Bell, Book and Candle (1958) is a sparkling, exotic and intelligent comedy based on John Van Druten's original play about the unlikely subject of witchcraft in Manhattan. In his last romantic lead role, James Stewart is publisher Shep Henderson, sucked into the underworld of Greenwich Village by the extraordinarily beautiful Gillian Holroyd (Kim Novak). Their liaison kicks off when Gillian employs her skills to indulge in a bit of fun. By the time Shep gets wise and rejects the artificial premise for a relationship, she has sacrificed her powers to emotional awakening and all is set for a happy ending.

Largely thanks to an eccentric supporting cast, which includes Jack Lemmon as Gillian's warlock brother, Hermione Gingold as a fruity nightclub owner and Elsa Lanchester as Gillian's dotty aunt, the film has a delightfully off-centre quality. It's also a bittersweet allegory about being different. "We forfeit everything and then we end up in a little world of separateness from everyone", sighs Gillian. Novak is at the height of her beauty and here, as in her other 1958 triumph Vertigo (also with Stewart), her other-worldly quality fits the character so perfectly that her thespian limitations are well disguised. It's entrancing in every sense.

On the DVD: Bell, Book and Candle's vibrant Technicolor explodes from the screen in this DVD release, which is enhanced for 16:9 widescreen televisions. Everything looks fresh and new--particularly the exotic nightclub scenes--and the mono soundtrack has lasted well. Extras include selected filmographies and original trailers, and detailed background in the booklet notes. --Piers Ford

BELLE DE JOUR is an erotically charged tale of deceit and desire! Beautiful Catherine Deneuve (INDOCHINE) stars as Severine, a perfect young housewife ...

Adult erotica.

A young deserter from the Spanish Civil War is sheltered by an artist.The four beautiful daughters use there own charms to seduce the willing--though exhausted--soldier.

One of the more surprising critical hits of 2003, Sylvain Chomet's Belleville Rendezvous is a French animation that combines occasional beauty and charm with sardonic grotesquerie. People have commented about its bitchy portrait of a USA where everyone is overweight and over-helpful; it is equally nasty about a provincial France, where everything is grey and nothing is convenient. A grandmother and her dog set out to rescue a cyclist who has been kidnapped by the French Mafia and is forced to race endlessly into a receding projected landscape; she is helped by a superannuated trio of female close-harmony chansonniers marooned in American poverty.

Nothing in this film is mere chance--almost everything we see turns out to be relevant. There is also little dialogue--most of the time, sound effects and music take its place, from the irritating squeak of a mechanic's breathing to the sublimity of Mozart's "Kyrie" as a storm rages at sea. Belleville Rendezvous uses the best of traditional animation techniques and modern technology to produce something sharply funny and beautifully composed; it is not quite like anything you have seen before. --Roz Kaveney

Bellini's Norma, first performed in 1831, is one of the most glittering jewels in the bel canto repertoire, placing huge vocal demands on the soprano in the title role. The druid priestess who falls prey to human frail ties before redeeming her grace in the flames of the sacrificial fire must also be played with a high degree of dramatic truth. In the 20th century, two singers scaled new heights in combining these requirements: Maria Callas and Joan Sutherland.

Sutherland's great achievement, preserved in this 1978 recording of Opera Australia's production at Sidney Opera House, was to render Norma a very human being, unravelling her complex reactions to the events which bring her personal world tumbling down around her. Using Bellini's deceptively simple melodies to tender effect, she reveals the essential purity of many of his greatest arias, not least "Casta diva": an equally valid alternative to Callas' pyrotechnics. Ronald Stevens as Norma's errant Roman lover Pollione and Margreta Elkins as Adalgisa, the unwitting agent of the priestess's ultimate downfall, strike vocal sparks in their duets with Sutherland. But this is essentially a treasurable record of one of the all-time great divas in a role that brought her some of her finest notices, with her husband and long-time collaborator Richard Bonynge in the conductor's box.

On the DVD: In all respects, this is a solid offering with few frills. The only extra is an Arthaus trailer. The 4:3 picture format and PCM stereo-sound quality are adequate media for a theatrical performance which is very much of its time: crudely-edited plot explanations separate the acts and there is the imposition of some rather naff stills of the ill-fated lovers on flickering flames to suggest the pyre. But Sutherland's performance triumphs over all. --Piers Ford