Maximum Risk / Double Team

• English 5.1 Dolby Digital, Spanish
• Subtitles English French Spanish
• Full Screen

No Description Available.
Genre: Feature Film-Action/Adventure
Rating: R
Release Date: 1-MAR-2005
Media Type: DVDLook ma, no script! As expected from a movie by Hong Kong action director Hark Tsui, there are many explosive, fast-paced sequences in this Jean-Claude Van Damme vehicle. Some are thrilling, others inconsequential. There is also another mumbling, overdone performance by Mickey Rourke, who looks as if he performed his own plastic surgery. Except for an unintentionally humorous ending, the only surprise is Dennis Rodman as Van Damme's partner in exploitation. Rodman has plenty of charisma, but needs someone to weed out those inferior scripts. He plays an eccentric arms dealer coerced by an avenging Van Damme into tracking down the evil and sadistic! ally weird character played by a well-muscled Rourke. It says little for the production that the best sequence of the movie occurs a quarter of the way into the action. It concerns an escape by Van Damme from an island think tank for forcibly retired covert agents. After that, everyone should have gone home. --Rochelle O'Gorman Double Disc Set

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The Exterminating Angels

• EXTERMINATING ANGELS (DVD MOVIE)

From the director who scandalized France with SECRET THINGS, comes THE EXTERMINATING ANGELS, a film that will shock you, make you think and turn you on. Francois is a filmmaker holding auditions for his upcoming film about female pleasure. He expects the process to be unconventional but cannot predict the danger that so much arousal can cause. As his female cast embarks on a journey of intense physical pleasure-seeking they become emotionally involved with the director and each other. This film brings new meaning to the warning to never mix business with pleasure.

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Central Station

• Portuguese with English subtitles
• Interactive Menus
• Audio Commentary by Walter Salles, Arthur Cohn, and Fernanda Montenegro
• Talent and Filmographies
• Widescreen format

Two very unlikely souls, a motherless young boy and a lonely retired school teacher become inextricably linked and form an uncommon bond as they venture from the bustling city to Brazil's remote northeast region in search of the boy's father.
Genre: Foreign Film - Portugese
Rating: R
Release Date: 13-JUL-1999
Media Type: DVDIn the opening scenes of Central Station, colorful crowds of Brazilians stream into and out of a Rio de Janeiro train, pushing through doors and windows. You're immediately pulled into the brutal vitality of a nation in motion, setting the tone for a picturesque road movie that charts Brazil's renaissance in a little boy's sear! ch for his father and an old woman's emotional reawakening. When we first meet Dora (Fernanda Montenegro), this frozen-hearted, sour-faced woman is the epitome of immobility: day after day, she sits in the train station selling her letter-writing skills to all comers, but often doesn't bother to mail these precious messages. When a woman who's paid Dora to write a pleading note to her son's long-missing dad gets run over by a bus, the child, Josue (Vinicius de Oliveira), is up for grabs. (The summary execution of a thieving street kid--in longshot--underscores the seriousness of this waif's plight.) After an abortive attempt to sell Josue for a new TV, the aspiring couch potato finds herself reluctantly propelled into an occasionally Fellini-esque odyssey through the hinterlands of Brazil's sertäo, where Dora and her sidekick find unexpected faith and family. Former documentary filmmaker Walter Salles (Foreign Land) mixes magic with realism in ! his appreciation of striking faces and places, but Central! Station is primarily fueled by the tough/tender performances of Montenegro, Brazil's Judy Dench, and de Oliveira, an airport shoeshine boy Salles cast over 1,500 other hopefuls. (Montenegro was nominated for a Best Actress Oscar, and Central Station was in the running for Best Foreign Language Film.) No cloyingly cute child-star, de Oliveira plays Josue as a bracingly idiosyncratic brat. And watching Dora's face and soul slowly, unwillingly unclench as she gets back in motion--and emotion--is potent pleasure, even if Salles's trip does dead-end in soap opera as his Brazilian pilgrim's progress winds down. --Kathleen Murphy

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Fall Of Shane Mackade (The Mackade Brothers)

• 1996 - Silhouette Special Edition - Paperback - 1st Edition
• The Fall of Shane Mackade
• By Beastselleing Author : Nora Roberts
• VG Cond - The Mackade Brothers Series
• Collectible

