About this product: This fizzy musical was a Broadway smash in 1962, and boy, is it a product of its era. Executive washrooms, gray-flannel-suit businessmen, hip-swinging secretaries--they're all preserved in the movie's brightly colored amber. J. Pierpont Finch (Robert Morse) is the window washer who climbs the corporate ladder in a few days, guided by a how-to book. The Frank Loesser songs are great fun, the Bob Fosse dances are very clever and mod, and the gaudy set design may have given Andy Warhol a few ideas. The jack-in-the-box performance of the elfin Robert Morse doesn't seem toned down from his Tony-winning stage turn; think Mickey Rooney doing Jerry Lewis. Still, Morse is a unique presence, and his mad little solo dance down a real Manhattan street is an interlude of sublime daffiness. Grand old crooner Rudy Vallee shines as the president of Worldwide Wicket, barking his beloved alma mater's fight song: "Groundhog! Groundhog!" --Robert Horton
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About this product: Is it conceivable that in the United States, profit is increasingly driving the business of birthing--sometimes at the expense of the best possible outcome for mothers and babies? Should birth be viewed and treated as a natural process or a potential medical emergency? This documentary, produced by Ricki Lake and directed by Abby Epstein, opines that money and fear are changing the way Americans give birth, and not necessarily for the better. Beginning with shocking statistics that the United States has the second-worst newborn death rate in the developed world and one of the highest maternal mortality rates in industrialized countries, the film presents interviews with medical professionals including Dr. Jacques Moritz, OB/GYN from St. Luke's Roosevelt Hospital; Dr. Michel Odent, OB/GYN researcher; and Masden Wagner, MD, former Director for Women's and Children's Health at the World Health Organization. Each expert paints a dismal picture of American birthing and emphasizes the frequent overuse of medical procedures in what are otherwise potentially normal deliveries. Stressing the prevalent use of midwives in birthing in other developed nations (70% of births are attended by midwives in Europe and Japan, versus 8% in the U.S.), the documentary then follows Cara Muhlhahn, a certified nurse midwife in New York City, as she attends a variety of home births. The footage is candid and sometimes very graphic, showing various home-delivery methods, including water birth. Interviews with Cara and her clients emphasize their shared philosophy on birthing as a normal life process that, when attended by a caring and well-trained midwife, can be both empowering and exhilarating. Though a midwife is often characterized as a supportive, but medically untrained birth attendee, the film dispels that stereotype, stressing a good midwife's solid training and knowledge of when it's appropriate to seek outside medical intervention. Key in every birth is a commitment to doing what's best for mother and baby, regardless of pre-planned agendas. The filmmaker's lament is that hospitals and doctors often too quickly advocate medical intervention in the interest of saving time and avoiding potential litigation. While unquestionably advocating midwifery over hospital birthing, this documentary presents solid expert opinions, concrete facts and statistics, and anecdotal experiences of both mothers and midwives that are crucial in making an informed decision about the use of midwifery in birthing as well as enlightening as to the current state of birthing in the United States. --Tami Horiuchi
About this product: Bette Midler (THE FIRST WIVES CLUB, BEACHES) and Lily Tomlin (DISNEY'S THE KID, ALL OF ME, 9 TO 5) -- the first ladies of laughter -- star in this critically acclaimed box office hit about two sets of identical twins who are mismatched at birth. Forty years later, their paths cross amid the hustle and bustle of Manhattan, and the result is unrestrained pandemonium. New York's opulent Plaza Hotel is the setting for a wildly hilarious, classic case of mistaken identities, split personalities, and double trouble! With the unparalleled comedic talents of Midler and Tomlin, two's company ... four's a riot!
