Literary Classics Collection (Madame Bovary (1949), Captain Horatio Hornblower, The Three Musketeers (1948), The Prisoner of Zenda (1937 and 1952 Versions), Billy Budd)
by George Sidney, John Cromwell, Peter Ustinov, Raoul Walsh, Richard Thorpe

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Movie Reviews of Literary Classics Collection (Madame Bovary (1949), Captain Horatio Hornblower, The Three Musketeers (1948), The Prisoner of Zenda (1937 and 1952 Versions), Billy Budd)

Movie Review: Billy Budd
Summary: 5 Stars

Summary of Literary Classics Collection (Madame Bovary (1949), Captain Horatio Hornblower, The Three Musketeers (1948), The Prisoner of Zenda (1937 and 1952 Versions), Billy Budd)

The 1948 version of The Three Musketeers is one of the lesser versions of that swashbuckler; Gene Kelly and Lana Turner leads the cast in a Technicolor-iffic but dramatically underwhelming effort. Raoul Walsh's Captain Horatio Hornblower (1950) delivers thoughtful seagoing strategies, as the British captain navigating gunships and political winds. The movie doesn't have the oomph of the usual Walsh action film, perhaps keyed instead to Gregory Peck's serious presence, but it has a gratifyingly intelligent forward motion. Plus, the Hornblower disc comes with "Captain Hareblower," a Warners cartoon with Bugs Bunny battling Yosemite Sam on the high seas.

The shipboard morality play of Melville's Billy Budd is included here, in the classic 1962 adaptation by director Peter Ustinov (who also plays Captain Vere). Terence Stamp, in his film debut, is the innocent sailor Billy, and Robert Ryan etches one of the all-time portrayals of cold-eyed cruelty as the brutal master-at-arms Claggart. A great conversation piece in the era of the repertory house, the film holds up--and a commentary track with Stamp and Steven Soderbergh provides good stuff on the actor's career start.

The 1949 M-G-M production of Madame Bovary might not please Flaubert purists, but it will impress auteurist fans of Vincente Minnelli. The tale of a wayward small-town wife is infused with Minnelli's swooning grasp of camera movement and d?cor, and a showpiece ballroom sequence out-duels any Max Ophuls film for swirling dance delirium. Jennifer Jones' alien presence might be a problem for modern viewers, yet her strangeness actually fits the character. This might just be the discovery of the set, which is otherwise filled out with a satisfying batch of vintage cartoons and short subjects. --Robert Horton

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• Classics
• Drama