It became their costliest film to date, a grandly handsome, glowing technicolour adventure set to a stirring, Oscar-winning score by Erich Wolfgang Korngold-music that became a template for countless later movies, notably John Williams' Star Wars and Indiana Jones scores. The decadent Prince John (a smoothly conniving Claude Rains) takes advantage of King Richard's absence to tax the country into poverty but meets his match in the medieval guerrilla rebel Robin Hood and his Merry Men of Sherwood Forest, who rise up and, to quote a cliché coined by the film, "steal from the rich and give to the poor". Stocky Alan Hale Sr plays Robin's loyal friend Little John (a part he played in Douglas Fairbanks' silent version), Eugene Palette plays the portly Friar Tuck and Melville Cooper is the bumbling Sheriff of Nottingham. Flynn's confidence and cocky charm makes for a perfect Robin and his easygoing manner is a marvellous counterpoint to Rathbone's regal bearing and courtly diction. The film climaxes in their rousing battle-to-the-finish sword fight, a magnificently choreographed scene highlighted by Curtiz's inventive use of shadows cast upon the castle walls. -Sean Axmaker.

The one complete newcomer to the cast is the 90-year-old icon among English actors John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage seeming spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory", which instantly and rightly became one of the genuine theatre standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns". On the plus side, most of the Cats characters and lyrics, from TS Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. -Robert Windeler Cats is a pop-cultural phenomenon that has been performed on stage for more than 50 million patrons in 26 countries for almost 18 years, resulting in more than two billion dollars in ticket sales. Now that Cats has finally made it to the small screen, attention must be paid not just by fans of this critic-proof show, but also by those entertainment mavens who have somehow avoided it until now. This video version has been restaged but, alas, not really reconceived for its new medium. Most of the cast-assembled from London, Amsterdam and New York productions-are competent. Ken Page as Old Deuteronomy, Jacob Brent as Mr Mistoffelees and Elaine Paige-the original London Grizabella, the Glamour Cat well past her prime-are a great deal more than that. Paige has toned down her theatrical belting of her big number, "Memory", and allowed the faded ruin of her character's soul to prevail in close-up. For all the covers of her signature song, Paige's version remains definitive. The video is, by definition, more intimate, which is not always a good thing: costumes are even more Halloweeny in garish close-up, the cats less cuddly without that all-important interaction, the stage's appropriately midnight lighting transmuted to a Las Vegas neon. And the chorus of cats in production numbers is even clunkier and more amorphous in two- and three-shots. The one complete newcomer to the cast is the 90-year-old icon among English actors, John Mills, a delight as Gus the Theatrical Cat. Sir John and his character show the youngsters how it's done in close-up, largely behind the eyes, abetted by a heart-tugging delivery of his one song. Yet virtually all of the songs are lip-synched, further robbing the video Cats of its onstage spontaneity. It's clearer than ever that Lloyd Webber's music is mostly twaddle, with the important exception of "Memory", which instantly and rightly became one of the genuine theatre standards not dependent on context, in the vein of Stephen Sondheim's "Send in the Clowns". On the plus side, most of the characters and lyrics, from TS Eliot's 14-poem Old Possum's Book of Practical Cats, are far better defined and understood from the video version. -Robert Windeler, Amazon. com.

-Mark Englehart, Amazon. com.

There's also a stills gallery and trailers. -Mark Walker.

-Paul Tonks.

1 or DTS the sound is suitably spectacular (James Horner's Prokofiev-inspired score comes up well amid whizzing bullets and explosions), while the 2. 35:1 anamorphic picture makes the best of the epic battle sequences. "Through the Crosshairs" is a standard 20-minute behind-the-scenes documentary, which is complemented by "Inside Enemy at the Gates", a 15-minute montage of interviews with the stars and director. There's also a 25-minute French-made documentary (with English subtitles) about the real battle that includes a short interview with the real Vassily Zaitsev. Eight brief deleted scenes can be played separately or neatly inserted into the movie by pressing Enter when the gun sight icon appears on screen. The commentary by director Jean-Jacques Annaud is as informative as might be expected from a director who always seems passionate about his film projects. Storyboards, posters, a trailer and filmographies round out an excellent disc package. -Mark Walker.