Reviews (191)

Star Wars: Episode V
I've watched all the Star Wars movies scores of times, and they are all spectacular with a great story, great action, and great characters (all with the beautiful music of John Williams).

The Empire Strikes Back, the middle story of the original trilogy, is probably one of my favorites (it's so hard to pick one!). The characters really come out in this episode, and you can't help but enjoy watching this film. Watch the exciting battle on the ice planet Hoth, the budding romance between the Princess Leia and the "scoundrel" Han Solo. See the breathtaking Cloud City, the murky swamps of Dagobah. Listen to the tutelage of wise Yoda, the fantastic musical score. And it all leads up to the critical battle between Luke and Darth, in which Skywalker makes his greatest mistake and Vader's dark secret is revealed.

Definitely the darkest of the trilogy, ESB leaves the viewer wanting more. We want to see the fate of Han Solo, how Luke reacts to startling news, and the further efforts of the Rebel Alliance ~ even if we've already seen the trilogy dozens of times. Watch this movie for a great story in a wonder-filled world.

The Empire returns in the greatest sequel of all time.
The Empire returns with a vengeance in the sequel to legendary film: Star Wars, A New Hope. This is one of the few movies that has lived up to it's predecessor in the history of motion pictures. The Empire Strikes back has proven once again that George Lucas' Star Wars universe is once of the finest conceived tomes in all of film lore. In this installment we find our heroes facing an Empire freshly stung from the defeat of their dreaded Death Star, and determined to annihilate the rebellion once and for all. Darth Vader has become obsessed with finding Luke Skywalker. He has searched the end of the galaxy and finally finds him and the rebellion on the ice planet of Hoth. There are many great scenes in this movie that are downright breathtaking. My favorite scene in this movie happens to be my favorite moment in almost any movie. The Asteroid chase where the Millenium Falcon, captained by Han Solo fly's into an asteroid belt to avoid the pursuing imperial Tie Fighters. I consider this not only to be the best action scenes of film history, it is also perfectly scored by John Williams. The perfect flow of this movie evolves from George Lucas' excellent writing and Lawrence Kasdan's direction. Another pivotal point in the Star Wars saga plays out as Obi Wan Kenobi's spirit directs our hero, Luke Skywalker, to seek out the one remaining Jedi Master on a swamp world called Dagobah. When Luke finally encounters Yoda he begins a journey whose conclusion is uncertain. Luke is pulled away from Dagobah and led to a cloud city where he finally confronts the dreaded Dark Lord of Sith: Darth Vader. I remember the entire theater trembling as Vader attempts to turn Luke to the dark side of the force. This movie is packed with action, adventure, romance and a shocking revelation that left everyone wondering who Luke Skywalker's father really was for the three years between The Empire Strikes Back and Return of the Jedi. If you are looking to purchase a legendary movie, The Empire Strikes back does NOT disappoint.

one of the greatest sequels ever
in this one,the deathstar is being rebuilt and the rebels go nuke it again.after a smorgasboard of malfunctions with the millenium falcon,they are trapped with the empire.also,luke goes into jedi training with yoda.eventualy,he and darth are throwing down at the end.i think the only person with a non-star wars related job after this was harrison ford-han solo.but he never did jack that even came close to the same awesomeness youll see in this set.the kids will love it too.george lucas is the directer.i dont know what hes done besides the star wars set but they are all over the top awesome.all 5 are in the top 20 best selling movies ever.this is a film that most anyone will enjoy.a lot of people say they dont like all that science fiction/star wars/star trek junk.id like to make a definate distinction.star trek is a boring bunch of non sense and star wars rules.there are a couple gross parts but nothing too bad.just ugly monsters like the sluggish jabba the hut and luke and yoda hanging around the swamp a lot.there is really only one chick.this uptight princess named leia.shes pretty in the face when shes not moving it but has a really bad haircut.also,it was during a time before fashion was of the upmost importance,so she runs around in a spacesuit a lot.never accept any review that says this movie is anything less then spectacular.the special effects set the abselute standard at the time.they are still pretty cool now.this is part 2 of the series and after it is the return of the jedi.then 2 prequels[before the first one entitled star wars].i guess theres another one coming out next summer.so,it goes 1-star wars:the new hope,2-empire strikes back,3-return of the jedi then the 3 before those but released later 4-phantom menance,5-attack of the clones,then there is an animated short film that ties up those and sets up the final episode called6-clone wars.the last,yet to be released film is episode 3 leading into star wars.did you get all that?

Best of the Series
Carrie Fisher once stated the SW series is like ice cream (nice simile). All being good, however ESB being the best flavor. I agree with her statement.

My dissertation,lol,on the film is near the final when Vader tells Luke that he is the father. On a Freudian level, this could be called the Oedipus complex theory with Luke deciding to not join his father. I presume Luke was apprehensive to join in because he believed it was a confidence game that would result in his own termination/castration. Just a speculative theory.
No matter what, enjoy this wonderful work.

When ESB was released in 1997 I had a standing date to go see it on the big screen. Way back in 1980, I remember being on summer vacation and going to see it for the first time. When the movie ended, I could not believe that we (the audience) were left hanging on a cliff for the next 3 years. Talk about tease, lol.......:)

the best film of the greatest sci-fi series ever.
the empire stikes back is one of those rare films that are actually better than the first. although some fans of the original may find this flim not as fun as the first and find some of the middle of the film (luke and yoda on degaboh...han,leia,etc. hiding from vader in the asteroid)a sleeper, the total content of the film overcomes this. the story is awsome with plot twists and turns, and the introduction of new characters to the star wars universe as well as the in-depth development and growth of the originals adds to this great story.ivan kershner's ominous dark tone adds a psychological beauty to this film and is probobly the most intelligent of the star wars films. i guarentee this will be one of the best films you'll see so if you haven't i highly recommend picking it up. ... Read more

Amazon.com essential video

They call it Giant because everything in this picture is big, from the generous running time (more than 200 minutes) to the sprawling ranch location (a horizon-to-horizon plain with a lonely, modest mansion dropped in the middle) to the high-powered stars. Stocky Rock Hudson stars as the confident, stubborn young ranch baron Bick Benedict, who woos and wins the hand of Southern belle Elizabeth Taylor, a seemingly demure young beauty who proves to be Hudson's match after she settles into the family homestead. For many the film is chiefly remembered for James Dean's final performance, as poor former ranch hand Jett Rink, who strikes oil and transforms himself into a flamboyant millionaire playboy. Director George Stevens won his second Oscar for this ambitious, grandly realized (if sometimes slow moving) epic of the changing socioeconomic (and physical) landscape of modern Texas, based on Edna Ferber's bestselling novel. The talented supporting cast includes Mercedes McCambridge as Bick's frustrated sister, put out by the new "woman of the house"; Chill Wills as the Benedicts' garrulous rancher neighbor; Carroll Baker and Dennis Hopper as the Benedicts' rebellious children; and Earl Holliman and Sal Mineo as dedicated ranch hands. --Sean Axmaker ... Read more

Reviews (62)

The quintessential Texas epic loaded with stars!
This 202-minute slow-paced drama exemplifies the lives of three generations of cattlemen on a grandiose west Texas cattle ranch at the onset of the oil boom. Being a native Texan with relatives living close to the area near Marfa, Tx where GIANT was filmed, I LOVE this movie for the sheer drama and myth of our state. (and yes, there ARE some exaggerations) But it's also a well-crafted movie with exemplary performances by Rock Hudson, Elizabeth Taylor, James Dean, and a very young Dennis Hopper! Viewers seeking a fast-action adrenaline-pumping film probably will be bored by GIANT, but viewers who enjoy classical performances, historical sagas, (and old movies) will cherish this movie. It's sort of like a western "GWTW"! They don't make 'em like this anymore!

