfunctional family subplot,
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How to Steal a Million

William Wyler’s 1960s screwball heist comedy is a squeaky-clean high fashion vehicle for stars Audrey Hepburn and Peter O’Toole — who of course aren’t really crooks despite pulling off a major art theft. It’s lush, beautiful to look at and directed with verve by Wyler; with some funny jabs at the art world from screenwriter Harry Kurnitz.

How to Steal a Million


Twilight Time

1966 / Color / 1:35 widescreen / 123 min. / Street Date April 11, 2017 / Available from the Twilight Time Movies Store / 29.95

Starring: Audrey Hepburn, Peter O’Toole, Charles Boyer, Eli Wallach, Hugh Griffith, Fernand Gravey, Marcel Dalio, Jacques Marin. .

Cinematography: Charles Lang

Film Editor: Robert Swink

Original Music: John Williams

Production design: Alexander Trauner

Written by Harry Kurnitz story by George Bradshaw

Produced by Fred Kohlmar

Directed by William Wyler

There’s no denying that Audrey Hepburn had a fairly incredible run of hits in the 1960s: The Nun’s Story,
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Witness the Evolution of Cinematography with Compilation of Oscar Winners

This past weekend, the American Society of Cinematographers awarded Greig Fraser for his contribution to Lion as last year’s greatest accomplishment in the field. Of course, his achievement was just a small sampling of the fantastic work from directors of photography, but it did give us a stronger hint at what may be the winner on Oscar night. Ahead of the ceremony, we have a new video compilation that honors all the past winners in the category at the Academy Awards

Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by
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Wait Until Dark

Is this a genuine classic? I think so. Sure, it’s the old story of the blind girl in jeopardy, but it’s been worked out so well. Audrey Hepburn, Alan Arkin, Richard Crenna and Jack Weston shine in a keen adaptation of Frederick Knott’s play, which could be titled, Dial C for Can’t See Nuthin’.

Wait Until Dark


Warner Archive Collection

1967 / Color / 1:85 widescreen / 108 min. / Street Date January 24, 2016 / available through the WBshop / 21.99

Starring Audrey Hepburn, Alan Arkin, Richard Crenna, Efrem Zimbalist Jr., Jack Weston, Julie Herrod, Samantha Jones.

Cinematography Charles Lang

Art Direction George Jenkins

Film Editor Gene Milford

Original Music Henry Mancini

Written by Robert Howard-Carrington & Jane Howard-Carrington

from the play by Frederick Knott

Produced by Mel Ferrer

Directed by Terence Young

Reviewed by Glenn Erickson

This old-fashioned, semi- stage bound thriller is a real keeper: I must have seen it six times
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Sudden Fear

Joan Crawford controls every aspect of this glamorous, Oscar nominated noir about a murderous marriage double-cross. Good acting enlivens a by-the-book, gimmick-laden plot, with every moment designed to flatter the star.

Sudden Fear


The Cohen Film Collection

1952 / B&W / 1:37 flat Academy / 110 min. / Street Date December 13, 2016 / 34.99

Starring Joan Crawford, Jack Palance, Gloria Grahame, Bruce Bennett, Virginia Huston, Touch Connors, Bess Flowers, Taylor Holmes, Lewis Martin, Arthur Space.

Cinematography Charles Lang

Film Editor Leon Barsha

Art Director Boris Leven

Original Music Elmer Bernstein

Written by Lenore Coffee, Robert Smith from a novel by Edna Sherry

Produced by Joseph Kaufman

Directed by David Miller

Reviewed by Glenn Erickson

The Joan Crawford movie Sudden Fear is an efficient and stylish thriller. Although it’s technically film noir, its story of a two-way murder frame-up is sublimated to the actress’s overpowering personality. It’s the first movie where Crawford was able to
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One-Eyed Jacks