A collection of critical essays on Shakespeare's problematical comedy "Measure for Measure" arranged in chronological order of publication.All their lives, brothers Stephen (Ruffalo) and Bloom (Brody) have perfected the fine art of the con. Now they’re ready for one last spectacular scoreâ€"luring Penelope (Weisz), an eccentric heiress, into an elaborate scheme that takes them around the world. Watch as writer/director Rian Johnson’s (Brick) caper unravels in this brilliant, comedic tale.Writer-director Rian Johnson’s The Brothers Bloom has a lot going for it, like an excellent cast doing good work, fabulous locations, a sumpt! uous look, and some interesting ideas in a genre that’s rife with possibilities. Somehow, though, the film is a whole that’s less than the sum of its parts. We meet siblings Stephen and Bloom, the products of numerous foster homes, at ages 13 and 10, respectively, as they’re starting to develop the skills and savvy that will help them become the full-blown scam-meisters they are when we meet up with them in their thirties (with Mark Ruffalo taking over as Stephen and Adrien Brody as Bloom). It seems Bloom wants to pack it in and live "an unwritten life" free of his brother’s elaborate schemes. But Stephen, who is now accompanied by a sidekick named Bang Bang (Babel’s Rinko Kikuchi, in an amusing, mostly silent performance as what Stephen refers to as "our fifth Beatle"), convinces his younger brother to take part in one last swindle, this one targeting the filthy rich Penelope Stamp (Rachel Weisz), who lives alone in what’s described as the biggest house ! on the eastern seaboard. Penelope’s an oddball, to say the l! east, ha ving overcome a sickly childhood and become a master hobbyist whose skills rage from origami and playing six or eight instruments to riding a unicycle while balancing two chainsaws. Posing as antiquities dealers, the brothers pull her into a scheme that takes the trio all over the world (Greece, Prague, Montenegro, St. Petersburg, Mexico). Needless to say, complications ensue. Penelope turns out to be pretty good at the con game herself; what’s more, we know from the moment Stephen warns Bloom not to fall in love with her that he’ll quickly do exactly that. For sure, The Brothers Bloom has its high points, with surreal touches and amusing moments that help counterbalance its fairly arch overall tone. But in the end, it feels as if Johnson is trying too hard, sacrificing character for cleverness, and it’s the audience--even those who enjoy and are adept at sorting through the various clues and red herrings to figure out what’s supposedly really happening--that ! feels conned, or at least finds it difficult to care. --Sam GrahamStudio: Uni Dist Corp. (summit) Release Date: 09/29/2009 Rating: Pg13Writer-director Rian Johnson’s The Brothers Bloom has a lot going for it, like an excellent cast doing good work, fabulous locations, a sumptuous look, and some interesting ideas in a genre that’s rife with possibilities. Somehow, though, the film is a whole that’s less than the sum of its parts. We meet siblings Stephen and Bloom, the products of numerous foster homes, at ages 13 and 10, respectively, as they’re starting to develop the skills and savvy that will help them become the full-blown scam-meisters they are when we meet up with them in their thirties (with Mark Ruffalo taking over as Stephen and Adrien Brody as Bloom). It seems Bloom wants to pack it in and live "an unwritten life" free of his brother’s elaborate schemes. But Stephen, who is now accompanied by a sidekick named Bang Bang (Babel’s R! inko Kikuchi, in an amusing, mostly silent performance as what! Stephen refers to as "our fifth Beatle"), convinces his younger brother to take part in one last swindle, this one targeting the filthy rich Penelope Stamp (Rachel Weisz), who lives alone in what’s described as the biggest house on the eastern seaboard. Penelope’s an oddball, to say the least, having overcome a sickly childhood and become a master hobbyist whose skills rage from origami and playing six or eight instruments to riding a unicycle while balancing two chainsaws. Posing as antiquities dealers, the brothers pull her into a scheme that takes the trio all over the world (Greece, Prague, Montenegro, St. Petersburg, Mexico). Needless to say, complications ensue. Penelope turns out to be pretty good at the con game herself; what’s more, we know from the moment Stephen warns Bloom not to fall in love with her that he’ll quickly do exactly that. For sure, The Brothers Bloom has its high points, with surreal touches and amusing moments that help counterbalance its ! fairly arch overall tone. But in the end, it feels as if Johnson is trying too hard, sacrificing character for cleverness, and it’s the audience--even those who enjoy and are adept at sorting through the various clues and red herrings to figure out what’s supposedly really happening--that feels conned, or at least finds it difficult to care. --Sam Graham

Mary Call has promised her dying father to keep her brother and sisters together forever on the mountain, and never to take any help from strangers. She is determined to keep her word. No matter what. At first she is sure she can manage. Romey, Ima Dean, and Devola help gather herbs to sell in town; the riches of the mountains will surely keep the family clothed and fed. But then winter comes, fast and furious, and Mary Call has to learn that the land where the lilies bloom is also a cruel and unforgiving place, and it may take more than a promise to keep her family together.