A gigantic screen presence
What about this movie isn't big? Big stars (Elizabeth Taylor and Rock Hudson); big state (Texas); big ranch (2 million acres of prime cattle land), and big length; at 202 minutes, this film runs about 45 minutes too long. The story is the familiar one about grandiosity run amok; the moral, which has been done to death, is that the simple life is the one best worth living. We've seen it all before. So why see this movie? In two words: James Dean. In his last film before his tragic death on the Freeway at the age of 24, Dean showed that he was what his legion of fans always claimed: a true genius. Try to imagine anyone else in the role of Jett Rink , and the character remains a cipher - lifeless, dull, nothing. It took Dean to bring it to life and make it his own. In this movie, James Dean and Jett Rink become indistinguishable from each other. And perhaps only an actor as brilliant as Dean could turn Rink from a character we love in the first half of the film, to a character we hate at the end. His drunken tirade near the movie's end is a tour de force. Dean's magnificent performance doesn't take away from the very creditable acting by Rock Hudson as the millionaire rancher Bick Benedict, Elizabeth Taylor as his wife Leslie, the young Sal Mineo, and especially Mercedes McCambridge as Bick's bitter, sexually frustrated sister with an unrequited passion for Jett Rink; but next to Dean's knockout performance, they pale into mere adequacy. Forget everything else; this is Dean's movie.

This is Texas?
I recently decided to view this film. Let's see - a reference to Neiman-Marcus - some wide open spaces, some cattle and oil wells. O.K. - but this film does not really tell about Texas and Texans. Thankfully, Chill Wills (from Seagoville, TX) was in it. He was the most Texan thing about this film. I wish I had something more positive to say - but I don't.

Giant Is Not A Widescreen Film
The product information here should be carefully read, as it reveals that this edition of Giant has been transferred in a 1:1.66 letterbox transfer. This is a travesty. Giant was filmed and released in the classic 1:1.33 "Academy" aspect ratio, which also happens to be the aspect ratio for NTSC analog television. George Stevens disliked widescreen processes, although he was forced to use them by studios on later films.
The time has come to put a stop to these unnecessary, phoney "restored" versions of classics. It's just a marketing ploy to squeeze more money out of old warhorses. Going back to the good old days of the laserdisc, I never much cared about the extras that were first introduced by Criterion and later imitated by the major studios. I've always responded to a high quality video transfer taken from the best film elements available. Getting the aspect ratio wrong and mutilating the images of Steven's classic film makes everything else irrelevant.
Thank goodness I still have my laserdiscs. Failing that, grab a copy on VHS.

FANTASTIC!
The DVD is superb -- I do not know what all the complaints about sound, etc. are all about! My goodness, this film is almost 50 years old -- and I think it is in wonderful shape!

I purchased this video because I have become a big James Dean film, but the acting of Elizabeth Taylor, Rock Hudson, Carol Baker, and Dennis Hopper were splendid.

To think that Hudson was a mere 29, Taylor 23, and Dean 23 and could play characters who age 30 years with such reality is a true testament to their genius! Of course, the makeup artists must also receive recognition.

The most disturbing portion of the film to me is when Hudson confronts "Sarge" the restaurant owner in a fist fight and when "Sarge" lands into the juke box, "The Yellow Rose of Texas" begins to play. However, this epic film is full of irony and subtle twists and nuances -- to really grasp the entire message this film needs to be viewed more than one time.

The irony of the Mexican children singing The National Anthem during the funeral of Angel (played by a very young Sal Mineo) touched me. Little Angel was a person who died for the United States and yet was the focus of bigotry from his impoverished birth until his death.

Or course, in my opinion, there was and never will be another James Dean -- it is heartbreaking to watch this dramatic genius in the final film performance before his untimely demise. Like Buddy Holly, I will always wonder where Dean's career would have gone.

Carol Baker is fantastic in her first film role and the very young Dennis Hopper's performance is equally memorable.

This film speaks to the injustices of racial bigotry that unfortunately will always exist except in a utopian world.

The additions to this DVD make it a must-buy!

Please don't hesitate to purchase -- this DVD is worth every penny -- and then some!

Oh, the editorial review refers to Elizabeth Taylor as a Southern Belle and this is incorrect. Leslie Benedict is from Maryland and even makes the comment to Hudson and his crownies that she was from the "Center of Politics" when Hudson tries to push her aside so the men can talk "Business and Politics". ... Read more

Reviews (17)

More Than A Few Holes
Lana Turner stars as a woman who marries above herself into a powerful family, earning the dislike of her mother-in-law. When she becomes involved with a notorious playboy who dies accidentally, her mother-in-law uses it as an excuse to get rid of her, forcing her to leave the family and her child, assuming a different identity. Her life spirals downward out of control, until she ends up in jail, charged with murder and being defended by her now grown-up son. There are a lot of holes in this story which relies far too much on coincidence and the stupidity of its characters to advance the plot. Turner is the standout of the film, shedding her typical glamour as the character falls apart. She makes the most out of the role as its written. The supporting cast are given two-dimensional characters to impersonate. John Forsythe barely registers a performance, while the great Constance Bennett barks out her nasty character. The music telegraphs all the emotions at the start of every scene. I'm not a fan of soap opera, but I can watch it if it's handled with a subtle touch. Subtle wouldn't be the word for this movie. Think "heavy-handed and plastic".

Triumph to Tragedy
There has never been, and will never be, a film that better depicts life's happiest and saddest events. The movie opens with ex-salesgirl, newlywed Holly Anderson (Lana Turner) being welcome to the Anderson mansion and meeting her live-in mother-in-law. Her husband, Clay Anderson (John Forsythe), is a rich, politician-on-the-rise. They live the life of the socially prominent, always mindful of their public images. Soon, an heir is born and Holly is a perfect mother. But to be successful, Clay must, and does, travel extensively. Lonely and bored, Holly succumbs to friends' urgings and fullfills her social obligations on the arm of a single, male friend. This causes a series of tragedies, culminating in a surprise twist, and an ending that only a rock could get through without crying. In her role as Holly Anderson, Lana Turner exposes the depths of a woman's soul and the expesses the breadth of a woman's love. If I could, I would give this movie ten stars.

soapy but riveting
Lana Turner is terrific as the pawn of destiny in this elaborate soap opera; it's a plot that could fill five seasons of daytime drama, all wrapped up in one improbable but incredibly entertaining film. It isn't Shakespeare, but for suds, it's tops.
Turner plays Holly Parker, the "little shop girl from San Francisco" who marries a man of immense wealth and ambition, and as a package deal, along with the mansion in Connecticut comes his implacable mother, who has plans for sonny boy, and tells Holly she should have "stayed on the other side of the counter".

John Forsythe plays Holly's husband Clay Anderson with charm and elegance, and Keir Dullea is their grown son. Ricardo Montalban (who starred with Turner 13 years earlier in the charming comedy "Latin Lovers") is the man who tries to seduce her, and Estelle, the scheming mother, is played to the hilt by Constance Bennett, in what was to be her last film.
Burgess Meredith does a marvelous turn as a slimy character Holly meets in a Mexican motel, and the way the rooms are decorated in these scenes is priceless; kudos also go to the make-up department in this section of the film, and Ms. Turner's ability to transform herself. This film proves that she was exceedingly underrated as an actress.

