I recall a lovely anecdote from a friend who was passing a camping shop in Stratford-upon-Avon some years ago. Above the road was a banner which read: "Now is the discount of our winter tents." Of course the opening line of Shakespeare's Richard III ("Now is the winter of our discontent....") became familiar, if not household words, after Laurence Olivier brought the play to a wider audience with his 1956 film.

Olivier's production of Shakespeare's blazing melodrama about the seizure of power through manipulation, treachery and murder has never looked or sounded better than in Criterion's bluray release, which involves a splendid 4K restoration. But let's not run before our horse to market! As a film, Richard III is far from perfect. A large chunk of the play (Queen Margaret) is omitted, lines are moved around and other text inserted, notably from Henry VI, part 3 in the introduction. Various technical and artistic weaknesses are also regularly trotted out, including a jarring change from closed studio sets at Shepperton to the outdoors of the Spanish countryside where the Battle of Bosworth was filmed.

Imperfections of the production aside, this bluray breathes new life into one of the definitive classical acting peformances of modern times. For the film is primarily a vehicle for Laurence Olivier. Outwardly his Richard is a limping panther; pale. lankly black-haired and evilly debonair. But it is the mind within that terrifies. Expressed in a thin voice like a searching blade is a glittering irony and frightening rage. We believe him when he confides that "tear-falling pity dwells not in this eye."

It's a quality of the film that Olivier draws the viewer into Richard's confidence and we follow him, fascinated and appalled by his villainy. He explains what he's going to do, goes ahead and does it and then exults in the triumph: "Was ever woman in this humour wooed....? Essentially, as the Duke of Gloucester, Richard removes all those who precede him in line to the throne, his brother Clarence and two young princes among them, and for a short time, realises his ambition for the crown. My only misgiving about Olivier's performance is an overly indulgent death scene but I think we can forgive that!

As well as lead actor, Olivier also directed a cast that included John Gielgud, Cedric Hardwicke, Ralph Richardson, Claire Bloom and Stanley Baker. His design concept for the film was modelled on illustrations from the medieval Book of Hours with accompanying pageantry. The panoply of colours jumps out with astonishing vibrancy in this new restoration by The Film Foundation. Detail is improved and borders are more sharply defined. The soundtrack, although only mono, is also enhanced which helps to amplify subtleties in the dialogue.

Shakespeare can never be merely a subject for classroom study. His English represents the finest embroidey and colour in the fabric of our language. Laurence Olivier delivers it in a muse of fire for us to enjoy in all its glory. The technical excellence of this Criterion release simply heightens the pleasure.

Note: many of the special features are from a previous DVD edition but a new documentary on restoration by Martin Scorcese is included along with a booklet featuring sn essay by film critic Amy Taubin.

This swashbuckler from Kevin Reynolds has enough going for it to leave one ultimately satisfied and entertained but I can't escape a conviction that the film achieves no more than the sum of its parts. With so many screen adaptations of Alexander Dumas' literary classic, it was a monumental challenge to come up with something fresh and relevant without losing the spirit of the book. Other critics have pointed out that the film departs substantially from Dumas towards the end. Much is changed although the main storyline of betrayal, imprisonment and revenge remains. Strictly within its own terms of reference the production works quite well.

Director Reynolds, like Ridley Scott, excels with lighting, colour and framing his pictures to "force the eye." He captures an appropriate classical look with rich, deep colours, and the shadow contrast in scenes with candles or firelight is noticeably good. Acting is uniformly accomplished in the main roles. Jim Caviezel offers a thoroughly believable hero in Edmond Dantes and Guy Pearce is a delight as the dissolute and cynical betrayer Count Mondego. My own favourites are Richard Harris who brings a gentle wisdom and humanity to the part of the Abbe Faria, and the extraordinary Michael Wincott as the deliciously sadistic warden of the Chateau d'If, Armand Dorleac.

One can revel in neat lines of dialogue like "treason is only a matter of dates," or "I lied....I am a priest, not a saint." There are also many humorous asides that are guaranteed to elicit a chuckle, but here I think is a problem. The dialogue contains sudden lapses into modern idiom which, while often amusing, conflict with the general period language of the story and this may break the spell for certain viewers. Some of the casting in the smaller roles also reflects an inconsistency in style. Conversely one might argue that such changes of pace and mood offer a variety which prevents the film from taking itself too seriously. Either way it treads a fine line between "suspension of disbelief" and parody.

