Carousel [1956]
Turner On Tour (Pegasus) 
This attractively produced flexi-cover edition follows the grand master of nineteenth-century landscape painting as he travels the European countryside, finding inspiration and themes for his renowned drawings and paintings.
Like many 19th-century Britons, J.M.W. Turner was a passionate traveler, and the landscapes, cities and people he encountered on his journeys throughout Europe provided the stimulus for a number of his sketches, watercolors and paintings. Turner on Tour documents the artist’s European travels between 1802 and 1845, and provides fascinating insights into the ways the land and architecture shaped Turner’s work over two of his most prolific periods. Nearly every page of this volume features stunning reproductions, most of them in full color, revealing Turner’s brilliant treatment of natural light and its effects on land and sea.
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Prizzi’s Honor 
Get ready for a mob hit that’s as “funny as hell” (L.A. Weekly), when legendary director John Huston takes aim at family values in “one of his very best films” (Roger Ebert)! With “a superb cast” (Boxoffice) led by Jack Nicholson and Kathleen Turner, this killer comedy scored eight Academy Award?(r) nominations,* including Best Picture, and an Oscar?(r) for Anjelica Huston. The Prizzi family’s principal hit man, Charley (Nicholson), is about to discover that he and his new bride (Turner) share more than just body heat: They’re both cold-blooded assassins, and their next job is to ice each other! Now Charley must choose which contract to honorthe oneto his wife or the one on his wifein this “wickedly amoral black comedy” (Screen International)! *1985: Actor (Nicholson), Supporting Actor (William Hickey), Director, Adapted Screenplay, Editing, Costume Design
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Customer Review: prizzi’s honor
A fine crafted and acted story. That is why I bought it. To view it any time I wish.
Customer Review: The mafia in its family disguise or Father Christmas at Easter
When the mafia becomes the argument of an action film and little more it is no longer funny, it is no longer strange, it is no longer fascinating. It is nothing but outlandish and terroristic. It takes all Jack Nicholson can give to make these characters in anyway palatable, and even so. In the Prizzi family all other considerations than the family is outlawed, except maybe for a couple of weeks and the woman concerned by this out-breeding passing passion has to submit and take the color of the wall on which she is being pinned. If she does not then she will be executed and cut off. There is no depth in that film, no subtleties or even subtlety. Get the message, bang it down on the table and then cram it down your brain. Business is business and in-breeding is the rule. I will always wonder why a hit-woman with a reputation of efficiency and effectiveness misses her husband when he intends to kill her though she manages to shoot one bullet first. Suspend your disbelief and incredulity. The cinema is the new church of the visual dominant animal man is. To see is to believe. But at times to believe is easier when you are blind, and probably deaf too. Apart from that it is interesting even if we do spend a little bit too much time in planes going east and planes going west, kind of an airlift between New York, or whatever may titillate you, and Los Angeles, or whatever it takes to please you. Dr Jacques COULARDEAU, University Paris Dauphine & University Paris 1 Pantheon Sorbonne
Grand Isle 
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Customer Review: Surprising
There’s something very special about this movie; the book upon which it was based must have something to do with this. I saw it years ago–but it still resonates. One day I’ll get around to reading the book+
Customer Review: Restrained Mary Lambert, but not too much so
This really is a gorgeous production and it’s nice to note that the critics have been kinder to it than other Mary Lambert films (”Pet Semetary 1 and 2″ and “Siesta”, to name a few). Lambert is usually a flamboyant director and not afraid of wearing her influences on her sleeve (Ken Russell, Nic Roeg, etc.). But like her many mentors, Lambert is capable of showing restraint when needed and “Grand Isle” is a perfect example. Set in Louisiana at the turn of the century, “Grand Isle” is filled with excellent set design and costuming. The photography is drenched in sunlight and the sequences are framed by “fades to white”. In other words, an atmospheric and ambient endeavor. The musical score is quite nice. Touches of classical piano with synthesizer washes. Other reviewers have mentioned the plot, so I won’t go in to that other than mention that there are some fabulous fantasy/flash-back sequences that are lovely and thought provoking. Those looking for a classy period romance/drama will enjoy this as much as the Mary Lambert and art-house afficianados.