Well paced direction by David Lowell Rich, a lovely score by Frank Skinner, and lavish gowns by Jean Louis make this a memorable melodrama, and save your biggest hanky for the end, which though contrived, is still good for many heartfelt sobs. Total running time is 100 minutes.

This is one of the best movies of all times
How this video has not made it to DVD is a mystery to me. Lana Turner shines like she never has before in this depiction of Holly Anderson.

I really hope that the movie distributers will look at this and put it on DVD ; as I know it will sell like hotcakes. I mean look at the VHS price 29.90 and up.!!

Real Classy entertainment
Excellent drama which should have resulted in Turner winning an Oscar,shame though she didn't. There have been many so called attempts in the last 30 years to make romantic dramas popular again,granted there has been a a few but this version of Madame X is a bone fide tearjerker and first class movie. The VHS copy is very good,and hopefully it will soon get a much deserved DVD release ... Read more

Amazon.com essential video

John Hughes's popular 1985 teen drama finds a diverse group of high school students--a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)--sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes (Sixteen Candles), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. The DVD release includes production notes, cast and crew bios, widescreen presentation, Dolby sound, closed captioning, optional French and Spanish soundtracks, and optional Spanish subtitles. --Tom Keogh ... Read more

Reviews (213)

2 thumbs down
I found John Hughes' 1985 movie The Breakfast Club to be an extremely generalized, heavy handed, piece of trite filmmaking that may or may not have been relevant to teenagers fifteen years ago, but is certainly nowhere near on target now.
Obviously it was by design that his five main characters were one-dimensional character sketches of so-called 'traditional' high school stereotypes. You have Andy the jock (Emilio Estevez), Claire the princess (Molly Ringwald, a John Hughes staple), Bender the criminal (Judd Nelson), Brian the nerd (Anthony Michael Hall), and Allison the basket case (Ally Sheedy). In my opinion, for Hughes to insinuate that these five people come from completely different backgrounds and had absolutely no contact with each other or anyone else from their particular 'type' during school is just plain silly. For example, it is quite likely that Claire and Andy, being popular people, would know each other, or at least that princesses and jocks would interact on a regular basis. Same thing goes for Bender and Allison as social outcasts. Only Brian, being the brain, would logically be shunned by all other classes.
For another thing, these categories have little relevance today because in today's modern society, and indeed this has always been true, teens simply cannot be categorized and labeled, even by their peers, in this manner. I myself saw elements of my personality in every one of the characters, and neither I nor anyone I know would fit neatly into these stereotypes.
The last thing I'm going to gripe about in this review is, logically enough, the ending. For a film that tried so hard to be edgy, the denouement was awfully hackneyed and predictable. Four out of the five characters hook up at the end? Gosh, I never saw that coming! Also, the treatment of Allison was laughable. This girl has serious psychological issues that have been with her all her life, but all she needs is a little makeup, a nice dress, and a clean-cut boyfriend to set her to rights? I don't think so, pal. Willful suspension of disbelief is all fine and good, but to trivialize Allison's pain and emotional trauma in this manner is irresponsible and does a disservice to those young people who do identify with her character. I think that's enough bashing for this film; while it had its moments, it certainly is by no means the 'classic' that it is reputed to be.

One for the ages
This movie is a classic and it will stand the test of time. This is the second "teen coming of age" installment from John Hues, and round 2 for Molly Ringwald and Anthony Michael Hall. The first installment, Sixteen Candles, was more of a sexual coming of age movie whereas The Breakfast Club is more of a coming of age for one's character and social awareness. Where they are "teetering" with; do they stay with the social allegiances of their perspective pack, or do they listen to that inner voice...the voice of reason, maturity and human compassion that's not bound to any "click". I also like the choice of actors here; I think they all fit like pieces in a puzzle and make their characters totally believable. I am in the same age range as almost the entire cast and I was a senior in High school when this film came out. Allot of reviews seem to put this film within the Junior High crowd but I feel it's much more mature than that. The very message that it's trying to get across isn't understood in real life until we get close to 18 or so. The story is simple; 5 kids have to come into school on a Saturday for detention. At first they try to segregate themselves according to their school social standings. Inevitably they find out that they are more alike than they ever thought. The movie, in my eyes, is broken into 3 parts; the first part is pure character development. This is where you (the viewer) get to know each person they way they are supposed to be seen with their everyday face. At first, they act the way they think they should act, and stand up for what they always had, with out question or defiance. They stay true to their cause never steering away for a second. The second part of the film is where the movie itself develops. These 5 separate entities realize that they are variations of the same person. They have the same desires and anguishes. Their pressures and stresses are the same even though it's generated from very different sources.
The jock (Emilio Estevez) has the pressure to be on top of his sport (wrestling). In return for this he gets attention from his dad, coaches and keeps his standing within his social group. This is his priority in life and he doesn't stray.
The Princess (Molly Ringwald) has to conform and obey the rules of her social group in order to be accepted and keep her standing within the group. She keeps her eyes closed; mouth shut and goes along for the ride.
The Metal Head/criminal (Judd Nelson) is an angry guy! He wears the physical and mental scars of growing up in an abusive house. He hates most people, like the ones Emilio and Molly play, because in his eyes, they have had a free ticket and earned nothing...things are handed to them because of their social and/or economical standings. On the other hand, he feels that he's on a whole other plain because his eyes have been beaten open and he was forced to grow up a little faster than he wanted too or was ready too. I feel that Judd Nelson's character is the most crucial to the movie. He is the key to this whole new self-awareness for everyone, including himself.
The nerd (Anthony Michael Hall) is the quintessential geek. His every woken moment is spent learning. He hides behind his grades and in fact, he wants to be more accepted by the "cooler" groups. He also is a little "cocky" about his better grades and academically superiority to the other people in the room.
The weirdo (Ally Sheedy) is a loner and an outcast. She doesn't have friends that we (the viewers) know of. Because her parents ignore her, She feels ugly and without a place in the world. She is starving for positive attention. I think her character was needed in this movie to balance off the cast. It would have left out a very critical part of teen angst!
Richard Vernon (Paul Gleason) is the "Villain" of the movie. To the kids, he represents the out of touch older generation and the mean spirited, high testosterone adult. For Richard Vernon, these kids are the source of his anger and agony. He has lost touch with the younger generation for 1 reason, he got older...and the older you get, the harder it is to relate to youth. Youth recycles right before your eyes, but you keep getting older. His character is the key that releases these kids. He helps them to strip away the blindfolds and to take a fresh look at every thing and everyone (including themselves).

This leads to the 3rd and final part of the movie. Where they cleanse themselves of all the pentad up anger and prejudices. When the kids realize that they all have the same goal, they were just taking different roads to reach it. I highly recommend The Breakfast Club and it should go down as one of the all time great teenage movie!

A little time - a little perspective
I first saw this movie at a cinema in Austin in March, 1985. Just a year out of high school, I thought this was a deep, moving motion picture with a quality cast that really showed the feelings of different groups of students in schools. I could relate to the characters.