About this product: Little did Tom Cruise know that he would become a box-office superstar after he cranked up some Bob Seeger and played air guitar in his underwear. But there's more to this 1983 hit than the arrival of a hot young star. Making a stylish debut, writer-director Paul Brickman crafted a subtle satire of crass materialism wrapped in an irresistible plot about a crafty high schooler named Joel (Cruise) who goes into risky business with the beguiling prostitute Lana (Rebecca De Mornay) while his parents are out of town. Joel turns his affluent Chicago-suburb home into a lucrative bordello and forms a steamy personal and professional partnership with Lana, but only as long as the two can avoid the vengeful pimp Guido (Joe Pantoliano) and keep their customers happy. A signature film of the 1980s, Risky Business still holds up thanks to Cruise's effortless charm and the movie's timeless appeal as an adolescent male fantasy. --Jeff Shannon
About this product: A "Buppie" investment broker falls for a free-spirited beauty bringing comedic chaos upon his button down career and lifestyle. A romantic lark with a dynamic rap soundtrack starring Halle Berry (The Flintstones) Year: 1991 Director: Kevin Hooks Starring: Tommy Davidson, Joseph C.Phillips, Halle Berry
About this product: Follow filmmaker Adam Scorgie as he demystifies the underground market and brings to light how the marijuana industry can function while remaining illegal. Through growers, police officers, criminologists, economists, doctors, politicians and pop culture icons, Scorgie examines the cause and effect nature of the business - an industry that may be profiting more by being illegal.
About this product: This 1954 dinosaur brings together two giants of Broadway, Ethel Merman and Irving Berlin, just as their moment was passing forever, to create one last hurrah: a celebration of the glories that were vaudeville. Still, it's hard to imagine that Broadway--or nightclub entertaining, for that matter--was ever quite this lavish and satisfying. The story centers on a married couple, the Donahues (Dan Dailey and Merman), who live on the road as vaudeville entertainers, and since they have children, begin incorporating the kids into the act. Eventually, the kids grow up to be Donald O'Connor, Mitzi Gaynor, and Johnny Ray, and they begin having interests of their own. Donald's is an ambitious showgirl (Marilyn Monroe), whose standoffish response to his romantic overtures drives him to drink. Best for its lavish, splashy production numbers built around some of the best of the Berlin songbook, including the title tune and "A Pretty Girl Is Like a Melody." --Marshall Fine
About this product: Little did Tom Cruise know that he would become a box-office superstar after he cranked up some Bob Seeger and played air guitar in his underwear. But there's more to this 1983 hit than the arrival of a hot young star. Making a stylish debut, writer-director Paul Brickman crafted a subtle satire of crass materialism wrapped in an irresistible plot about a crafty high schooler named Joel (Cruise) who goes into risky business with the beguiling prostitute Lana (Rebecca De Mornay) while his parents are out of town. Joel turns his affluent Chicago-suburb home into a lucrative bordello and forms a steamy personal and professional partnership with Lana, but only as long as the two can avoid the vengeful pimp Guido (Joe Pantoliano) and keep their customers happy. A signature film of the 1980s, Risky Business still holds up thanks to Cruise's effortless charm and the movie's timeless appeal as an adolescent male fantasy. --Jeff Shannon
About this product: Cary Grant plays an absent-minded scientist working on a youth serum with little success. One afternoon, one of his test monkeys gets loose and works up a formula of its own, which then gets dropped into their water cooler. Shortly, Grant is tooling around in a sports car with his boss's voluptuous secretary (Marilyn Monroe). When his wife (Ginger Rogers) investigates, she too gets a dose and drags Grant off for a second honeymoon of all-night dancing. Meanwhile, Grant's elderly boss (Charles Coburn) is eager to get his hands on the formula--only Grant's formula isn't having the proper effect. Monkey Business is probably most familiar to Marilyn Monroe cultists, but it's Grant and Rogers who have the central roles and make the most of them. Rogers's adolescent emotional meltdown at a hotel and Grant leading a gaggle of boys on a scalping raid are only two of the movie's many richly funny set pieces, all directed by the nimble hand of Howard Hawks (His Girl Friday, Bringing Up Baby, Ball of Fire, Gentlemen Prefer Blondes). One of the last of the classic screwball comedies. --Bret Fetzer
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