The American Film Theatre: Collection One

Between 1973-1975, the American Film Theatre, under the guiding hand of Ely Landau, produced 14 films adapted from plays--directed by luminaries such as John Frankenheimer, Harold Pinter, and Tony Richardson, and starring such acclaimed thespians as Katharine Hepburn, Laurence Olivier, and Fredric March, who all worked for a pittance of their regular salaries--that were shown in selected theaters to members who had purchased annual subscriptions. Although briefly released on video in 1978, these films have been largely unavailable in any format for the past quarter century. The American Film Theatre: Collection One features five titles that--by an odd coincidence--seem to decline in merit in exact alphabetical order. Simon Gray's Butley (1974), directed by Harold Pinter, features Alan Bates in a brilliant performance as the titular seedy, bisexual English professor who arrives for work one day and receives a double shock: his estranged wife is leaving him for another man…and so is the boyfriend with whom he shares his office and his bed. Although Bates' affected, mincing take is initially off-putting, his slacker persona alternating with caustic tongue-lashings at his amorous betrayers, nitwit students, and befuddled colleagues (including Jessica Tandy) ultimately earns the viewer's sympathy (and laughs over the wicked, wicked jibes). John Frankenheimer's The Iceman Cometh (1973), based on Eugene O'Neill's working-man-and-woman stage classic, would ordinarily be considered the jewel in this particular crown, but two related attributes dull its luster a bit: 1) released on video in a compelling three-hour version, this "restored" (239 minutes on two discs) uncut version is a textbook example of the more is less axiom, especially since 2) the added footage looks considerably worse than the rest of the film (in fact, The Iceman Cometh is far and away the shabbiest looking entry in this otherwise sparkling set). Still, there's no gainsaying the raw power of O'Neill's journey into the heart of alcoholic delusional darkness (literally, as the scene is set entirely inside a murky bar), especially in the performances of Fredric March as Harry, the stewed bar owner; Robert Ryan as a disillusioned socialist disgusted with young turncoat pup Jeff Bridges, and--towering over all--Lee Marvin's masterful turn as Hickey, whose annual besotted, story-filled visit to the bar will be vastly different this year. As for the last three titles, Luther (1974), based on John Osborne's play about the early 16th century Protestant reformer, is a rather stage-bound affair that benefits immensely from an excellent performance by Stacy Keach in the title role, while Jean Genet's The Maids (1975, with Glenda Jackson and Susannah York) and Eugene Ionesco's Rhinoceros (1974, with Zero Mostel and Gene Wilder), are--coming later in the alphabet--worse and worser, respectively (although, to give credit where credit is due, Genet is tediously perverse and Ionesco is tediously weird). Each of the titles includes the same new interview with Edie Landau (the late Ely Landau's wife) about the American Film Theatre project, as well as a promo reel featuring Ely Landau, trailers, posters, stills, and essays. Given the ambition, uniqueness, and definite triumphs of the project, coupled with the long unavailability of these titles--all available separately for $29.95 on DVD and $24.95 on VHS--this set is recommended. (R. Pitman)