Move forward more than 19 years. This movie has not aged well. I read on the IMDB that John Hughes wrote this script in two days. After watching this movie again, I find that very easy to believe. It is horrible! - and this coming from a man who loves all things 80's! Was Judd Nelson about 35 when he made that movie? He looks about 20 years older than Anthony Michael Hall. Unbelievable characters and dialogue. Then they tie it up nice and neat at the end - with 2 unlikely couples pairing off leading us to believe there's no social caste in high schools.

With the small cast and lack of location shots, I'm amazed that I've never read about some high school drama club doing a stage production of this disaster. In any case, I've got a Breakfast Club DVD I'll never watch again - I'll post it used "New & Used" above.

Still relevant after all these years
Some question the durability of "The Breakfast Club," saying that the themes and plotlines do not hold up in today's teen society. As a 15-year-old, I would like to say that that is thoroughly untrue. 19 years after its release, "The Breakfast Club" is still a truthful, relateable account of teenagers and their personalities, and the ways in which they interact with each other. Sure, the stereotypes of the characters may be a bit exaggerated -- but that's necessary in order to get the point across. Watching this movie, I feel as if I know these people, or at least I've run across them at one point in my high school career.

The plot, as most people know, involves five different kids being assigned Saturday detention together. Each kid represents a typical high school stereotype -- a princess (Molly Ringwald), a jock (Emilio Estevez), a brain (Anthony Michael Hall), a basket case (the excellent Ally Sheedy), and a criminal (Judd Nelson). At the beginning of the day, none of them know each other, except for the princess and the jock. Throughout the day, they learn more about each other and work at tearing down the stereotypes that pit them against each other. As for the reviewer who said this isn't realistic that they would open up so much to each other -- it absolutely is. Put five kids into a room without an adult for nine hours, and they will talk about anything.

The beauty of this movie is the depth of the characters beyond the stereotypes -- particularly the nerd, Brian, who as we find out in the movie has problems well beyond what people think of him. He is the one that I most relate to in the movie. Watch "The Breakfast Club," and see who you most relate to. It's a great experience. Beyond the social commentary aspect, it's also just a funny movie. The jokes come at breakneck speed, especially for the first half of the movie (before it gets somewhat serious). The actors are also very enjoyable in their roles, particularly Ally Sheedy and Anthony Michael Hall. Highly recommended.

Must have to any collection.
The quintessential John Hughes film. I remember in my English class my junior year (1987) we had to analyze this movie. Only 2 years after it's release it was had all the qualities needed for a class analysis. I will spare you the report that I did back then.

Since then I have watched this movie at least once a year (and contrary to popular believe it is not for the panty shot). The characters are very well done. There is something that anyone who went through high school can relate to, even if we fit more than just one character. The interactions between the teens towards each other and then towards the principal as a group is classic. It's got love, teen angst, popular kids, geeks, dweebs, outcasts and the ever popular kid that doesn't fit in but always tries to get the attention. Nothing like dumping out your bag for people to go through to get attention.

Of course you can't forget the star cast of strong 80's actors, Emilio Estevez (Andrew 'Andy') Anthony Michael Hall (Brian) Judd Nelson (John Bender) Molly Ringwald (Claire) Ally Sheedy (Allison) and Paul Gleason (Principal). Great acting, John's look at teenagers and a great script all make for a very enjoyable look at the interactions and 'attitude' typical of the high school years.

I truly could go on about this movie but I won't. I'll just say that this is a much have for any movie buff and if you haven't seen it you must. ... Read more

Reviews (106)

An American Classic In A Memorable DVD Package
Many critics consider MEET ME IN ST. LOUIS the single finest Hollywood musical of the 20th Century. Produced by Arthur Freed, directed by Vincent Minnelli, and sporting a flawless ensemble cast led by Judy Garland, the film was immediately hailed when it debuted in 1944--and time has only added luster to its name. Now, after several home market incarnations, it at last receives the edition it deserves on DVD.

Given its stature, it is ironic that both MGM and Judy Garland originally fought the project. Based on a collection of autobiographical stories by Sally Benson, the script is little more than a series of domestic adventures in the lives of the Smith family of 1903 St. Louis. But it became a thing of wonder: a careful balance of sly but gentle humor, a collection of memorable performances, an understated score shorn of the usual movie-musical affectations, and at the center of it all Judy Garland, one of Hollywood's most memorable talents.

The transfer is excellent, capturing every nuance of the film's meticulously and beautifully designed sets in full Technicolor; the sound elements, remastered in Dolby 5.1, are equally fine and Garland's unique vocal skills are undimmed by time. All in all, it seems safe to say that not even the original 1944 theatrical release could surpass the quality of picture and sound offered here.

Although the bonus package would have better without the awful pilot for a failed television series based on the film, by and large it offers a superior collection. Previously available on VHS, the Roddy McDowell-narrated "making of" documentary is worth revisiting, as is the TCM-produced "Becoming Attractions." While a number of later documentaries surpass it, "Hollywood: The Dream Factory" has never before been widely available and offers an inside glimpse of the famous 1972 MGM auction. The Martins' performance of "Skip to My Lou" a reconstruction of "Boys and Girls Like You and Me," and a collection of Vincent Minnelli movie trailers round out the offerings, all of them entertaining.

The notable audio commentary is led by film historian and Garland scholar John Fricke. I regret to say that I have several issues with Fricke, who seems to rely excessively on Vincent Minnelli's autobiography I REMEMBER IT WELL and who has a tendency to perpetuate certain myths about the film--chief among them the idea that Garland did "The Trolley Song" in a single take. (Garland prerecorded the song, the overall sequence involves at least seven unique camera set-ups, and although Garland performs most of the solo in a single take there is a change in camera set-up toward the end of her vocal.) Even so, Fricke offers considerable insight into the cast, crew, and production of MEET ME IN ST. LOUIS, and the commentary is laced with remarks (some of them archival) by the likes of Margaret O'Brien, Hugh Martin, and Irving Brecher; in spite of my occasional misgivings, it really is everything one could wish an audio commentary to be.

These aside, the bonus package contains one significant and unique prize: the short film "Bubbles" and a notable audio commentary led by Hollywood and Garland historian John Fricke. Long thought lost, "Bubbles" is one of several shorts made in the early 1930s that include The Gumm Sisters, the youngest of whom would become better known as Judy Garland--a true rarity indeed.

Given the beauty of the transfer and the generally exceptional bonus package, it is difficult to imagine a better edition of this uniquely American classic. I strongly recommend it.

GFT, Amazon Reviewer

All-New 60th Anniversary Digital DVD transfer is AWESOME!!
Director Vincente Minnelli's 1944 "Meet Me in St. Louis" in TECHNICOLOR starring his future wife, Judy Garland proved to be MGM's biggest box office hit ever and proved to the world the musical with Garland ruled.

Now co-operatively Warner Brothers Entertainment Inc., Turner Entertainment Co. and distrubuted by Warner Home Video Inc continues their fantastic Two-Disc Special Edition Series with the 60th Anniversary Digital transfer from restored picture and audio elements of "Meet Me in St. Louis". This is a must have DVD set!!!!

This all-star cast; Judy Garland, Margaret O'Brien, Mary Aster, Majorie Main, Tom Drake and Lucille Bremer lead this special intergrated story with a perfect mix of music. The "Trolley Song" (Oscar nominated song - lost), and the infamous xmas song, "Have Yourself a Merry Little Christmas". And of course the movie title song, "Meet Me in St. Louis".