A New York Times Bestselling ! Author

First published almost a decade ago, the MacKad! e Brothe rs books have long been out of print. Now loyal fans can revisit and new readers can be introduced to the MacKades - each one of them on a collision course with love. When shy professor Rebecca Knight captures the interest of the youngest MacKade brother, The Fall of Shane MacKade can't be far behind.

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Bobby Jones, Stroke of Genius 27x40 FRAMED Movie Poster

• High quality framed art print
• Two inch wide black wood frame
• In stock and ready to frame and ship
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BASED ON THE TRUE STORY OF GOLF ICON BOBBY JONES. JONES OVERCOMES HIS OWN INTENSE PASSION, PERFECTIONIS TENDENCIES & FIERCE TEMPER TO MASTER THE GAME. WHEN JONES REALIZES THAT HIS UNPARALLELED SUCCESS IS DESTROYING HIS LOVED ONES, HES PRESENTED WITH AN ASTOUNDING PROPOSITION, ONE THAT SHOCKS THE WORLD.Anyone who's ever been passionate about golf will find something to admire in Bobby Jones: Stroke of Genius, a staidly reverent biopic about one of the game's greatest champions. In the title role, Jim Caviezel suffers almost as much as he did in The Passion of the Christ, portraying Jones--who made history by winning golf's elusive Grand Slam (four top tournaments in less than four months) in 1930-! -as a passionately committed golfer who silently endured chronic pain (a spinal disorder prompted his early retirement at age 28), stomach ailments, emotional torment, and borderline alcoholism while maintaining amateur status in the sport he so magnificently dominated. Jeremy Northam brings much-needed levity and rakish style as Jones' friend and rival golfer Walter Hagen, and Malcolm McDowell adds colorful character as Jones' friend and biographer O.B. Keeler while Claire Forlani suffers the typical biopic plight of the hero's wife, who offers compassionate empathy while wishing Jones had more time for family. With repetitive golf scenes and a somber tone of martyrdom, Bobby Jones was partially financed by Jones' estate, which may explain its respectable dullness and instant fate as a box-office dud. Still, director Rowdy (Road House) Herrington is clearly enamored of his subject, and some of that enthusiasm shines through the gloom. --Jeff ShannonAny! one who's ever been passionate about golf will find something ! to admir e in Bobby Jones: Stroke of Genius, a staidly reverent biopic about one of the game's greatest champions. In the title role, Jim Caviezel suffers almost as much as he did in The Passion of the Christ, portraying Jones--who made history by winning golf's elusive Grand Slam (four top tournaments in less than four months) in 1930--as a passionately committed golfer who silently endured chronic pain (a spinal disorder prompted his early retirement at age 28), stomach ailments, emotional torment, and borderline alcoholism while maintaining amateur status in the sport he so magnificently dominated. Jeremy Northam brings much-needed levity and rakish style as Jones' friend and rival golfer Walter Hagen, and Malcolm McDowell adds colorful character as Jones' friend and biographer O.B. Keeler while Claire Forlani suffers the typical biopic plight of the hero's wife, who offers compassionate empathy while wishing Jones had more time for family. With repetitive golf scene! s and a somber tone of martyrdom, Bobby Jones was partially financed by Jones' estate, which may explain its respectable dullness and instant fate as a box-office dud. Still, director Rowdy (Road House) Herrington is clearly enamored of his subject, and some of that enthusiasm shines through the gloom. --Jeff ShannonCasual of pace, endlessly nuanced and often elegiac in tone, the game of golf is hardly the stuff of sure-fire Hollywood box office. Writer-director Rowdy Herrington's biopic of legendary links boy-phenom Bobby Jones (who retired at 28) turns instead on the inner demons and driving compulsion that made Jones arguably the greatest golfer in history. This interior-out approach requires a deft hand in scoring, and veteran James Horner imbues his cues here with a graceful, impressionistic restraint that recalls some of Rachel Portman's similarly shaded work. The composer's musical motif for Jones is a rising melodic figure for orchestra! that shines with courage and resolve, one Horner returns to ! frequent ly in a score that manages to fuse traditional ethnic motifs with a modernist's pastoralism, traditional scoring foundations with contemporary pop vibrancy. The opening "St. Andrews" immediately sets the dramatic tone, interweaving Horner's main theme with fiddle and pennywistle flourishes, all the while stirring up a decidedly brooding undercurrent. "Destined for Greatness" weaves the ethnic touches into a rich interplay of themes powered by a Vangelis-like rhthymic urgency, while "A Win, Finally!" marches them proudly front and center. Music for most sports dramas rises to thunderous crescendos in their moments of ultimate triumph, but the triptych of cues that close this one find Horner digging ever deeper into Jones' complex soul with fragile, introspective music that serves as a tender, bittersweet elegy for the golfing great. --Jerry McCulley

