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I can’t listen to Liszt’s ‘Les Preludes’ without picturing the Masked Rider of the Plains. Excerpts turn up constantly on LR radio & TV episodes, along with snippets of Tchaikovsky, Wagner, etc. Stirring stuff.

I second the motion for an original bulb from B&H.

Hey — many thanks!

I’m partial to Stewart Copeland’s percussion-heavy score, which doesn’t appear to be available on CD or iTunes. I might pick up this disc just to hear the music again.

Ordered 8/25 on Amazon and still waiting.

My favorite Sylvia Syms performance: The Quare Fellow, based on a play by Brendan Behan. Patrick McGoohan is a prison guard on death row, and she’s the wife of a condemned man. Not a feel good movie, but boy is she terrific.

Was this the first “found footage” movie? I can’t think of an earlier one.

I attended a showing at Hobart College in the early ’70s, introduced by the director, Milton Moses Ginsberg, who recently passed away. Haven’t seen it since, but I recall the film vividly, and would be curious to see it again, although I suspect it hasn’t aged well. Quite a performance by Rip...

For a mild-mannered reporter, Clark had a pretty cool car — the Nash Healey.

Poitier and Widmark, unlike their characters, became lifelong friends. They were antagonists again in another excellent film, The Bedford Incident.

Based on the first volume, you won’t go wrong with the Umbrella discs. And the price is quite reasonable.

I have Volume One of the Umbrella edition and thought the transfers, aside from the first film, looked fine. Unfortunately, the first is my favorite, with George Reeves — George Reeves! — as the villain. And he’s a pretty good villain, charming in the first reel, but a stinker thereafter.

I have a soft spot for the movies. But that kid, Skipper, is hard to take.

I always had a soft spot for Shoot to Kill, with Sidney Poitier, Tom Berenger, Kirstie Alley, and lots of Pacific Northwest scenery. Not even available as an HD download.

Devil’s Doorway would be No. 1 on my list. But I also nominate any and all of Wild Bill Elliott’s late-40s ‘A’ pictures for Republic.

Based on a novel, Day of the Arrow, by Philip Loraine, which is well worth reading — if you can find a copy.

Cloudburst was written by Leo Marks, a fascinating character, who was himself a codebreaker during WWII. I last saw it years ago, but it’s stayed with me. Well worth a viewing.

The Smallest Show on Earth is both magical and a real hoot. The Region B blu-ray, from Network, looks mint — at least to my untutored eyes.

Gilbert Roland always made a big impression. I particularly liked him in John Huston’s ‘We Were Strangers,’ with John Garfield and Jennifer Jones.

Barbirolli’s 5th with the Philharmonia is one for the ages. There’s a reason VW called him “Glorious John.”

In addition to all its other virtues, ‘Odds Against Tomorrow’ has an excellent score by John Lewis, of MJQ fame.

I can think of only one other example of an author playing his own character — Mickey Spillane, as Mike Hammer, in ‘The Girl Hunters.’ Are there any others?

Four Faces West, Here Comes Mr. Jordan, and any of the first four or five James Bond movies.

On the question of the film’s video long-delayed release: According to an interview with the composer, Michael Conway Baker, included on the disc, the holdup was Borsos’ widow, Beret. I have no idea if this is true.

Many stars of the ‘30s and ‘40s seem very much of their time. I can’t picture Jimmy Cagney, William Powell, or Pat O’Brien becoming stars today. But John Garfield is the exception. If you brought him back to life, I think Hollywood would welcome him back with open arms.

Don’t forget the 1923 version of The Virginian, directed by Tom Forman and starring Kenneth Harlan. It’s even available on blu-ray.

They didn’t have to work too hard on this one. The jokes write themselves. Just dig that batmobile.

The entire 1949 Batman serial can be viewed on the RiffTrax site with some hilarious commentary.

John Alton’s phenomenal cinematography alone would justify an upgrade to HD. But the film as a whole is an overlooked classic. The plight of Robert Taylor’s character may easily be seen, and was perhaps meant, as a metaphor for that of black veterans returning from WWII. The screenplay is...

Devil’s Doorway (1950), Ride the Man Down (1952), and The Violent Men (1955). In that order. And maybe a few of Wild Bill Elliott’s Republic ‘A’ pictures, like Wyoming and The Last Bandit.