There is little to no visible wearing on the film and the digital transfer has done wonders in restoring Snow White and her seven little pals. The sound is very clear and you get a real sense, in places, of the newly mastered 5. 1 Dolby Sound enhancements that have been added, making for enjoyable listening to the well-loved songs. The extras on disk one are plentiful and give a real insight into the making of Snow White. Little was done in 1937 for the filming of behind-the-scenes documentaries, but what could have been included has been. The audio commentary is strung together from interviews with Walt Disney himself, all of which are fascinating, and to keep the kids happy there is a familiar Disney sing-along and a Dopey game to play. The disk two extras are packed with information on the movie and Disney, from the 3-D virtual tour of the Snow White kingdom, that also has some documentary information, to an outtakes section showing abandoned footage and ideas that were never included in the final movie. There is also an informative timeline of the creation of the Walt Disney Studios that includes some deleted scenes from the movie. Altogether, great additions to a classic film. -Robert Hyde.

Starring Donald Sutherland as Hawkeye Pierce and Elliot Gould as Trapper John McIntyre, two hip young surgeons drafted against their will. Their general attitude-while never corroding either their humanity or their professionalism as surgeons-is one of insolence towards military authority and the arbitrary structures and regulations continually droning from the tannoy system. The film, too, thrives on a lack of attention to conventional order, with its cross-dialogue and random, episodic style reflecting the vivacious and unbuttoned feel of the content. However, MASH has dated and much of what seemed like "liberating" high jinks, today smacks of sexist, frathouse boorishness and harassment, especially at the expense of Major "Hotlips" Hoolihan (Sally Kellerman), while the episode in which "Painless" plans a suicide out of a fear of being gay reflects the persistence of homophobia even in 60s counterculture. Despite this MASH feels ahead of its time and certainly sharper and blacker than the too-cute sitcom it spawned. On the DVD: this is an excellent restoration, overseen by Altman himself, in which any obfuscation from the original have been cleaned up, especially the sound quality. As well as a commentary from Altman, there are three separate documentaries, featuring interviews with Altman, the cast and screenwriter Ring Lardner Jr, who had been blacklisted during the anti-Communist witch-hunt which swept through Hollywood in the 1950s. We learn he was initially appalled at how little of his script Altman actually used but was mollified by the Academy Award he received. Altman is candid about the making of the movie ("It wasn't released by Fox, it escaped from Fox"). There's an abundance of similarly rich, anecdotal material here. -David Stubbs.

Alfred Newman put his unique stamp on the music: the Overture offers an example of his luminous divided string sound, the climactic ballroom scene a full bodied orchestral reprise of "Shall We Dance?" as the camera pulls away to a high angle producing an exultant visual finish to this celebrated polka. Oklahoma - The hit Broadway musical from the 1940s gets a lavish if not always exciting workout in this 1955 film version directed by old lion Fred Zinnemann (High Noon). Gordon MacRae brings his sterling voice to the role of cowboy Curly and Shirley Jones plays Laurie, the object of his affection. The Rodgers and Hammerstein score includes "The Surrey with the Fringe on Top", "Oh, What a Beautiful Mornin'" and "People Will Say We're in Love", and Agnes DeMille provides the buoyant choreography. Among the supporting cast, Gloria Grahame is memorable as Ado Annie, the "girl who cain't say no", and Rod Steiger overdoes it as the villainous Jud. -Tom Keogh The Sound of Music - The most widely seen movie produced by a Hollywood studio, The Sound of Music grows fresher with each viewing. Though it was planned meticulously in pre-production (save for the scene where Maria and the children take a dipping in an Austrian lake that nearly cost a life), on each viewing one is struck anew by the spontaneous almost improvisatory air of the acting, notably of Julie Andrews under Robert Wise's direction. There are also the little human touches he brings to, for instance, the scene where Maria leads the children to the hills, over bridges and along tow paths where the smallest boy trips up and momentarily gets left behind: it creates a feeling that most of us have encountered. From the opening pre-credit sequence of muted excitement as the camera roves over the Austrian Alps (photographed in magnificent colour), where little phrases from the wind instruments on the soundtrack are flung as if on the breeze, foreshadowing the title song to follow, the production never puts a foot wrong. South Pacific - The dazzling Rodgers and Hammerstein musical, brought to lush life by the director of the original stage version, Joshua Logan. Set on a remote island during the Second World War, South Pacific tracks two parallel romances: one between a Navy nurse (Mitzi Gaynor) "as corny as Kansas in August" and a wealthy French plantation owner (Rossano Brazzi), the other between a young American officer (John Kerr) and a native girl (France Nuyen). The theme of interracial love was still daring in 1958, and so was director Logan's decision to overlay emotional moments with tinted filters-a technique that misfires as often as it hits. The comic relief tends to fall flat and an overly spunky Mitzi Gaynor is a poor substitute for the stage original's Mary Martin. But the location scenery on the Hawaiian island of Kauai is gorgeous and the songs are among the finest in the American musical catalogue: "Some Enchanted Evening", "Younger than Springtime", "I'm Gonna Wash That Man Right Outta My Hair", "This Nearly Was Mine". That's Juanita Hall as the sly native trader Bloody Mary, singing the haunting tune that launched a thousand tiki bars, "Bali H'ai". The movie is based on stories from James Michener's book "Tales from the South Pacific". -Robert Horton, Amazon. com State Fair - Good old-fashioned hometown pride is on display in lavish Technicolor in this remake of the 1933 film, the only Rodgers and Hammerstein musical written directly for the silver screen. When the Frake family travels to the fair, Ma and Pa (Charles Winninger and Fay Bainter) enter contests while daughter Margy (Jeanne Crain) and son Wayne (Dick Haymes) both fall in love for the first time. State Fair is attractively photographed and energised by the vibrant performances of the talented lead actors and actresses, but the high point of the film is the colourful hoopla and hullabaloo of the fair itself, a bustling nexus of strange, wonderful, and hilarious characters brought to life by the fine supporting cast. Songs from the Academy Award-nominated score include 'It's a Grand Night for Singing', 'That's For Me', and the Oscar-winning 'It Might As Well Be Spring'.