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Bart Got a Room : Widescreen Edition

• Widescreen

Nerdy high school senior Danny has spent six hundred bucks on the hotel room, the limo and the tux for his prom. He's only missing one thing - the girl. Hampered by well intentioned but clueless advice from his newly divorced parents and unsympathetic mocking from his best friends, Danny battles peer pressure, teen angst and his own raging hormones as he desperately searches for a prom date. Danny's luckless quest turns to panic when he learns that even Bart - the school's biggest dweeb - has secured not only a date but also a hotel room for the night.Bart Got a Room isn’t the first movie comedy about nerds, high school, and the senior prom, and it undoubtedly won’t be the last. It may not be the best, either, but writer-director Brian Hecker’s 2008 concoction has enough laughs, charm, amusingly-drawn characters, and winning performances to more than hold its own.! For Danny Stein (Steven J. Kaplan), a high school student in Hollywood, Florida, the imminence of the prom is the source of considerable distress; even more distressing is the prospect of booking of a hotel room for himself and his date at the end of the evening. Problem is, Danny (who’s a bit of a schlub, but far from a total, like, loser), doesn’t have a date yet. The obvious choice is his “best friend” Camille (Alia Shawkat), who’s available and clearly interested, but Danny thinks he can do better--say, with Alice (Ashley Benson), the sophomore hottie who drives to school with him every day. Wrong. As the days, then the hours, dwindle down, Danny, whose parents’ separation is an added distraction (William H. Macy and Cheryl Hines are perfect as Ernie, who’s looking for love on the internet, and Beth, who has a new beau), realizes he’s in big trouble, not least because even the titular Bart--a geek so geeky he makes Danny look like Tom Cruise--already ha! s the room thing covered. All of this plays out in ways that a! re neith er surprising nor especially hilarious, but the movie has heart, not to mention a number of cute, quirky scenes (many involving Danny’s well-intentioned, but mostly clueless, family). Movies like Bart Got a Room aren’t really about the destination, anyway; they’re about the journey, and this one’s a fun ride. --Sam Graham

Stills from Bart Got a Room (Click for larger image)

Bart Got a Room isn't the first movie comedy about nerds, high school, and the senior prom, and it undoubtedly won't be the last. It may not be the best, either, but writer-director Brian Hecker's 2008 concoction has enou! gh laughs, charm, amusingly-drawn characters, and winning perf! ormances to more than hold its own. For Danny Stein (Steven J. Kaplan), a high school student in Hollywood, Florida, the imminence of the prom is the source of considerable distress; even more distressing is the prospect of booking of a hotel room for himself and his date at the end of the evening. Problem is, Danny (who's a bit of a schlub, but far from a total, like, loser), doesn't have a date yet. The obvious choice is his "best friend" Camille (Alia Shawkat), who's available and clearly interested, but Danny thinks he can do better--say, with Alice (Ashley Benson), the sophomore hottie who drives to school with him every day. Wrong. As the days, then the hours, dwindle down, Danny, whose parents' separation is an added distraction (William H. Macy and Cheryl Hines are perfect as Ernie, who's looking for love on the internet, and Beth, who has a new beau), realizes he's in big trouble, not least because even the titular Bart--a geek so geeky he makes Danny look like Tom Cruise--! already has the room thing covered. All of this plays out in ways that are neither surprising nor especially hilarious, but the movie has heart, not to mention a number of cute, quirky scenes (many involving Danny's well-intentioned, but mostly clueless, family). Movies like Bart Got a Room aren't really about the destination, anyway; they're about the journey, and this one's a fun ride.