Marlon Brando put his all into this impassioned, expertly acted and crafted VistaVision western spectacle. Has it been overlooked because of the scarcity of quality presentations? Karl Malden, Katy Jurado, Pina Pellicer, Ben Johnson and Slim Pickens are unforgettable, as are the Big Sur locations. One-Eyed Jacks Blu-ray The Criterion Collection 844 1961 / Color / 1:85 widescreen / 141 min. / available through The Criterion Collection / Street Date November 22, 2016 / 39.95 Starring Marlon Brando, Karl Malden, Katy Jurado, Ben Johnson, Slim Pickens, Pina Pellicer, Larry Duran, Sam Gilman, Míriam Colón, Timothy Carey, Margarita Cordova, Elisha Cook Jr., Rodolfo Acosta, Joan Petrone, Joe Dominguez, Tom Webb, Ray Teal, John Dierkes, Philip Ahn, Hank Worden, Clem Harvey, William Forrest, Mina Martinez. Cinematography Charles Lang. Jr. Film Editor Archie Marshek Original Music Hugo Friedhofer Written by Guy Trosper, Calder Willingham from the novel The Authentic Death of Hendry Jones by Charles Neider Produced by Frank P. Rosenberg Directed by Marlon Brando
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Oscar Horrors: The Uninvited

Boo! It's "Oscar Horrors". Each evening we look back on a horror-connected nomination until Halloween. Here's Tim Brayton on a '40s ghost story...

The Uninvited (1944) is a rarity among 1940s horror films twice over. For one thing, it's one of the vanishingly tiny number of genre films from that decade to receive Oscar attention, nabbing a Best Cinematography nomination – which is why we're here now, of course. For the other, it's one of the almost-as-tiny number of American horror films of its generation that actually commits to the paranormal. For years, stretching back into the 1930s, almost any time you saw a Hollywood film set in a haunted house, it was an easy bet that by the end of the last reel, you'd find out it was just an elaborate ruse by jewel thieves or some other damn thing. Not so for The Uninvited! Its ghost is real, and presents a genuine danger.
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Paul Thomas Anderson Brings ‘Punch-Drunk Love’ to The Criterion Collection This November

Paul Thomas Anderson Brings ‘Punch-Drunk Love’ to The Criterion Collection This November
November tends to be the biggest month of the year for the Criterion Collection, the boutique home video company releasing some of their most exciting releases in time for the holiday shopping season. And, lucky for us, that trend continues in 2016, as Criterion has just revealed this year’s batch of November titles, and the slate includes some absolutely major must-owns. From Paul Thomas Anderson finally joining the Collection (and bringing Adam Sandler along with him!) to a series of samurai films that have never gotten their proper due, these are movies that are worth stampeding for on Black Friday.

Check out Criterion’s full November 2016 slate below, listed in rough order of our excitement for each title. And be sure to visit Criterion’s website for full release info.

1. “Punch-Drunk Love” (dir. Paul Thomas Anderson, 2002). #843

It was only a matter of time before Paul Thomas Anderson finally joined the Criterion Collection,
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The Big Heat

An Encore Edition brings back Fritz Lang's searing police corruption tale, with the great performances of Glenn Ford, Gloria Grahame and Lee Marvinaided by several pots of fresh, hot coffee. As is usual, Fritz Lang leads the way in modernizing a genre -- this one is a keeper. The Big Heat Blu-ray Encore Edition Twilight Time Limited Edition 1953 / B&W / 1:37 Academy / 89 min. / Ship Date February 9, 2016 / available through Twilight Time Movies / 29.95 Starring Glenn Ford, Gloria Grahame, Jocelyn Brando, Alexander Scourby, Lee Marvin, Jeanette Nolan, Willis Bouchey, Robert Burton, Adam Williams, Howard Wendell, Dorothy Green, Carolyn Jones, Dan Seymour, Edith Evanson, John Crawford, John Doucette. Cinematography Charles Lang Film Editor Charles Nelson Original Music Henry Vars Written by Sydney Boehm from the book by William P. McGivern Produced by Robert Arthur Directed by Fritz Lang

Reviewed by Glenn Erickson

Four years after Twilight Time's initial release, this Encore Edition
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Oscar Nominations: Surprising Factoids About 2016’s Contenders

Oscar Nominations: Surprising Factoids About 2016’s Contenders
Several records were set in nominations for the 88th Academy Awards, with plenty of oddities and eyebrow-raisers as well.

The top two vote-getting films, “The Revenant” (with 12 nominations) and “Mad Max: Fury Road” (with 10), both starred Tom Hardy, who scored his first nom for the former.

With today’s best actress nom for “Joy,” 25-year-old Jennifer Lawrence is now the youngest actor ever — male or female — to earn four Oscar nods.

