The Criterion Collection, a continuing series of important classic and contemporary films presents A Place in the Sun.
Based on Theodore Dreiser’s landmark novel An American Tragedy, George Stevens’ A Place in the Sun is a swooningly noir-stained melodrama featuring Montgomery Clift as a handsome young man eager to win a place in respectable society. His ambitious dream seems to fall into place when he accepts a job offer from a wealthy relation and falls deeply in love with a beautiful socialite (Elizabeth Taylor), however a secret relationship with a factory girl (Shelley Winters) and her pregnancy threatens his future and inspires his murderous impulses. Called “the greatest movie ever made about America” by Charlie Chaplin, Steven’s film skillfully alternates between affluent, sun-washed romance and shadowy, fateful film noir, crafting an idealized vision of movie love against a sour portrait of the American dream and what lies beneath it.
New 4K digital master with uncompressed monaural soundtrack on the Blu-ray
Audio commentary with George Stevens Jr. and associate producer Ivan Moffat
New interview with film critic Imogen Sara Smith
George Stevens and His Place in the Sun, a 20-minute documentary on the making of the film
George Stevens: The Filmmakers Who Knew Him, archival interviews with Warren Beatty, Frank Capra, Joe Mankiewicz, Rouben Mamoulian, Antonio Vellani, Robert Wise, Alan J. Pakula, and Fred Zinnemann
The Criterion Collection, a continuing series of important classic and contemporary films presents Winchester ’73.
A one-of-a-kind rifle, the Winchester ’73, passes through a diverse group of desperate characters, summarizing the Western genre while also revitalizing it. In his first of eight indelible collaborations with director Anthony Mann, James Stewart is cast against type as Lin McAdam, an upright frontiersman obsessed with tracking down murderer Dutch Henry Brown (Stephen McNally) and always finding himself a step behind the iconic rifle wrongfully stolen from him. Featuring Shelley Winters as a saloon girl looking to settle down, Dan Duryea as a crazed outlaw, John McIntire as a sly gun trader, Rock Hudson as an aggrieved Indian chief, and a young Tony Curtis in an early screen role, Winchester ’73 ushered in a new era for the Western that replaced squeaky clean heroes with flawed, complex protagonists and re-made James Stewart into a mature, complicated screen presence.
New 4K digital restoration, undertaken by Universal Pictures in partnership with The Film Foundation and in consultation with filmmakers Martin Scorsese and Steven Spielberg, with uncompressed monaural soundtrack on the Blu-ray
New introduction by Scorsese
Audio commentary with actor James Stewart and film historian Paul Lindenschmidt
Lux Radio Theatre adaptation of the film from 1951, featuring actors James Stewart and Stephen McNally
PLUS: An essay by film scholar Sarah Hagelin and an except from firearm historian R.L. Wilson’s Winchester: An American Legend
The Criterion Collection, a continuing series of important classic and contemporary films presents The Tenant.
An apartment with an unhappy past, in a building filled with faintly sinister residents, sets the stage for Roman Polanksi’s riveting thriller The Tenant. Polanski plays Trelkovsky, a quiet, timid file clerk whose unremarkable life becomes increasingly overshadowed with dread and fear after he moves into his new home. Adding to his paranoia are the building’s other occupants, who do nothing to alleviate his growing obsession with the untimely, tragic fate of the apartment’s previous tenant. Is Trelkovsky’s dread truly justified – or is it simply the result of his seemingly disintegrating mental state? A brilliant international cast and Polanski’s own penchant for packaging and delivering unprecedented suspense make The Tenant a haunting, riveting conclusion to his Apartment Trilogy.
New 2K digital film restoration, with uncompressed monaural soundtrack on the Blu-ray
A collection of rare publicity and production stills
PLUS: A booklet featuring Penelope Gilliatt’s review for The New Yorker, an essay by film critic Jake Euker and new essays by film theorists Aaron Smuts and Robert Niemi and critics Tom McCormack, J. Hoberman, Jonathan McCalmont, Stanka Radovic, and Ed Gonzalez.