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The Phantom of the Opera (Widescreen Edition)

• TESTED

The Phantom of the Opera, SoundtrackFor better or worse, Andrew Lloyd Webber's adaptation of Gaston Leroux's gothic horror/romance novel has done for stage musicals what Spielberg's Jaws did for fish stories, with worldwide sales of its original cast album approaching 25 million. While director Joel Schumacher's film turns on his typically ambitious visual verve, its new film soundtrack recording has been paradoxically focused in scope, yet beefed up dynamically via the brawny presence of a hundred piece orchestra and The London Boys Choir. This single disc version showcases all of Phantom's key songs (a deluxe, double-disc edition is also available), with Gerard Butler imparting a welcome, youthful sensuality to his Phantom, making a fine foil for Emmy Rossum's ever-conflicted Christine. Original show orchestrator David Cullen has fashioned compelling new cont! emporary arrangements to frame Webber's songs -- which now conclude with the lilting, upbeat new ballad he wrote for the film, "Learn to Be Lonely," sung by Minnie Driver. --Jerry McCulleyLimited five disc (four CDs + DVD) 25th Anniversary edition. This collection, overseen by Andrew Lloyd Webber's Really Useful Group, contains the original recording of The Phantom of the Opera and its 2010 sequel, Love Never Dies, packaged in a collector's once-only design, and with the added bonus of a captivating hour-long DVD including original music videos, rare interviews and performance footage. This collection tells the complete story of the world's greatest entertainment phenomenon. An accompanying 160-page fully illustrated hardback book details the compelling history of the show from page to stage and beyond. The box set comes numbered and with an exclusive medallion, as well as a replica of the 60-page opening night program from Her Majesty's Theatre.The Royal Albert Ha! ll in London comes alive to the passionate melodies and songs ! from the shows of Andrew Lloyd Webber. Enjoy the magic of this night of a thousand stars. Directed by: David MalletIn 1998 a concert at the Royal Albert Hall celebrated Sir Andrew Lloyd Webber's 50th birthday and featured more than two hours of hits from a body of work spanning almost three decades. In this keepsake of a memorable night, star after star steps on to a massive, Eurovision-style set to revisit golden moments in their long association with Britain's most successful composer of musicals. Elaine Paige in big frocks and an even bigger voice delivers "Don't Cry for Me, Argentina" and "Memory" with her usual power; Michael Ball and Donny Osmond stretch the last vestiges of boyish charm to the very limits but still sound great; and Boyzone gets the youth vote. Then there are Kiri Te Kanawa, Bonnie Tyler, Tina Arena, and, of course, another encore for brother Julian Lloyd Webber and those Variations on the cello. But the stars are Sir Andrew's ex-wife Sarah Brightman in an ou! tstanding selection from The Phantom of the Opera (probably his best work), Antonio Banderas (who really can sing), and Glenn Close, a stupendous, moving Norma Desmond in songs from Sunset Boulevard. All in all, a deserved celebration for someone who has given so many people a great deal of pleasure, and a treat for musicals fans of all ages. --Piers FordThose who thought that smoke machines and cobwebbed candelabras were the stuff of Halloween parties and dance clubs need to think again. In Joel Schumacher's film adaptation of Andrew Lloyd Webber's Broadway musical THE PHANTOM OF THE OPERA, these moody set devices--and countless others--make every scene an atmospheric vision of souped-up 19th-century Gothic bliss. Christine Daee (a luminescent Emmy Rossum) is a tortured young star who is haunted by the voice of the phantom (Gerard Butler--who also played the lead in DRACULA 2000), a musician who hides in the shadows to hide a facial disfigurement, yet ! sings to her obsessively. Dwelling in the dark, damp chambers ! beneath the Paris opera house, the phantom lords over the cast and management with artistic autocracy--he writes the shows, casts them, and threatens all who disobey his plans with dramatically violent outbursts. But when his young student Christine falls for the rich and dapper Raoul (Patrick Wilson), the phantom descends into madness. Webber's memorable songs are performed with aplomb by Rossum, whose background includes singing with the Metropolitan Opera, and Wilson and Butler provide ample accompaniment. One of the treats of the proceedings is Minnie Driver's deeply exaggerated portrayal of the jealous diva, giving this PHANTOM a very appropriate dose of comic relief.Although it's not as bold as Oscar darling Chicago, The Phantom of the Opera continues the resuscitation of the movie musical with a faithful adaptation of Andrew Lloyd Webber's blockbuster stage musical. Emmy Rossum glows in a breakout role as opera ingénue Christine Daae, and if phantom Gerard Butl! er isn't Rossum's match vocally, he does convey menace and sensuality in such numbers as "The Music of the Night." The most experienced musical theater veteran in the cast, romantic lead Patrick Wilson, sings sweetly but seems wooden. The biggest name in the cast, Minnie Driver, hams it up as diva Carlotta, and she's the only principal whose voice was dubbed (though she does sing the closing-credit number, "Learn to Be Lonely," which is also the only new song).