Mad Max” opened in May, the only best-pic contender that didn’t bow domestically in the fourth quarter. Three launched in October (“The Martian,” “Bridge of Spies” and “Room”), two in November (“Brooklyn,” “Spotlight”) and two others in December (“The Big Short,” “The Revenant”). Of the eight best-pic hopefuls, “Revenant” is the only one that hadn’t debuted at a film festival.

With its five nominations, “Star Wars: The Force Awakens” now has 30 nominations for the franchise, tying it with “Lord of the Rings.
See full article at Variety - Film News »

What I Did This Weekend: Dorothy Arzner’s Women’s Films About Women

What a treat I gave myself. I went to the Billy Wilder Theater to see Director Dorothy Arzner’s films “The Wild Party” (1929, Paramount) and “Anybody’s Woman” (1930, Paramount) as restored by UCLA Film & Television Archive with funding provided by the David and Lucile Packard Foundation, in cooperation with Universal Studios and Paramount Pictures.

And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild PartyClara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.

It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.

"The Wild Party" (1929)

In “The Wild PartyClara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.

Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.

Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.

Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.

"Anybody's Woman" (1930)

“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.

As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.

Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.

Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.

Read about this film series in the Los Angeles Times and Wall Street Journal.

The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.

Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
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'Art and the theory of art': "The Man from Laramie" and the Anthony Mann Western

  • MUBI
Anthony Mann

As much as any other filmmaker who found a niche in a given genre, in the 10 Westerns Anthony Mann directed from 1950 to 1958 he carved out a place in film history as one who not only reveled in the conventions of that particular form, but also as one who imbued in it a distinct aesthetic and narrative approach. In doing so, Mann created Westerns that were simultaneously about the making of the West as a historical phenomenon, as well as about the making of its own developing cinematic genus. At the same time, he also established the traits that would define his auteur status, formal devices that lend his work the qualities of a director who enjoyed, understood, and readily exploited and manipulated a type of film's essential features.

Though he made several fine pictures outside the Western, Mann as an American auteur is most notably recognized for his work in this field,
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Roger Deakins and Emmanuel Lubezki praise fellow Oscar nominees

  • Hitfix
Roger Deakins and Emmanuel Lubezki praise fellow Oscar nominees
Roger Deakins inched closer to the likes of fellow cinematographers Leon Shamroy and Charles B. Lang Jr. Thursday morning by picking up his twelfth Oscar nomination to date, for his work on Angelina Jolie's "Unbroken." But where Shamroy and Lang each picked up some hardware in their day, Deakins — one of the most celebrated artists behind the camera today — is still looking for his first. But he doesn't bog down in that. In fact, he's most eager to discuss the other work nominated alongside his today when chatting in the wake of the nominations announcement. Like the Polish entry "Ida," for instance, which was recognized by BAFTA this year and with a special Asc award last year, yet few were expecting it to figure in today. "I think that's fantastic," Deakins says. "I thought that was a great film. I think 'Leviathan' should have been in there, too. But
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87th Oscar Nominations – Birdman and The Grand Budapest Hotel Lead With Nine Each

Good Morning Oscar fans! Today is nomination day!

Wamg was in the thick of nomination morning fever at the home of the Oscars – the Academy of Motion Pictures Arts and Sciences.

Prior to the announcement, A.M.P.A.S. and the show’s producing team, Craig Zadan and Neil Meron, gave the press assembled in the Samuel Goldwyn Theatre a first look at the new Oscar promo featuring host Neil Patrick Harris, titled “Anything Can Happen,” and given what went down this morning, that’s certainly the case.

Let’s get right to the big shockers – No Lego Movie for Best Animated Feature or Life Itself in Best Documentary Feature.

Also missing among the presumed nominees were Ava DuVernay (Selma, directing), Clint Eastwood (American Sniper, directing), Jennifer Aniston (Cake, best actress), David Oyelowo (Selma, best actor), Jake Gyllenhaal (Nightcrawler, best actor), Ralph Fiennes (The Grand Budapest Hotel, best actor), Gillian Flynn (Gone Girl,
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The Forgotten: Two by Mankiewicz

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The Late George Apley

"If I am remembered at all, it will be as the swine who rewrote Scott Fitzgerald," said Joseph L. Mankiewicz on numerous occasions, and though he does rate a mention in any Fitzgerald bio for his work revising Fitzgerald's screenplay of Three Comrades, he is also getting a sidebar retrospective, The Essential Iconoclast, at the New York Film Festival. Apart from including his several acknowledged classics, this also shines a light on some of the less celebrated movies in the distinguished Hollywood auteur's body of work.