This 2 - Disc set is loaded with everything about the movie, Judy Garland and the Dream makers of HOLLYWOOD. Disc 1 - Has an Introduction by daughter Liza Minnelli The Feature film in gorgeous TECHNICOLOR in Standard Format and Dolby Digital Sound. Audio Commentary by Judy Garland Biographer John Fricke with Margaret O'Brien, Composer Hugh Martin and Screen Writers Irving Brecher & Barbara Freed-Saltzman. And finally a Vincente Minnelli Trailer Gallery including 8 of his movies.
Disc 2 - 45 minute Making of Documentary hosted by Roddy McDowall. 60 minute MGM Studio Profile film "Hollywood: The Dream Factory" hosted by Dick Cavett. A 45 minute 1966 "Meet Me in St. Louis" TV series Pilot starring Shelly Fabares, Celeste Holm & Rita Shaw. 35 minute Becoming Attraction: Judy Garland hosted by Robert Osborne (a brief history through her movie trailers). 1930 Vintage Vitaphone Musical short featuring a very young Judy with her sisters (The 3 Gumm Sisters). Vintage Soundie "Skip to My Lou". Deleted Song (an Oscar / Hammerstein) "Boys & Girls Like You & Me". 60 minute Lux Soap Radio Theatre 12/2/1946 Broadcast of "Meet Me in St. Louis" starring Garland, O'Brien and Drake. and Finally a 80 photo Stills Gallery.

This is a must have for the family DVD library. See Judy Garland at her best and see why Hollywood gambled and won with her outstanding talent to act and sing flawlessly. You'll love Judy Garland, this movie, the Smith Family and Margaret O'Brien (received a special minature Oscar award for her performance). Enjoy!!!

One of America's Greatest Musicals
Meet Me in St Louis is one of the greatest musicals ever made! Combining the talent of Judy Garland and scene stealer Margaret O'Brian and wonderful songs Meet Me In St Louis is a treat for all!

excellent
This is a great dvd of "Meet Me in Saint Louis," the wonderful classic musical. It's beautifully packaged and contains so much behind the scenes and extra bonus material it's well worth the price. A great addition to any musical dvd collection. I highly recommend it and was very pleased with it. Also Judy's daughter LIza is interviewed also. Great dvd a classic to keep!

One of the great American musicals ever filmed!
This exquisitely laid out 2 DVD issue of Meet Me in Saint Louis is an absolute must have for any Garland fan, Vincent Minnelli fan as well as fans of the major American musicals of all time. The movie itself is introduced with a short talk by Liza Minnelli to whet the viewer's appetite for the film; then the film is beautifully reproduced on the DVD for the viewer. One small disappointment: the film is shown in full screen; there is no letterbox version of the film on this 2 DVD set. The set is chock full of great extras which offer the viewer a rather comprehensive introduction (or review for seasoned fans) of Judy's work in such shorts as Bubbles as well as trailers for both Judy's films and Vincent Minnelli's films. The sound quality is excellent and the video quality is equally superlative.

The movie itself is the story of the life of an American family in 1903 in Saint Louis and their ups and downs throughout one year's time. Does the father take that new job and move the family from Saint Louis to New York? Do Esther (played by Judy) and Rose find the loves of their lives? Watch and find out! A special treat is the strikingly convincing acting of Margaret O'Brien as the youngest sibling in this large family from the last turn of the century. Margaret won an award at the Oscars and she very much deserved it-she acts her little heart out!

In short, this movie is a BUY! Go get it! Order it here, or shop for it anywhere-but just get it and enjoy a great American musical and the numerous bonus extras that are very hard to find elsewhere! ... Read more

Amazon.com

Best known for light, entertaining musicals such as Singin' in the Rain, director Stanley Donen grew more adventurous (and less successful) in the latter stages of his career, but this edgy romantic comedy from 1967 has proven to be one of Donen's best, most enduring films. Jumping back in forth in time, the film chronicles the marital ups and downs of a stylish British couple (Albert Finney and Audrey Hepburn) as they travel on various vacations over the course of their 12-year marriage. The separate vignettes combine to form a collage of joys and pains as the young couple struggles to maintain their fading marital bliss. In this regard, the film is refreshingly sophisticated in its treatment of the difficulties of long-term commitment, and with Hepburn and Finney in the leads, great performances are drawn from the acerbic wit of Frederick Raphael's screenplay. Fashion mavens will also marvel at Hepburn's astonishing wardrobe of late-'60s fashion--she's a showcase for summer couture, looking fantastic in everything from candy-striped bellbottoms to hip sunglasses and outrageously stylish hats. Some of the melodrama clashes with forced comedy (such as tiresome running gags or a cartoonish portrayal of crass American tourists), but that doesn't stop Two for the Road from being timelessly appealing and truthful to the challenge of lasting love. --Jeff Shannon ... Read more

Reviews (56)

A true classic.
TWO FOR THE ROAD had been nearly forgotten except by a few film buffs until Audrey Hepburn's untimely death. People are discovering it and finding it ageless for a number of reasons. The theme of a marriage changing through the years is a well-understood premise. It could be predictable were it not for the wonderful acting by the entire cast, primarily Albert Finney and Ms. Hepburn. Eleanor Bron and William Daniels are a terrific pair of American snobs who join them through a period of their adventure in marriage. The ingenious filmic vehicle(s) that moves the characters through various periods in time is unexpected and beautifully manuevered by the film's tender and loving director, Stanley Donen. Anyone who accuses Donen of being a one trick pony (Singin' in the Rain) should SEE THIS FILM!

Memory Lane Is A Bumpy Road
Some films from the Sixties have dated more than others. I loved this film when it first came out and for years had many pleasant memories of it. Some years ago, my English wife and I travelled across France by road from Calais to the Med and throughout the journey I had images of this film constantly re-playing in my head. So I looked forward to seeing it again after a long time. I don't know whether the times have changed that much, or I have. What once seemed witty, relevant, truthful, charming and modern now strikes me as a somewhat pretentious mess. I seem to remember more comedy than there actually is in the film. The scenes of the crumbling marriage are much too stark a contrast to the lighter tone of other scenes. Moving the storyline back and forth in time is not a problem, but the frequently uncertain tone is. Is it a comedy? A drama? A comedy/drama? A drama/comedy? Who knows? Certainly not Stanley Donen who was so much more assured directing Audrey Hepburn in Charade. Audrey is Audrey, even in the dramatic scenes. Albert Finney bounces between being a latter day Tom Jones and an upmarket Jimmy Porter. The chemistry between the two is marginal. The sequence with Eleanor Bron and William Daniels - two wonderful performers in other circumstances - now seems strained and tedious. The only saving graces are the French countryside and Henry Mancini's music (one of his best scores). Maybe someone seeing the film for the first time will enjoy it more. I remember once hearing that Meg Ryan wanted to do a re-make of Two For The Road. Lets pray to the gods of cinema that it never happens.

Fantastic!!
OK, this movie is just great!! It puts you in such a good mood and brings you to another land. I see there are a few people who made negative comments about the movie.... They are insane!! Two For The Road is a wonderful movie!! I recommend everyone watch it!! My boyfriend who has completely different taste than me even loved it!! Must see!!

If not the best romantic film ever made one of the five top!
Stanley Donen made an unforgettable film and futhermore a model film .
This is a film you'll enjoy always , for many reasons.
The script is supported by a creative edition , a road movie told at different narrative lines , where past present and future are mixed to create a excellent gaze about a simple couple in a road between England and French with thw forrest , the sea as powerful background.
The couple Hepburn - Finney was a hit. Both of them in the peak of his creative powers .

