Archie's Archery Depot

No Description Available.Genre: Soundtracks & ScoresMedia Format: Compact DiskRating: Release Date: 6-MAY-2003

Now that Bollywood (Bombay-plus-Hollywood--an affectionate nickname for India's terrifyingly productive film industry) has finally gone mainstream in the West (Bride and Prejudice, Monsoon Wedding), many American listeners are curious to know more about the genre's extremely busy soundtrack singers. Club-goers are already primed by Bhangra nights, but for the uninitiated, the high-pitched female voices, loosey-goosey chorales, and wild-and-wooly instrumentals may take some getting used to. However, anyone willing to make the effort will be quickly rewarded. This compilation is a great place to start as it is well-produced and fairly typical of the genre at its best. Among the male singers, Kishore Kumar is well accounted for. Of the big female names, Lata Mangeshkar is represented but her even-more-famous sister, Asha Bhosle, is not. But Chitra, who sounds like an Indian Dolly Parton, almost makes up for her absence. Anyone who wants to know still more about this most flagrantly hedonistic of musical styles is directed to the exhaustively annotated Rough Guide To Bollywood and Manteca's delightful I Love Bollywood. --Christina Roden

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From the first seconds of the film Inside Man, a compelling mood is set via the powerful music that accompanies the opening scene. The song, "Chaiyya Chaiyya Bollywood Joint" is an adapted, hip-hop-inflected tune (featuring Punjabi MC) from India's most famous soundtrack creator, A.R. Rahman. Those hoping for a full-on South Asian exploration should note that this is the only Bollywood number on the disc; the rest of the film is scored by Spike Lee regular Terence Blanchard (Malcolm X, 25th Hour,Bamboozled.) Blanchard--a former member of both Lionel Hampton's band and Art Blakey's Jazz Messengers--has created moments of quiet beauty in the soundtrack; "Press Here To Play" is a pensive piano and trumpet journey that ends (too soon) at 90 seconds, while "Nazis Pay Too Well" is another highlight, a masterfully-mournful orchestral piece well worth further expansion. Those pieces aside, the lion's share of the soundtrack is a variation on one of two separate musical themes, both of which set an appropriate tone throughout the film. On their own, however, they are almost too soundtracky to play even as background music over dinner. For personal use, Blanchard's non-film, jazz recordings may be the way to go. --Denise Sheppard

Used VHS tape. Box is included and the tape works.

Great cast, and well-acted western starring Academy-Award winner Ben Johnson (The Last Picture Show), Jack Elam (The Dakotas, High Noon), Alex Cord (Stagecoach), Lana Wood, and Iron-Eyes Cody. The fighting legend of a magnificent warrior, beautifully photographed and powerfully performed, the legend of "Greyeagle" comes alive in this wonderful film.

In the Canadian Northwest of the 1950s, a cocky bush pilot transporting a sick Inuit woman is forced to land his damaged plane 200 miles from civilization. As the pair makes their way across the treacherous tundra, the woman teaches the flyer the secrets to survival in the wilderness. Powerful adventure tale, based on a Farley Mowat ("Never Cry Wolf") story, stars Barry Pepper, Annabella Piugattuk. 90 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, DTS 5.1; Subtitles: Spanish; Subtitles: Spanish; "making of" featurette; interviews.

Director/star Clint Eastwood and co-screenwriter Phil Kaufman add another dimension to Eastwood's classic insular western hero, as a Missouri farmer enlists in the Confederate army to better pursue the renegade soldiers responsible for his family's murder. And during a trek to Mexico with an aged Cherokee Indian (Chief Dan George), comes to the aid of a number of people in need of help. Co-stars Bill McKinney, John Vernon, and Sondra Locke. 136 min. Widescreen (Enhanced); Soundtracks: English DTS HD 5.1 Master Audio, French Dolby Digital mono, Spanish Dolby Digital mono; Subtitles: English (SDH), French, Spanish; audio commentary; featurettes; theatrical trailer; 32-page book.

Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honored with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson Amazon.com Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

Director/star Clint Eastwood and co-screenwriter Phil Kaufman add another dimension to Eastwood's classic insular western hero, as a Missouri farmer enlists in the Confederate army to better pursue the renegade soldiers responsible for his family's murder. And during a trek to Mexico with an aged Cherokee Indian (Chief Dan George), comes to the aid of a number of people in need of help. Co-stars Bill McKinney, John Vernon, and Sondra Locke. 135 min. Widescreen (Enhanced); Soundtracks: English Dolby Digital 5.1, French Dolby Digital mono; Subtitles: English, French, Spanish; documentaries; theatrical trailer.

Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute

During the Civil War, Union "Redlegs" attack Southerner Josey Wales's dirt farm and wipe out his family. Seeking vengeance, Wales throws in with a company of Reb guerrillas. Tagged as a renegade after the surrender, he flees west into the vastness of the Indian Territories, where, quite unintentionally, he finds himself cast as the straight-shooting paterfamilias of an ever-growing, spectacularly motley community of misfits and castaways. Which is to say, Josey's personal quest for survival and something like peace of mind evolves into a funky, multicultural allegory of the healing of America. The Outlaw Josey Wales (1976), Clint Eastwood's 31st film as an actor, 20th as international star, and 5th as director, was the first to win him widespread respect. Critics had grumbled when the producer-star replaced Philip Kaufman (The Right Stuff) in the director's chair a week into shooting. They ended up cheering when Eastwood delivered both his most sympathetic performance to date and--with the heroic collaboration of cinematographer Bruce Surtees--an impressive Panavision epic that stresses the scruffiness, rather than the scenic splendors, of frontier life. Though it's been honored with a place in the National Film Registry, Josey Wales is good, not great, Eastwood. The big-gun fetishism can get tiresome, and too many characters exist only to serve as six-gun (and at one point Gatling gun) fodder. But mostly the film is agreeably eccentric, and almost furtively sweet in spirit--a key transitional title in the Eastwood filmography, and one of his most entertaining. --Richard T. Jameson Amazon.com Clint Eastwood fired the original director, Philip Kaufman (The Right Stuff), and took over the reins of this project himself. He may have had a point: this brutal, thoughtful western, a near-tragedy about a Civil War veteran whose past comes looking for him, is probably Eastwood's most mature frontier drama prior to the Oscar winning Unforgiven. Hoping to build a quiet life in a cooperative community of settlers, Eastwood's Wales blames himself when his enemies attack the homestead, and he has to revert to his warrior instincts to help fend off the threat. The jittery intensity of Sondra Locke (who would be Mrs. Eastwood, at least for a while), and the screen-filling charisma of the late Chief Dan George harmonize beautifully with Eastwood, who had finally figured out how to add depth and texture to his stock-in-trade Man of Steel persona. This one may be too short on action to satisfy fans of Eastwood's Dirty Harry films, or of the Italian westerns he made with Sergio Leone, but it's an honorable effort. --David Chute