All the non-album tracks in the original mono mixes, remastered for 2009.

In this powerful early noir from the great Akira Kurosawa, Toshiro Mifune bursts onto the screen as a volatile, tubercular criminal who strikes up an unlikely relationship with Takashi Shimura’s jaded physician. Set in and around the muddy swamps and back alleys of postwar Tokyo, Drunken Angel is an evocative, moody snapshot of a treacherous time and place, featuring one of the director’s most memorably violent climaxes.
XviD/AVI version includes audio commentary by Donald Richie, plus DVD extras It Is Wonderful To Create and Kurosawa And The Censors, a documentary looking at the censorship challenges faced by Kurosawa whilst making Drunken Angel.

The Magical Mystery Tour E.P. was released in the UK and Europe in 1967. American label Capitol made the decision (in their infinite wisdom) to make an album by combining the tracks from this E.P. with the A-sides and B-sides of singles released that same year. Capitol also decided to create a sickly, artless album sleeve by framing the cover of the UK E.P. in a yellow-orange border, and listing the tracks in bright red on the front. In 1972 this album was also officially released in the UK, and has been included in the 2009 UK Beatles In Mono box set.

Brand X was a jazz fusion and rock band, notable for including Phil Collins in its ranks. Its original incarnation was active between 1974–1980. Other important members were John Goodsall (guitar), Percy Jones (bass), Robin Lumley (keyboards) and Morris Pert (percussion).

Directed by Béla Tarr.
Thanks to funding by Alexander Korda, Hungary implemented the world's first nationalized film industry in 1919. Despite what Hungarian cinema has achieved since then (not to mention the historical significance of the aforementioned cinematic "first"), it is largely eclipsed by the cinema of neighboring countries. Native director Imre Gyongyossy (Sons of Fire) has described the Hungarian language as "very difficult," and its culture "very closed"; this assessment explains the characteristic nature of Hungarian cinema and the reduced availability of these films outside the country, especially in the United States. These native attributes are intrinsic to the works of many Hungarian filmmakers, including Béla Tarr.
All three parts fit together on 1 DVDR.

Otoshiana (1962) Pitfall
Suna No Onna (1964) Woman In The Dunes
Tanin No Kao (1966) The Face Of Another
One of the most acclaimed Japanese directors of all time, Hiroshi Teshigahara distinguished himself in the sixties with a series of sinuous, atmospheric, and daring films. Teshigahara found his spiritual partner in novelist and screenwriter Kobo Abe, with whom he collaborated on these Kafkaesque portraits of identities in peril, films that captivated mainstream audiences while also touching the edges of the Japanese avant-garde. The existential ghost story Pitfall (Otoshiana), the shocking, erotic fable Woman in the Dunes (Sunna No Onna), and the sci-fi–tinged nightmare The Face of Another (Tanin No Kao), starring Tatsuya Nakadai, are among cinema’s enduring enigmas and rarest pleasures.

Pather Panchali (1955) Song of the Road
Aparajito (1956) The Unvanquished
Apur Sansar (1959) The World Of Apu
The great, sad, gentle sweep of The Apu Trilogy remains in the mind of the moviegoer as a promise of what film can be. Standing above fashion, it creates a world so convincing that it becomes, for a time, another life we might have lived. The three films, which were made in India by Satyajit Ray between 1950 and 1959, swept the top prizes at Cannes, Venice and London, and created a new cinema for India - whose prolific film industry had traditionally stayed within the narrow confines of swashbuckling musical romances. Never before had one man had such a decisive impact on the films of his culture.

Samurai Spy is a lesser work by director Masahiro Shinoda, but an entertaining chambara nonetheless. Shinoda was a prime mover in the Japanese New Wave, making often bleak little pictures in which characters choose love over custom and suffer annihilation as a consequence. There's no better example of Shinoda's personal aesthetic and thematic fixations than, Double Suicide, his heavily stylized live-action adaptation of a Bunraku puppet play. Those hoping Samurai Spy delivers a similarly self-conscious and arty experience will be sorely disappointed. It is stylish, though. Not only is the picture's plot a labyrinth of intrigue, but it offers acrobatic ninja action, and a swinging '60s score by Toru Takemitsu (Ran). Its outlandishness is entirely appropriate to a story about the legendary Sasuke Sarutobi. The spy is a highly-skilled ninja who may or may not have been an actual historical figure, but has become a legend in Japan based on his many appearances in simple, action-packed tales designed mostly for consumption by children.

Directed by Im Kwon Taek This heart-rending and accessible melodrama concerns the relationship between two children and their adoptive 'father'/master, a travelling - necessarily poor - Pansori musician. The Pansori, a traditional music of aching love laments or upbeat festive songs, performed to the accompaniment of a lone drum, gives the movie its elegiac tone. Flashing back to the early '50s, it follows the three on their journeys through the loving photographed by Korean landscapes, in all seasons, as they fight for a living, while their music is literally drowned out by the emerging fashion for Western sounds. It's a film of looks, rhythms, intimations and feelings, expressed in pure cinematic terms, and it's almost impossible not to be moved by it. The Sopyonje is a song described as sorrowful and tender - there are few films more tender, if not more sorrowful than this. Unmissable.