Those looking for a faithful adaptation of Dumas' novel "The Count of Monte Cristo" may find this film wanting, If, however, you're interested simply in an entertaining adventure with intrigue, swordplay, humour and romance in a period setting, you could do a lot worse.

The defining characteristic that sets "Master and Commander" apart as one of the best films of its kind is authenticity. Viewers are transported completely into a world aboard a British frigate, HMS Surprise, during the Napoleonic wars in the age of sail. Enthusiasts of historical naval fiction will warm to the detail in everything from weevil-ridden biscuits to wardroom banter about the weather gage.

The story, adapted from the novels of Patrick O'Brian, is essentially a cat-and-mouse adventure on the high seas involving HMS Surprise and her illusive French adversary, Acheron. It's the sort of film in which, thankfully, the action supports the story and not the other way round. Plentiful battle scenes, with "broadsides" and boarding parties, are balanced against a sensitive humanity in the friendship between the audacious and resourceful Captain "Lucky" Jack Aubrey (Russell Crowe) and the ship's doctor, Stephen Maturin (Paul Bettany), a compassionate scientist.

Peter Weir's experienced directing brings out interesting questions on the nature of duty, the importance of scientific inquiry and value of human life while never allowing the film to wallow in sentimentality or moral philosophy. It is a balanced approach which allows for believable character development from a fine screenplay. Weir's singular ability to create atmosphere is also exhibited to good effect here, whether it be an eerie creaking of timbers as the "Jonah" walks the deck at night or the emergence of a ghostly enemy vessel from a fog bank.

Other highlights are the classical music which includes the beautifully poignant Tallis Fantasia by Ralph Vaughan Williams and spectacular footage of the Galapagos Islands, the first time the Ecuadorian authorities had allowed them to be photographed for a feature film.

While it will be of particular interest to those familiar with the works of O'Brian, Alexander Kent and C.S. Forrester there is something for most tastes in this production except perhaps fans of the romantic love affair. It should not disappoint.

There's every reason to enjoy this film purely as an engrossing piece of action cinema but it represents a great deal more. By encapsulating a perilous moment from our past which could have turned out so differently, the production reminds us of what was at stake--democratic freedom--and how close we came to losing it.

Nowadays it is fashionable for historians to underplay the significance of the Battle of Britain for fear of appearing nationalistic or buying into the "myth." However, the film presents a generally accurate picture of the encounter between RAF Fighter Command and the Luftwaffe in 1940, albeit with dramatic licence in the characterizations. At the time of the events depicted Nazi Germany dominated most of continental Europe, the Soviet Union had not yet entered the war and the United States still remained largely isolationist.

The desperate nature of the conflict over the skies of Britain between July and October is clear in the recollections of real combatants such as RAF veteran Max Aitken, who hated the enemy for, as he put it, "trying to enslave us." Characters are more sanguine in the film which addresses cruel realities without dwelling on them. Apart from that, and discounting a rather irritating romantic subplot, it does capture a sense of peril as the outcome of the fighting hangs in the balance.

More could have been made of Trevor Howard's part as Air Vice-Marshall, Sir Keith Park, whose calm judgement and tactical skill were mainly responsible for denying the Luftwaffe air supremacy over southeast England, a
prerequisite for any German invasion. Laurence Olivier is suitably humourless in his potrayal of Fighter Command's chief, Sir Hugh Dowding, a leader of outstanding strategic vision who devised the first integrated air defence system incorporating radar, but was otherwise a dull man.

Other reviewers have rightly lauded the film's excellent aerial special effects, authenticity (for the most part) of aircraft used and the inclusion of a detailed German viewpoint on the battle. Although seemingly a little bombastic today the music of William Walton and Ron Goodwin adds a flavour of heroic flamboyance to the mix. It is particularly evocative in one sequence of aerial dogfights where all other sound is excluded.