Delightful , a true song for the life and the love , and despite the crucial emotional croosroad at the end , it gives us amazing dialogues and funny situations.
In my opinion , behind Singin'in the rain , consider this one as the major work of this legendary film maker!

A rocky marriage, and a look back at a happier yesterday
When Mark and Joanna Wallace see a pair of newlyweds in a car, amid a throng of rice-flinging well-wishers, the following exchange is heard.

Joanna: They don't look very happy.
Mark: Why should they? They just got married.

It's clear that the Wallaces' marriage has seen better days from that cynical observation. Joanna is sick of seeing her successful architect husband at the beck and call of a certain Maurice, her husband's jaded indifference and extramarital affairs. That leads to an introspective look at their past, given by a series of questions is posed. Where did it all go wrong? You haven't been happy since the day we met, have you? Why do we keep on with this farce? Is it worth it? And of course, how long is this going to go on? These also seem to reflect Hepburn's own marriage to Mel Ferrer, which would last for one more year.

The series of flashbacks, told non-linearly, takes the viewer seeing how Mark and Joanna first met, their travels with another married couple, and the time when they had their first child, when Mark's preoccupation in his career rather than his family reveals the first cracks appearing in their marriage. And the film's running gag involves Mark unable to find his passport, because Joanna has taken it from him. This comes into play as the one consistent thing in their relationship, and a reminder of the past.

By far, the days when Max and Joanna hitchhike across France are the happiest. Sure, they are on a strict budget, being rained on, and a temperamental MG auto, which has a destructive sendoff when it finally poops out. But they were like a couple of kids without a care in the world, having fun. "What kind of people eat without saying a word to each other?" The answer is married people, they say during their romantic period. Years later, when their marriage is on the rocks, they make the same observation, only this time it's about themselves.

David, Joanna's extramarital lover, puts perspective on things when he tells her "there comes a time when one must grow, when the old things aren't amusing anymore." So what does one do when the old things include marriage or being together? Does one stick it out and become more miserable and self-denying, or does one call it a day? What's clear is that promises of never disappointing one another, that the marriage will be one of heaven, and the magic disappears once things don't become personal anymore, but driven by something else.

The transitions between the different times can be differentiated in the car driven, Joanna's hairstyle, dress, and how happy Mark and Joanna are. Donen's sudden jump cuts from present to the various pasts are effective and creative.

Audrey Hepburn is wonderful as usual, and there's growth in the kind of character she plays. Joanna is a variation of Anna (Roman Holiday) or Sabrina, full of fun and laughter, but she also represents a departure from those genteel characters. Scenes where it's apparent she's nude under the covers--unheard of for Audrey Hepburn, right? And her playing an adulterous woman who humiliates her husband? Albert Finney does well as Mark, and his manners of speech range from the comical Bogart-like voice during their premarital trek to a tired weariness.

Two For The Road is also the last movie Hepburn did with director Stanley Donen (Funny Face, Charade). And upon a personal request from Hepburn, Henry Mancini does another winning theme song, fittingly sweet yet nostalgic. It sets a precedent for Audrey Hepburn, away from the innocent virgin roles of before. Despite this being an analysis of a marriage going sour, with moments of frustration and pain, there are moments of fun, and showing how despite changes, maybe being able to accept things as happened and moving with the future will save a rocky marriage such as the Wallaces. ... Read more

Reviews (8)

an unfairly treated ELVIS " movie.
from the very first time i saw this film, i've been convinced that Elvis can act as well as sing. Unfortunately, he was not given too many chances to do so. His performance is credible, noteworthy, and unforgettable. The up-state NEW YORK scenery is beautiful,the veteran actors also in the movie- GIG YOUNG, CHARLES BRONSON, ED ASNER, all give outstanding performances.
The songs may have been few, KING OF THE WHOLE WIDE WORLD, I GOT LUCKY, etc, but still Elvis at his best.This movie is my favorite Elvis flick hands down. PLEASE MGM produce this movie on DVD FULLSCREEN AND WIDESCREEN 5:1 DOLBY DIGITAL . DO IT SOON, FOR I WANT TO ADD IT TO MY COLLECTION. THANKS,oldugly1911

Not enough meat on the bones
This was Elvis' first "bad" movie, in my opinion. The reasons for this lie in the awkward, and unnecessary, interpolation of musical numbers which bear little relevance to the on-screen action. While the film has a nice look, the locale is especially pleasant, and the supporting cast is good (particularly Gig Young) "Kid Galahad" strays from its original dramatic source to focus more on current youth fads such as tight sweaters and the Twist.
The film is burdened with lightweight, disposable songs (with the exception of "King of the Whole Wide World"), and concentrates more on standard boy-girl frolics than on the central dramatic story of a seriously gifted prize-fighter. Even with Charles Bronson and an uncredited Ed Asner in the supporting cast (indicating that the original intention was to make a solid action-drama film)"Kid Galahad" is the first serious mis-step in Elvis's film catalogue. With few exceptions, his subsequent films virtually jettisoned drama in favour of pop-gloss.

Elvis' best from United Artists.
"Kid Galahad" stars Elvis as an ex-G.I. who comes back to his hometown in upper state New York. Beautiful scenery, I might add. He wants to be an auto mechanic after returning from the Army, but instead he's reluctantly roped into being trained to be a boxer. Elvis has an anvil-fist and an iron jaw. Soon, he becomes boxing champ nicknamed "Kid Galahad". Joan Blackman returns and plays Elvis' love interest and the sister of the boxing camp owner Gig Young. Great picture formula, great songs and beautiful and breathtaking mountain scenery. Recommend this must-see to everyone.

Excellent Boxing Movie
KID GALAHAD (1962) is an excellent boxing movie. If you liked the ROCKY series, you will enjoy this movie of an ex-GI who has a winning knock-out punch. Elvis is credible as a boxer. The rags to riches story also rings true.

The opening scene is unforgettable with Elvis riding on the back of a Mayflower truck singing KING OF THE WHOLE WIDE WORLD. There are six songs including I GOT LUCKY.

This is a remake of a 1937 movie that starred Humphrey Bogart and Edward G. Robinson. The 1937 version was directed by Michael Cutiz who directed Casablanca and the Elvis movie King Creole. The movie examines the corruption of boxing and the gambling and crime associated with it.

Oscar-winner Gig Young is excellent as the promoter and DEATH WISH's Charles Bronson gives a spectacular performance as the trainer.

Elvis' acting is very good here. The song sequences are excellent especially one where Elvis and Young and Bronson are riding in a jalopy that Elvis restored and then painted red.

A man who can sing when he ain't got a thing, he's the king of the whole wide world. Indeed. Nobody proved it better than Elvis, the King of Rock and Roll and the Artist of the Century.

