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Red Dust (Un Grito de Esperanza) [NTSC/REGION 1 & 4 DVD. Import-Latin America] (English/Spanish subtitles)

Product Description A suspense thriller set in South Africa in the same vein as the politically oriented and popular The Constant Gardener. The film follows human rights lawyer Sarah Barcant (Academy Award-winner Hilary Swank, Million Dollar Baby, and Alex Mpondo (Chiwetel Ejiofor, Four Brothers) who find their lives changed forever by a hearing in the small town of Smitsriver. Police officer Dirk Henricks (Jamie Bartlett), is seeking amnesty for acts of torture he committed under the apartheid regime. Alex, once part of an illegal anti-apartheid movement, was one of Dirk's victims. Now living in New York City, Sarah returns home to Smitsriver to investigate Dirk?s crimes.

February 26, 1983

Tennessee Williams Is Dead at 71
By MEL GUSSOW

Tennessee Williams, whose innovative drama and sense of lyricism were a major force in the postwar American theater, died yesterday at the age of 71. He was found dead about 10:45 A.M. in his suite in the Hotel Elysee on East 54th Street.
Officials said that death was due to natural causes, and that he had been under treatment for heart disease. An autopsy is scheduled for today.
Author of more than 24 full-length plays, including ''The Glass Menagerie,'' ''A Streetcar Named Desire,'' ''Cat on a Hot Tin Roof'' - Tennessee Williams was the most important American playwright after Eugene O'Neill. The latter two won Pulitzer Prizes - and ''The Night of the Iguana,'' he had a profound effect on the American theater and on American playwrights and actors. He wrote with deep sympathy and expansive humor about outcasts in our society. Though his images were often violent, he was a poet of the human heart.
His works, which are among the most popular plays of our time, continue to provide a rich reservoir of acting challenges. Among the actors celebrated in Williams roles were Laurette Taylor in ''The Glass Menagerie''; Marlon Brando and Jessica Tandy in ''A Streetcar Named Desire'' (and Vivien Leigh in the movie version), and Burl Ives in ''Cat on a Hot Tin Roof.''
''The Glass Menagerie,'' his first success, was his ''memory play.'' Many of his other plays were his nightmares. Although seldom intentionally autobiographical, the plays were almost all intensely personal -torn from his own private anguishes and anxieties.
He once described his sister's room in the family home in St. Louis, with her collection of glass figures, as representing ''all the softest emotions that belong to recollection of things past.'' But, he remembered, outside the room was an alley in which, nightly, dogs destroyed cats.
Mr. Williams's work, which was unequaled in passion and imagination by any of his contemporaries' works, was a barrage of conflicts, of the blackest horrors offset by purity. Perhaps his greatest character, Blanche Du Bois, the heroine of ''Streetcar,'' has been described as a tigress and a moth, and, as Mr. Williams created her, there was no contradiction.
His basic premise, he said, was ''the need for understanding and tenderness and fortitude among individuals trapped by circumstance.'' Just as his work reflected his life, his life reflected his work. A monumental hypochondriac, he became obsessed with sickness, failure and death. Several times he thought he was losing his sight, and he had four eye operations for cataracts. Constantly he thought his heart would stop beating. In desperation, he drank and took pills immoderately.
He was a man of great shyness, but with friends he showed great openness, which often worked to his disadvantage. He was extremely vulnerable to demands - from directors, actresses, the public, his critics, admirers and detractors.
He feigned disinterest in reviews, but he was deeply disturbed by them. Unfavorable ones could devastate him. Favorable ones might corrupt him. The most successful serious playwright of his time, he did not write for success but, as one friend said, as a ''biological necessity.''
Success struck him suddenly in 1945, with the Broadway premiere of ''The Glass Menagerie,'' and it frightened him much more than his failure.
He was born as Thomas Lanier Williams in Columbus, Miss., on March 26, 1911. His mother, the former Edwina Dakin, was the puritanical daughter of an Episcopal rector. His father, Cornelius Coffin Williams, was a violent and aggressive traveling salesman who later settled down in St. Louis as manager of a show company. There was an older daughter, Rose (memorialized as Laura in ''the Glass Menagerie''), and in 1919 another son was born, Walter Dakin.
''It was just a wrong marriage,'' the playwright wrote. The familial conflict is made clear by instances from the son's art. His mother was the model for the foolish but indomitable Amanda Wingfield in ''The Glass Menagerie,'' his father for the blustering, brutish Big Daddy in ''Cat on a Hot Tin Roof.''
While his father traveled, Tom was mostly brought up, and overprotected, by his mother - particularly after he contracted diphtheria at the age of 5. By the time the family moved to St. Louis, the pattern was clear. Young Tom retreated into himself. He made up and told stories, many of them scary.
In the fall of 1929 he went off to the University of Missouri to study journalism. When his childhood girlfriend, Hazel Kramer, also decided to enroll at Missouri, his father said he would withdraw him, and succeeded in breaking up the incipient romance. It was his only known romantic relationship with a woman.
In a state of depression, Tom dropped out of school and, at his father's instigation, took a job as a clerk in a shoe company. It was, he recalled, ''living death.''
To survive, every day after work he retreated to his roo

