8 best business stories of the years

Product description

All Regions UK blu-ray release, playable on all worldwide blu-ray players. Please note that Disney Rewards are not available in the US (only in the UK).



Experience the extraordinary animation, dazzling special effects and award winning music of Walt Disney's Mary Poppins in this fully restored and remastered 50th Anniversary Edition.



Join the practically perfect Mary Poppins (Julie Andrews) as she magically turns every chore into a game and every day into a whimsical adventure. Along the way, you'll be enchanted by unforgettable characters such as the multitalented chimney sweep Bert (Dick Van Dyke).



Unpack Mary's magical carpetbag full of bonus features. You won't need a Spoonful of Sugar to love every moment of this timeless Disney classic.



Special Features:



Mary Oke

Sing Along With the Movie

Mary Poppins From Page to Stage

Step In Time

A Magical Musical Reunion Featuring Julie Andrews, Dick Van Dyke and Richard Sherman

Deleted Song: Chimpanzoo

Supercalafragilisticexpealidocious

The Making Of Mary Poppins

The Gala World Premiere

The Cat That Looked Like a King From Mary Poppins Opens the Door By P.L. Travers

Movie Magic

Deconstruction Of A Scene: Jolly Holiday & Step In Time

Dick Van Dyke Make Up Test

A Musical Journey With Richard Sherman

Becoming Mr. Sherman

Product description

As the title says, this magic-dusted bit of enchantment is based on the famous ÒfairyÓ pictures, which were shot during World War I by two young English girls and captured the attention of, among others, Harry Houdini and Sir Arthur Conan Doyle.

Product features

Q & A with Sanjena Sathian

Q: How did you come up with the gold conceit?

A: I remember gold thefts happening in the Atlanta suburbs. I think they occurred in New Jersey and California, too. It’s sort of an obvious crime if you know anything about Indian households -- a lot of people just keep loads of gold in the house, and in consistent locations. (Please don’t go steal it now, dear reader.) A few non-Indian gangs were held responsible for the crimes, but my mom always said she thought Indians had to be involved, as collaborators or something else, because these gangs seemed to know how to get exactly what they needed. I had that idea in my head for a while, and I wondered about writing an unlikely Indian American gold thief. The idea became magical at some point early on. I was writing all speculative fiction at the time I started this book, so my brain just turned every idea I had into magic. It was fun.

Q: Who do you feel you’re speaking for in this book? There’s a sense of a “we” at play here, and it is the story of a community as much as it is the story of an individual or a few families.

A: Some of the novelists who have most influenced me, like Zadie Smith and Philp Roth, seem to speak to a kind of “we,” chronicling individual human experiences in a way that accesses a wider story. I did have a desire to represent a collective experience of second generation Indian Americans, and I’ve heard from other desis like me that this story resonates with their life stories -- that’s so edifying and moving. I do think that it’s important to note that I never intended to speak for one monolithic experience, however. There are Indian Americans who didn’t grow up in the suburbs -- I think of my friends from Queens -- whose life experiences are so different. The story in GOLD DIGGERS also features predominantly upper middle class and dominant caste Hindus and Jains, along with some upper middle class Muslims. That’s an accurate representation of the bubble I grew up in, but it’s not the experience of everyone. Because there’s been insufficient representation of our community, I think a lot of folks enter work like mine hoping to see every kind of Indian.

Q: What made you choose humor or a slight satirical tone to tell this story?

A: Honestly, I didn’t realize I was “funny” for a while. And GOLD DIGGERS isn’t satire -- it’s got so much pain in it alongside the humor. I think the comedy helps the pain go down more easily, and that matches my personality. Therapists chide me for being snarky when we’re supposed to be talking about serious, heartachey stuff. So in that sense, it’s just my worldview. I think the way I grew up was kind of comical. I could be parodically intense, like Neil’s debate partner Wendi or Anita herself. And my fights with my family could be painful but also have a kind of classic American comedy to them -- there’s something inherently goofy about sneaking around, trying to be “cool” and rebellious while also being totally nerdy. I think comedy can also serve as a way to level critiques, and in that sense it arose organically. When I began to see what was funny about the way I grew up, I also began to see what was wrong with the values my community treasured.

Product description

CD

In a distinct break from their muscular triumph Gladiator, Russell Crowe and Ridley Scott teamed up again to bring Peter Mayle's sunny Provençal romance to the screen, a change of milieu that's spawned an equally warm, often sentimentally tinged soundtrack and score. Using a trio of pop songs by the great Harry Nilsson (including the joyous demo of Nilsson Schmilsson's "Gotta Get Up") as an axis that's as effusive as it is unlikely, this is a collection that romps through Franco-pop nuggets variously contemporary (Makali's elegant "Il Faut du Temps..."), vintage (Charles Trenet's "Je Chante," Jean Sablon's "J'Attendrai," Tino Rossi's "Le Chant du Guardian"), and downright loopy (Richard Anthony's French redux of "Yellow Polka-Dot Bikini"), making room for Patti Page, Josephine Baker, and Delaney & Bonnie along its merry way. Also included are three cues from newcomer Marc Streitenfeld's underscore, a nimble exercise in instrumental post-modernism whose electronica/folk/neoclassical melange is as eclectic as the song choices, yet characterized by subtlety and grace. --Jerry McCulley

Product description

In the 1920s, Al Jolson was America's most famous and highest-paid entertainer and dubbed The World's Greatest Entertainer. He popularised many songs that benefited from his shamelessly sentimental, melodramatic approach. For the first time a 3-CD Al Jolson set containing the master takes of every one of his 1945-1950 Decca recordings (his last commercial recordings) with a total of 71 selections in chronological order and with recording details. Also includes previously unreleased material including alternative takes.