The list of acting credits is a virtual male "who's who" of the British film world in the late 1960s. For this film, though, it is the story which takes centre stage, a true one that tells of a desperate struggle and ultimate triumph over tyranny. That it does so in an entertaining way is a bonus.

A feature of this excellent documentary that stands out above all else is the sense of redemptive justice for Captain Scott and his gallant companions who died tragically in the Antarctic polar expedition of 1912.

For many yeras after his death Scott was revered as a shining example of British manhood for his courage, fortitude, compassion and noble spirit in facing the severest of ordeals. Over time, however, this picture changed to one of the "heroic bungler" with critics questioning his leadership and organizational skills.

In a sensitively-constructed review of Scott's expedition, top polar meteorologist Dr Susan Solomon uses scientific research to argue convincingly that this view is false. Her findings show, to the contrary, that Scott was a diligent and careful planner who put his faith in science.

The demise of Scott's party is attributed to unexpectedly bad weather, a period of intense cold which could not have been predicted at the time and is known today to occur only about once every 15 years. Explorer Sir Ranulph Fiennes provides a fascinating insight into the difficulties of manually hauling sledges over snow in such conditions. Other eminent contributors explain the devastating effects of severe cold on the mind and body.

Actor Liev Schreiber narrates this finely-written documentary which includes some early film snippets, dramatic visual representations and beautifully-expressed readings from Scott's diary. Overall it is a first class production and highly recommended.

Fans will be reasonably happy with this bluray release of "Jeremiah Johnson" (1972) without going overboard. Despite the evident lack of any restoration, a visual improvement is noticeable over the DVD format with sharper resolution and generally superior colour.

The film is a good choice for upgrading to High Definition in terms of both setting and subject matter. Locations in Utah double for the Rockies in this tale of a nineteenth century mountain man (Robert Redford) struggling to survive in a punishing environment. Drawn into a world of towering peaks, desolate snowfields and pine forests, we follow the character from his rejection of urban society through a series of testing challenges to carve out a life in the wilderness. Watch for the irony of "civilization" reaching out when Johnson feels compelled to violate a Crow burial ground while guiding cavalry to rescue stranded settlers. The decision and its consequences are a pivotal moment.

As the film is partly a study in solitude some scenes contain minimal dialogue and these serve to underline a real strength of Redford's craft. It is that of being not so much an actor as a "reactor" in the way events and people are reflected on his face, perhaps best demonstrated here in the cabin episode where Johnson grieves while his horse moves restlessly outside.

Supporting actors, Will Geer as the wily old trapper Bear Claw and Stefan Gierasch playing Del Gue ("...with an E"), are a delight and it's almost worth watching the movie for them alone.

The project was a favorite of Redford's, one which became a labour of love for him and director Sydney Pollack who even mortgaged his home at one point to help finance it. They provide a commentary on the bluay edition along with writer John Milius.

Recommended.

Many war movies of the 1960s are unremarkable but "Where Eagles Dare" is different in at least two respects. Women characters figure significantly and the leading actors of the time in the classical and action genres, Richard Burton and Clint Eastwood respectively, are brought together in a rare partnership. It's a recipe for variety which works with Alistair MacLean's rather outrageous story by enabling a constant shift of focus to keep the viewer guessing.

Action is relentless (watch for a hair-raising cable car fight!), hilarious one-liners abound and credulity stretches to the limit but never quite beyond it. The plot is a complex one about a British military intelligence operation to unmask traitors under the cover of rescuing an Allied general from the Schloss Adler ("Castle of the Eagles"), a German alpine stronghold in southern Bavaria.

Eastwood plays an American Ranger on a commando team led by Burton who steals the limelight as Major Smith, a role he performs with obvious enthusiasm. Mary Ure gives a thoroughly professional performance as a trusted MI6 agent and Ingrid Pitt lights up the screen with her character of a flirty barmaid spying for the Allies. Wintry mountain exteriors, shot in the Austrian Alps, provide a forbiddingly steely backdrop to heighten the sense of mission impossible, while Ron Goodwin's memorable theme music catches exactly the right mood.

To criticize the slightly dated combat special effects and obvious German villains would be easy but also churlish. Enjoy this movie for what it is: a 'sixties war actioner with some unusual extras which elevates it to special status.