Brother Rat (1938)
On Your Toes (1939)
Four Wives (1939)
Brother Rat and a Baby (1940)
An Angel from Texas (1940)
My Love Came Back (1940)
A Dispatch from Reuters (1940)
The Great Mr. Nobody (1941)
Four Mothers (1941)
The Wagons Roll at Night (1941)
Thieves Fall Out (1941)
Out of the Fog (1941)
Treat 'Em Rough (1942)
Eagle Squadron (1942)
Lady Bodyguard (1943)
Ladies' Day (1943)
Bombardier (1943)
Screen Snapshots: Hollywood in Uniform (1943) (short subject)
Strange Voyage (1946)
Rendezvous with Annie (1946)
The Perfect Marriage (1947)
Hit Parade of 1947 (1947)
Smash-Up: The Story of a Woman (1947)
Time Out of Mind (1947)
Unconquered (1947) (scenes deleted)
The Dude Goes West (1948)
You Gotta Stay Happy (1948)
Every Girl Should Be Married (1948) (cameo)
The Fuller Brush Girl (1950)
You're in the Navy Now (1951)
Meet Me After the Show (1951)
Actors and Sin (1952)
Carrie (1952)
Roman Holiday (1953)
The Girl Rush (1955)
Oklahoma! (1955)
I'll Cry Tomorrow (1955)
Operation Teahouse (1956) (short subject)
Attack (1956)
The Teahouse of the August Moon (1956)
The Sun Also Rises (1957)
The Joker Is Wild (1957)
Orders to Kill (1958)
The Roots of Heaven (1958)
The Gun Runners (1958)
Beloved Infidel (1959)
The Young Doctors (1961)
Madison Avenue (1962)
The Longest Day (1962)
Who's Got the Action? (1962)
The Two Little Bears (1963)
Miracle of the White Stallions (1963)
Captain Newman, M.D. (1963)
The Party's Over (1965)
7 Women (1966)
The Heartbreak Kid (1972)
The Longest Yard (1974)
McQ (1974)
The Take (1974)
Escape to Witch Mountain (1975)
The Devil's Rain (1975)
Whiffs (1975)
Hustle (1975)
Moving Violation (1976)
Birch Interval (1977)
The Border (1979)
The Concorde: Airport '79 (1979)
How to Beat the High Co$t of Living (1980)
Foolin' Around (1980)
Yesterday (1981)
Take This Job and Shove It (1981)
The Act (1982)
Yes, Giorgio (1982)
Dreamscape (1984)
Stitches (movie) (1985)
Head Office (1985)
Turnaround (1987)
Brenda Starr (1989)
The Big Picture (1989) (Cameo)
Headless! (1994) (short subject)
Death Valley Memories (1994) (documentary) (narrator)

Country legend and recent Broadway sensation Reba McEntire stars in Reba, a hilarious and spirited look at the "perfect" American family gone awry. The perfect holiday gift for every Reba fan.

Reba: Season 2 stays the course set in the first season, with sitcom star (and country music legend) Reba McEntire playing a divorced mom (named Reba Hart) trying to get her bearings after her dentist husband, Brock (Christopher Hart), leaves her to take up with his simple but sweet-natured hygenist, Barbra Jean (Melissa Peterman). That's still only part of the heroine's troubles. Her 17-year-old daughter, Cheyenne (Joanna Garcia), and the latter's teenage husband, Van (Steve Howey), are living in Reba's house with their infant, while Reba's younger daughter Kyra (Scarlett Pomers) is maturing at an unnerving clip and son Jake (Mitch Holleman) frequently loses out when it comes to mom's attention. None of that is as crazy-making, however, as Barbra Jean's naive overtures to Reba for sisterly friendship--when the new Mrs. Hart and Brock move into a house near Reba's, Barbra Jean can't wait to visit Brock's ex-wife often. Very often.
With these new and reconfigured relationships fixed in place, the dust is settling in season 2. Now comes the really hard part: pinching pennies while trying to teach the profligate, clueless Cheyenne and Van that they don't have the scratch to get an apartment or spend money on non-essentials. Or interviewing for jobs for which Reba clearly has no experience. Or trying to hold onto Kyra's loyalty when what the girl wants is more of dad. The seriousness of these running issues speaks for itself, forming a strong foundation for a show whose humor is understandably biting without being off-putting. McEntire and the rest of the cast are consistently strong and funny, while Peterman continues to stand out in her somewhat broader performance. (Peterman's comic assuredness sometimes reminds one of Lucille Ball.) Lots of life lessons in this show, but a lot of disciplined if gentle comedy as well. --Tom Keogh