Director Joel Schumacher, no stranger to visual spectacle, seems to have found a good match in Lloyd Webber's larger-than-life vision of Gaston LeRoux's Gothic horror-romance. His weakness is cuing too many audience-reaction shots and showing too much of the lurking Phantom, but when he calms down and lets Rossum sings "Wishing You Were Somehow Here Again" alone in a silent graveyard, it's exquisite.

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Those who consider the stage musical shallow and overblown probably won't have their minds changed by the movie, and devotees will forever rue that the movie took the better part of two decades to develop, which prevented the casting of original principals Michael Crawford and Sarah Brightman. Still, The Phantom of the Opera is a welcome exception to the long line of ill-conceived Broadway-to-movie travesties.

DVD Features
The special edition of The Phantom of the Opera has two major extras. "Behind the Mask: The Story of The Phantom of the Opera" is an hourlong documentary tracing the genesis of the stage show, with interviews of composer Andrew Lloyd Webber, director Harold Prince, producer Cameron Macintosh, lyricists Richard Stilgoe and Charles Hart, choreographer Gillian Lynne, and others. Conspicuously absent are stars Sarah Brightman and Michael Crawford. Both do appear in video clips! , including Brightman performing with Colm Wilkinson at an early workshop, and Crawford is the subject of a casting segment. Other brief scenes from the show are represented by a 2001 production. The other major feature is the 45-minute making-of focusing on the movie, including casting and the selection of director Joel Schumacher Both are well-done productions by Lloyd Webber's Really Useful Group.

The deleted scene is a new song written by Lloyd Webber and Charles Hart, "No One Would Listen," sung by the Phantom toward the end of the movie. It's a beautiful song that, along with Madame Giry's story, makes him a more sympathetic character. But because that bit of backstory already slowed down the ending, it was probably a good move to cut the song. --David Horiuchi

More on The Phantom of the Opera

The Phantom of the Opera (Special Extended Edition Soundtrack) (CD)	The Phantom of the Opera (2004 Movie Soundtrack) (CD)	The Phantom of the Opera (Original 1986 London Cast) (CD)
Evita (DVD)	Andrew Lloyd Weber: The Royal Albert Hall Celebration (DVD)	More Broadway DVDs

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Artsmith, Inc. Men's Embroidered Jacket Bengal Tiger Stare HD - Black, Large

• 100% polyester; 1 interior pocket
• Zippered cuffs; Drawcord hem
• Dry clean only; InfiniStitch embroidery

"The Elephant Man" is based on the life of John Merrick, who lived in London during the latter part of the nineteenth century. A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

"The Elephant Man" is based on the life of John Merrick, who lived in London during the latter part of the nineteenth century. A horribly deformed youn! g man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

"The Elephant Man" is based on the life of John Merrick, who lived in London during the latter part of the nineteenth century. A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and wi! tty favorite of the aristocracy and literati. But his belief t! hat he c an become a man like any other is a dream never to be realized.

Product Number: 030-508502281 Exercise your right to look great -- and feel great -- while on the go. Lightweight and easy to get around in, this workout-friendly jacket is perfect for running to the store or running a 5K. A warm fleece inner-lining also lets you run in every season. Plus with a zippered inner pocket, there's plenty of room to carry your keys and phone. * 100% polyester * 1 interior pocket * Zippered cuffs * Drawcord hem * Dry clean only * InfiniStitchTM embroidery

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