Few films are more beautiful to look at than Ridley Scott's debut feature from 1977, "The Duellists." Although the bluray release by Shout Factory is only a marginal improvement on the 2002 DVD release, it might be argued that any enhancement of such a sumptuous visual treat should be welcomed.

The film rolls like a sequence of classical paintings with Scott's uncanny eye for lighting and colour applied to perfectly composed interiors and ravishing locations in the Dordogne. Uniforms, weapons, fencing techniques and hairstyles are meticulously faithful to the Napoleonic period. The illusion of historical richness is furthered by Howard Blake's evocative score and the thoughtfully elegeant script, an adaptation of Joseph Conrad's novella, "The Duel."

The story is of a long-running duel between two French cavalry officers pursued for its own sake in which ideas of honour, obsession and obligation are examined. Writer Gerald Vaughan-Hughes provides a cinematic dimension by interposing a premarital relationship for one of the protagonists, Armand D'Hubert (Keith Carradine), to accentuate the destructive nature of his contest with adversary, Gabriel Ferraud (Harvey Keitel). Keitel brings a passionate intensity to his role of a resentful man driven "to feed his spite" on a fellow officer of privileged background whom he sees as a pampered "general's poodle." As the hero, Carradine offers the counter-balance of reason with a character of easy charm but one which also raises interesting questions about life's priorities.

Good performances are also given by Albert Finney, Robert Stephens, Diana Quick, Meg Wynn Owen, Edward Fox and Tom Conti.

Special features: the bluray edition includes an exclusive new interview with Keith Carradine.

"Sweet Child" is the quintessential album of the folk/rock group Pentangle. Its release in 1968 coincided with the band's most creative period before the pressures of incessant touring and recording took their toll.

The key to this masterwork lies in the extraordinary range of influences incorporated into a unique, balanced whole which was both inspirational and inventive. No other group at the time knocked down musical barriers so successfully. Spiritual and blues pieces fit easily alongside jazz instrumentals, Renaissance dance tunes, innovative adaptations of traditional folk and original love songs. Seemingly diverse strands often are interwoven delightfully in a single work such as "Bruton Town," to name but one example.

Performing this eclectic repertoire are five individual, yet totally complementary, talents whose skills are never better showcased. The two guitarists, Bert Jansch and John Renbourn, play intricate, tasteful arrangements in the folk baroque style for which they had already won renown as a duet. The delicate fluency of Renbourn embroiders Jansch's visceral, dynamic riffs in a musical understanding unmatched by their contemporaries.

Jacqui McShee's vocals soar above the guitars in crystal clear tones that characterised the Pentangle sound. Rounding it all out are the truly brilliant double bass player Danny Thompson (recipient of the prestigious BBC Lifetime Achievement Award) and Terry Cox, a percussionist of subtle ingenuity on drums and glockenspiel.

Partly recorded live at the Royal Festival Hall, several extra numbers from that concert were added to the remastered CD format in 2001 along with a couple of intriguing alternate versions of studio tracks.

"Basket of Light"(1969) may have been the most popular of Pentangle's six albums but if you wish to own the one which best exemplifies all that was great about them, this is it.

Peter Weir's surrealistic thriller "The Last Wave" is a portal into the realm of perception, using the context of a clash of cultures to explore it.

Set in the Australian city of Sydney, the film offers a fascinating glimpse of Aboriginal "Dreamtime" and the force of nature through the eyes of a sophisticated white lawyer, competently played by Richard Chamberlain. The lawyer, encumbered by the conditioning of his cultural environment, struggles to understand a series of premonitions while defending five tribal Aboriginees accused of manslaughter. His search unveils connections to a remote personal ancestry which holds the key to an impending cataclysm.

Water is a dominant theme, both the nature and power of it, and its appearance, combined with some effective lighting and atmospheric music, produces a work of brooding intensity. Taps are shown with bewildering regularity! For me the highpoint of the film is the Aboriginees, David Gulpilil and Nandjiwarra Amagula, a genuine tribal leader. They seem to exude a timeless depth and aura simply by their presence, and the scenes in which they appear are spellbinding.

Highly recommended.