In particular, The Late George Apley (1947) and Escape (1948) are seldom-screened dramas with suave English leading men, Ronald Colman and Mankiewicz favorite Rex Harrison, both supported by the delightful Peggy Cummins.

The Late George Apley supplements the emotion with a good portion of the wit Mankiewicz was so famous for. I spoke briefly on the telephone to co-star Cummins, best known
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Separate Tables | Blu-ray Review

Playwright and screenwriter Terence Rattigan was an indubitable influence on mid-century British cinema. He authored several of the era’s most notable titles, including The Browning Version (1951), Lean’s The Sound Barrier (1952) Olivier’s troubled The Prince and the Showgirl (1957) and Anatole Litvak’s The Deep Blue Sea (1952), which was recently remade by Terrence Davies in 2011. But it would be a 1958 American adaptation of his play, Separate Tables, from director Delbert Mann that would prove to be his most critically lauded work, nominated for seven Academy Awards, and snagging two (Best Actor and Best Supporting Actress). By today’s standards, it’s a film that feels painstakingly melodramatic. Reconsidered within the framework of Rattigan’s own impressive oeuvre, the material hasn’t aged well, and as time has gone on, its cramped exploration of sexual dysfunction now plays like a euthanized product crippled by censorship of the author’s own
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Blu-ray Release: The Man From Laramie

Blu-ray Release Date: June 10, 2014

Price: Blu-ray $29.95

Studio: Twilight Time

James Stewart is The Man from Laramie.

Thanks to Twilight Time, the well-respected 1955 western The Man From Laramie is on Blu-ray.

Directed by Anthony Mann (Strangers in the Night), the movie stars James Stewart (Mr. Hobbs Takes a Vacation) in the last of his five-film collaboration with Mann. Here, Stewart is a man with an agenda, determined to avenge the death of his brother and stumbling into a hornet’s nest of family dysfunction when he encounters the troubled Waggoman clan, New Mexico ranchers who make the tale of King Lear look like a children’s story.

Written by Philip Yordan and Frank Burt and photographed by Charles Lang, The Man from Laramie comes to Blu-ray with a new 4k transfer, remastered from the original negative, presenting the film in a magnificent 2.55 widescreen image for the first time since its initial release in theaters.
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New on Video: ‘Angel’


Directed by Ernst Lubitsch

Written by Samson Raphaelson

USA, 1937

Angel is a 1937 feature directed by Ernst Lubitsch and starring Marlene Dietrich. It’s not the greatest film of either one of their careers, however, it is a film deserving of attention, at the very least because it’s a film directed by Ernst Lubitsch and starring Marlene Dietrich. And now, it’s also available for the first time on an American-issued DVD, by way of Universal’s Vault Series collection.

Dietrich is Maria Barker, but we first see her as “Mrs. Brown,” the false name she registers under when arriving in France. She’s “in Paris but not in Paris,” there to meet an old acquaintance, the Russian émigré, Grand Duchess Anna Dmitrievna (Laura Hope Crews). At the same time, Anthony Halton (Melvyn Douglas) drops by the duchess’ “salon,” at the suggestion of a friend who sent him there for an “amusing time.
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New on Video: ‘Sabrina’


Written by Billy Wilder, Samuel A. Taylor, and Ernest Lehman

Directed by Billy Wilder

USA, 1954

The past few weeks have been good for Humphrey Bogart on Blu-ray. The Maltese Falcon, Casablanca, The Treasure of the Sierra Madre, and The African Queen were recently rereleased and assembled for the Best of Bogart Collection, and now, Sabrina, one of the legendary star’s final films, has received its first American appearance on the format. Perhaps more importantly, if total number of titles available on Blu-ray is the basis for judgment, Sabrina also marks one of disappointingly few Billy Wilder titles available in the remastered form. That the film also stars the radiant Audrey Hepburn and the remarkably versatile William Holden confirms that the release is worth commending.

From about 1944, with Double Indemnity, to Irma la Douce in 1963, Wilder had an astonishing run in Hollywood, and Sabrina came roughly in the middle of that period.
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