Peckinpah gets everything right-the landscapes, the sneaky humour, the code of men. He also takes time to distinguish the supporting characters, such as Jim Hutton's awkward young officer and Senta Berger's stranded widow. The Peckinpah stock company of amazing character actors is in place, too, including James Coburn, Warren Oates, Ben Johnson, L. Q. Jones, and Slim Pickens. It will never be exactly what Peckinpah envisioned, but now Major Dundee rides suspiciously close to greatness. -Robert Horton.

But there are also plenty of large-scale events, with Olivier demonstrating the fleetness of Shakespeare's world even as he mimics the headlong rush of destruction. A romanticised film of a nation at war, the director leaves no doubt that the British victory over the French at Agincourt (1415) was Medieval England's and the King's finest military triumph. The film is rendered complete by William Walton's magnificent score, which pushes all the appropriate patriotic buttons. For his efforts, Olivier received a special Oscar "for his outstanding achievement as actor, producer, and director in bringing Henry V to the screen". -Kevin Mulhall.

Disc Two begins with a superb 55-minute documentary, directed by film historian Kevin Brownlow and Michael Kloft, narrated by Kenneth Branagh and coproduced by the BBC. The Tramp and the Dictator goes seriously in-depth to explore the parallels between the world's most loved and hated men, drawing on many interviews and remarkable rare footage, including colour sequences of the making of The Great Dictator shot by Chaplin's brother, Sydney. Next comes the complete 25 minutes of that home-movie footage, including coverage of the original abandoned ending, and a seven-minute deleted scene from Sunnyside (1918), which inspired the barber scene. Finally there is a poster gallery and a scene from Monsieur Verdoux (1947) concerning the rise of Hitler and fascism. Marvellous stuff, though a commentary could have added considerably to the already remarkable silent colour material. -Gary S Dalkin.

Highlights include not one but two commentaries-one by Luhrmann, his designer and his cinematographer, the other with Lurhmann and his fellow scriptwriter Craig Pearce. We get two videos of "Lady Marmalade" and there are also uncut dance numbers, for example the fabulously dark Tango sequence in all its detail, which come with alternate camera angles so that you can edit your own version. There are whole segments on the glittery costumes, the three-dimensional model of Paris and the transformation of Kylie Minogue into the Green Fairy of absinthe. The film is presented in anamorphic widescreen (formatted for 16:9 TVs) with a visual aspect ratio of 1. 85:1 and has lush, velvety Dolby Digital 5. 1 or DTS 5. 1 sound options. -Roz Kaveney.