Kid Galahad- A Pleasant Surprise
I have not seen the original "Kid Galahad", but this one was very good, compared to anything, not just Elvis' other movies. I wouldn't agree with the "Oh well, at least it's not as bad as his others" angle that many seem to take. I think anyone would enjoy it. It has a good cast surrounding Elvis, most notably Gig Young and Charles Bronson. This movie also further proves that Elvis was a good actor, given the chance. The whole movie just seems to click, somehow. And about the songs, give them a break! It's an Elvis movie. The man can sing! Let him! Be thankful it wasn't a musical. It had a few songs, yes, but that fact is not nearly as annoying as others try to paint it. It had a great depiction of the corruption of the boxing industry, and some good fighting scenes. Elvis looked like he enjoyed his part and was interested, contrary to many other opinions, and by no means was he "chubby". He was very well-built, and worked with a real-life boxing trainer, who said that Elvis could've been a professional fighter. So anyone who says he wasn't convincing as a boxer should take a second look. Watch this movie, not compared to anything, but just as the movie itself, and there's a big chance you'll enjoy it. ... Read more

Reviews (11)

A great film of a great Hollywood period!
The Story of Ruth was released in 1960 and I remember seeing it on a wide wide screen, curved, and in stereophonic sound; it was glorious, as were all Cinemascope films.

This film is not the Bible, but a meditation on it, factual, no, but it gets the point of The Book of Ruth across.

The best bits are a very moving perfromance by Peggy Wood as Naomi, and some stylish acting by Elena Eden and Stuart Whitman.The Wood scenes are excellent, and Naomi's prayer is quite striking, all filmed in a small house in earth tones...very good. Peggy Wood's many scenes of emotional upheaval are instances of excellent screen acting.

The Moabite scenes are crazy, as is all of that Chemosh stuff, but this film has great appeal...for die hards only, and especially for cinemascope afficionados of yore who can re-imagine it all even on the tiny screens we must put up with now, TV and movie alike. Buy and enjoy. Still not letterboxed.

Good TV watching
I saw this movie just last night on AMC. There are two ways to look at this movie: Scripturally and story-wise.

Scripturally the movie is not that good. There is a lot of license with Scripture (not surprising considering how small the book of Ruth is). But the license isn't really congruent with revelation. For example, this movie makes Ruth out to be a high priestess of chemosh and married for about 1/2 second to a Jewish man just before he dies. Boaz is a bitter man who makes a Moabite man drink poisoned water. The roles of kinsmen-redeemer is not even close to accurately portrayed. These things were done to try to make the movie have additional action, but detracts from the very real story. Also, here Naomi does not change her name, Moab tries to track Ruth down and kill her, and so on and so forth.

From a story perspective, the story is your classic structure. Boy meets girl, girl is coy, boy gets into trouble, girl rescues, boy says sappy stuff, girl falls in love, boy dies, girl moves on, girl meets new man, girl marries new man. And the actors do a good job with this standard plot line. For a movie made 41 years ago, it's still enjoyable watching. The production is pretty good and the acting is good. The sets remind you of Ben-Hur. The pacing of the story is standard for a movie made at that time, kinda slow (for today's tastes).

Overall the movie is fun to watch as long as you can overlook the Scriptural errors.

beautiful ruth
Elani Eden is drop-dead BEAUTIFUL! Buy this movie just to look at her.I hope this comes out on DVD soon.

Inspiring Story of a Woman's Devotion!!
Stuart Whitman, Jeff Morrow, Peggy Wood, and Elana Eden star in this screen version of the story of Ruth.

Ruth is a young Moabite woman who was raised from childhood to become a priestess and revere a pagan idol, but when she meets Mahlon the Judean (Tom Tryon), she's deeply affected by his belief in a merciful God who demans no human sacrifices, so she marries Mahlon, and when he dies, she renounces her own culture to remain with her mother-in-law, Naomi (Wood).

Now she comes into Judea, where she meets Boaz (Whitman), and the story begins anew. There is a wonderful depiction of loyalty, romance, faith, and devotion, and although the film is 132 minutes, it seems so short once you get into it.

Highly recommended, and the whole family with enjoy it.

A Classic!
This movie is captivating and a treasure! This film needs to be released on DVD!
PLEASE! ... Read more

Reviews (103)

Ultra-Sentimental 2nd Treatment of "Aunt Jemima Story"
"Imitation of Life" is the bitter sweet story of a black maid struggling with her light skin daughter who wanted to pass as white. The story begins in post WWII NYC when Lana Turner (in the role of a struggling actress) hires the maid to work for and live with Turner and her then 7 year old daughter (same age as the maid's little girl). Times are tough at first, but the 4-some gets on fine. Only little Sarah Jane (the maid's daughter) has constant trouble accepting her color.

The story spans about 15 years and shows various instances where the loving black maid is humiliated by her daughter who in the end disowns her mother. The ending is the ultimate heartbreaker; the film deserves 5 stars for that alone!

This is the 2nd Hollywood treatment of "The Aunt Jemima Story". The first version (1934) with Claudette Colbert has better acting, but is not quite as sentimental as the Technicolor Lana Turner film. The latter also has a memorable title song by Earl Grant (who usually plays the organ in his recordings, but here he sings).

I could watch this movie anytime, for no reason at all...it's the best in its class! This film is the ultimate in Hollywood tear-jerkers, and one of my favorite movies ever. Lana Turner was not exactly "Oscar-material", but neither was Marilyn Monroe--still they both captured an audience with their presence like few other actresses ever did. Nothing but pure "Hollywood Candy" here! ...

a true classic
One of the great Hollywood melodramas, IMITATION OF LIFE is based on the book by Fannie Hurst and is directed with style and emotion by Douglas Sirk.

A chance meeting throws together Lora Meredith (Lana Turner) and Annie Johnson (Juanita Moore), two struggling widows who both have troubled relationships with their daughters. Lora is a Broadway starlet intent on hitting the big time, which will come at the cost of her daughter Susie (Sandra Dee), while Annie's daughter Sarah Jane (Susan Kohner) is a black girl with a pale complexion, who chooses to pass as white in order to avoid the hatred of a prejudiced world.

As years of denial and unawareness pass, the two girls slowly revolt from their mothers, and the story moves to its emotional and tearful conclusion.

Still compelling over 50 years later, IMITATION OF LIFE still has a message for modern audiences, and preserves the tour-de-force performances of Juanita Moore and Susan Kohner. Both were Oscar-nominated for their work here. The performances of Sandra Dee and Lana Turner (and Troy Donahue as Sarah Jane's violent boyfriend) are just as impressive.

The supporting cast includes John Gavin, Dan O'Herlihy, Robert Alda and Mahalia Jackson. The DVD includes the trailer. (Single-sided, dual-layer disc).

MOORE AND KOHNER - THE HEART OF THIS MOVIE
In 1959, Susan Kohner and Juanita Moore lost the Best Supporting Actress oscar to Shelley Winters for "Diary of Anne Frank." While Winters certainly was a seasoned and excellent actress, I don't see how one can overlook Susan and Juanita's gutwrenching performances. In spite of the star presence of Lana Turner and John Gavin, this movie's heart lies in the story of Annie and her mulatto daughter, Sarah Jane.
Director Douglas Sirk and his glamorized movies was the inspiration for the much acclaimed film, "Far from Heaven." One can see why Todd Hayes wanted to venture into this director's turf. Ross Hunter's glitzy production begged for its audience to become embroiled in Lana's problems becoming a big actress. But with the performances of Ms. Moore and Kohner, IMITATION OF LIFE achieves the status of one of our finest tearjerkers. Sadly enough, neither actress had much of a career after this, and what a shame. Their scenes together are so electric and heartwrenching, they deserved more. The final portion of the film wherein we lose Ms. Moore and her subsequent funeral are the stuff of Kleenex heaven.
Definitely one of the finest remakes of our time. Because of Juanita Moore and Susan Kohner!!!