William Turner Paper 11 x 17 50 Sheets 
Hahnemhle s mould-made William Turner paper has 100% rag content making it highly archival. Its smooth surface is perfectly suitable for detailed work and watercolors. (50 Sheets of 11 x 17 William Turner paper)
Kustom Kulture: Von Dutch, Ed “Big Daddy” Roth, Robert Williams and Others 
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Customer Review: Finally, some recognition…
Although the greatness of Rob’t. Williams has been admitted by a few so-called “legitimate” art critics, it’s high time to admit the genius of people like Von Dutch, Ed Roth, Gene Winfield et al. Kustom Kulture is artistic democracy in action, “The People’s Art.” This is an attractive book, with much information and great art. If you are even the least bit interested in this subject, this book’s for you. I give it an A+.
Customer Review: Roth and Dutch live on
I have followed the work of Ed Roth and the late “Von Dutch” since 1953. The word Pioneer doesn’t even begin with the work these men have done over the last 45 years. Dutch started the trend of “Free Form” pinstriping, along with painted “figures” and some very unique “Flame Painting” back in the 1950s. Roth started building some very unique vehicles, way ahead of their time. He called himsef a “speed striper” which was a rapid form of pinstriping i,e, “no following around with fine details” yet the work was quite good. This book shows the best examples of both Roth and Dutch, and contains photos that we all thought were lost years ago. “Von Dutch” (a.k.a. Kenneth Howard) was a very underrated man, who was filled with talent and skills that would revel most of today’s artists. It was a tragic loss when he died a very lonely man. Roth did a Video of Dutch in the late 1970s, which really showed the “methods to his madness.” I personally have given a tribute to both these men by building a copy of the sign painters box (made in 1919) given to Dutch by his father. Roth has pinstriped a few of these for his charity auctions. This book is a treasure to the art of pinstriping and the “Kustom Kulture” movement.
Carousel [1956]
The 1956 screen adaptation of Carousel, like its immediate predecessor Oklahoma!, boasted then state-of-the-art widescreen cinematography, stereophonic sound, a starring romantic duo with on-screen chemistry, and the Rodgers & Hammerstein imprimatur. Adding to its promise was a source (the venerable Ferenc Molnar play Liliom) that had already been filmed three times. Contributing to the lustre are the coastal Maine locations where 20th Century Fox filmed principal photography. Yet unlike the original Broadway production, and despite evident craft, Carousel proved a box-office disappointment. Why? Hindsight argues that movie-goers of the 1950s may have been unprepared for its tragic narrative, the sometimes unsympathetic protagonist, and a spiritual subtext addressing life after death.
Whatever the obstacle, Carousel may well be a revelation to first-time viewers. The score is among the composers’ most affecting, from the glorious instrumental “Carousel Waltz” to a succession of exquisite love songs (”If I Loved You”), a heart-rending secular hymn (”You’ll Never Walk Alone”), and the expectant father’s poignant reverie, “Soliloquy”. Top-line stars Shirley Jones (as factory worker Julie Jordan) and Gordon MacRae (as Billy Bigelow, the carnival barker who woos and weds her) achieve greater dramatic urgency here than in the more successful Oklahoma!. MacRae in particular attains a personal best as the conflicted Billy, whose anxiety and wounded pride after losing his job are crucial to the plot. It’s Billy’s impatience to support his new family that drives him to an ill-fated decision, which transforms the fable into a ghost story. –Sam Sutherland, Amazon.com
Customer Review: Well worth going to the Carousel
Regarded by many as the best Rodgers and Hammerstein musical, it still manages to pack a punch after all these years. Most people will probably already be familiar with the hymn-like standard ‘You’ll Never Walk Alone’, but there are plenty of other gems here that are worth tuning in for. Fans of Frank Sinatra may recognise Billy’s ‘Soliloquy’. The scene on the beach where Gordon McRae belts it out is now a movie musicals’ classic. My personal favourite is the beautifully tender duet ‘If I Loved You’, a song so loaded with the promise of romance and deeply felt regret all at the same time - surely (or Shirley??) one of the best love songs in any Broadway repertoire.
Another of the musical’s high points comes with the opening ‘Carousel Waltz’ itself, an instrumental piece that perfectly captures the very mood of a funfair and is probably one of Rodgers’ finest compositions. It won’t leave your head for days!
While the camerawork may look a bit dated now, the story is still relevant and quite moving. Both of the leads (Gordon McRae and Shirley Jones) are well cast and the singing is excellent. Exquisite stuff indeed.
Customer Review: A Timeless Musical Masterpiece
Undoubtedly the most touching and beautifully written of Rogers and Hammerstein's movie-musicals, this film is in turns lightheartedly funny and tear-jerkingly sad. Featuring classic songs “June is Busting Out All Over”, “If I Loved You” and “You'll Never Walk Alone” and the undisputed talent of Shirley Jones and Gordon McRae, this film will leave you with tears streaming down your face long after the credits.