Lana Turner and Juanita Moore
The struggles of two mothers with very different problems are detailed in this glossy but overly sentimental film. Lora Meredith and Annie Johnson establish a friendship purely by accident but they forge a bond that brings them together for life. Lora eventually finds stardom on the stage after many setbacks and disappointments but Annie has the impossible task of trying to make her mulatto daughter accept her racial heritage. Sarah Jane's shame at having a black mother is the main theme of the film while Lora's ups and downs on Broadway and eventual career success provide a counterpoint to the troubling themes of self-loathing and racial intolerance. Sarah Jane's relationship with Lora's daughter Susie is by turns sisterly and contentious because of Sarah Jane's jealousy and resentment towards Susie because she is white. Another sub-plot is Lora's relationship with Steve Archer, which also spans many years. Their romance always takes a back seat to Lora's stage career ambitions, which frustrates her handsome suitor immensely. Steve eventually becomes the object of Susie's affections as she grows into womanhood and her obsession with Steve causes problems later on. The film's famous last reel is touching and has the added effect of having Mahalia Jackson sing spirituals for the beloved Annie. Lana Turner is very beautiful and glamorous in this film and was never lovelier, but Juanita Moore's tortured Annie and Susan Kohner's ungrateful, mean-spirited Sarah Jane are the reasons for which this film is remembered.

Imitation of Life ( Germ241F @ SUNY Binghamton
Douglas Sirk's 1959 remake of John Stahl's 1934 film, Imitation of Life, is a parody of the original. In a comical rendition, Imitation of Life, addresses intersections of race, social and economic class, and gender in the film, as well as existing stereotypes, through the use of Neo-Brechtian gestik acting which means over-the-top, melodramatic and campy acting that is quoting a character and his/her emotions and exaggerates the role of a character in a situation. Sirk deliberately wanted to use gestik acting and avoided method acting (acting out what your emotions would really be, if you were in a certain situation) because he didn't want audiences to think that this film was real and to be taken seriously.
Two single-parenting mothers, Annie and Lora meet on the beach of Coney Island, in search of Lora's daughter Suzie. When Lora and Suzie find out that Annie and her daughter Sara Jane are homeless, Lora decides to let them live in her apartment as long as Annie agrees to contribute some help around the house, and do the dirty work for Lora. Annie is depicted as a parody for blackness, just because she has typical attributes of any nanny. A loving, nurturing, understanding, and caring mother is the stereotypical mother that society adores which is played out by Annie. On the other hand Lora is a neglecting figure in the eyes of Suzie. Annie is more like the mother for Suzie, but not Sara Jane. Sara Jane refuses to admit that she a daughter to a black woman and passes as a white girl while in school. Sara Jane fires up the racial tension in this film because of her denial and mistreatment towards her mother.
Lora meets a man named Steve, who almost right away, proposes to her. She denies the proposal in an effort to pursue her dream of becoming a Hollywood actress. Steve tries to make her stay, by telling her that she doesn't have to work, and that he will bring home to money. This shows us how Steve along with the majority of society view women and their roles of life. A women's life should be to stay home, clean, take care of the kids, and put dinner on the table, which is the old fashion way that much of male Americans viewed women to perform in. Opposite roles of gender for the male figure in this film was shown through Steve, who has found a detective out of now where, who has found Sara Jane and her place of refuge from her mother. This situation renders Steve as if he were Superman, the one being able to fix any problem.
This campy imitation of life is viewed throughout most of the film, except for the scene of Annie's funeral, where Mahalia Jackson sings a gospel song. Eulogy of Annie is brought to her through the singing voice of Mahalia. This scene is supposed to be a serious one among the other witty scenes, because the character of Mahalia is the only realistic one in this film and is not to be criticized. Mahalia does not exemplify the overly dramatic acting. ... Read more

Reviews (29)

Bergman shines in religious epic
Overlong but fairly engrossing bio of Gladys Aylward, an English-woman who, despite her lack of qualifications, becomes a missionary in China. The film is episodic and covers Aylward's brief career as a parlor maid (saving money for her trip to China), her journey to China, her work at the Inn of the Sixth Happiness and the Chinese-Japanese war which results in her guiding 100+ children in an arduous journey through the mountains to a safer village. I didn't find the film as moving as other reviewers but it is well mounted and nice to look at. Bergman is outstanding as are other supporting players, most notably Curt Jergens and Robert Donat. This was Donat's last film (he died before it was released) and his last screen words are prophetic - "We shall not see each other again, I think. Farewell."

What is most notable about this dvd release is the excellent commentary by Nick Redman, Aubrey Solomon and Donald Spoto. Redman talks about the real Gladys Aylward, Solomon talks about the film production and Spoto discusses Ingrid Bergman. There were many things changed for the film version and many of them are small and inexplicable. For example, Aylward's given Chinese name was Ai-weh-deh (not Jenai), an adopted child was actually named Ninepence (Sixpense in the movie), etc. Other changes were more larger in scope - Aylward's journey to China was quite harsh and she almost died several times. The inn-keeper, Jeanne Lawson (memorably played by Athene Seyler) was no as agreeable a woman as portrayed in the film - she was actually a cantankerous person prone to fits and thought to be quite mad by the villagers. Aylward herself was thought by many to be fanatical and to put it bluntly, off her rocker. Many other fascinating aspects about the film and the women (both Aylward and Bergman) are included.

A must for every video library ! An inspiring tear-jerker !!
One rainy afternoon I was channel surfing and came across this movie and fortunately for me it was very close to the beginning. I was so drawn into the story and captivated by Ingrid Bergman's performance that I forgot I was even watching television!! This is one of the most touching and moving stories I have ever seen and (I won't give this part of the movie away) when the Chinese gave "Gladys" a new name and what that translated to in English I thought I was going to go through a whole box of tissues right then and there. The storyline, scenery and acting are superb and the fact that it is based on a true story only makes it more inspiring. My cousin is 18 years old and wants to pursue a career in the mission field and I told her many times that she has to see this film. So I'm not only going to purchase one for MY video library but one for HER'S as well.

following God's call
This is a magnificent film in every aspect; the acting is brilliant, the landscapes beautiful, the drama intense. Based on the true story of Gladys Aylward, a house maid in England who was "not qualified" to be sent to China as a missionary, so went there on her own, saving every shilling earned for a ticket on the Trans-Siberian railroad. Taking place in the pre-WWII era, it's an adventure story of great spiritual courage, the chaos of war, and a romance between two independent people who never thought they would find love.

Ingrid Bergman is luminous as Gladys. It is one of her very best performances, and my personal favorite. Robert Donat, who passed away before the film was released, is also marvelous as the Mandarin of Yang Cheng, and Curt Jurgens as Captain Lin Nan is handsome and believable as the man who falls in love with Gladys. In a small but pivotal part, Athene Seyler is terrific as Jennie Lawson, the elderly missionary who helps Gladys in her early years, and Peter Chong is a delight as Yang the cook.
It is odd that the only Oscar nomination went to director Mark Robson; perhaps Bergman was overlooked because she had received a "Best Actress" for "Anastasia" two years earlier, but Bergman fans will give this film their own five-star award.

The fabulous location filming by Freddie Young was done in Snowdonia National Park, North Wales, a remarkable substitute for Shaanxi Province, in the heart of China. The village reproductions are very well done, and look incredibly similar to films I have seen shot in China. The lovely score by Malcolm Arnold adds much to the film, and Alan Burgess, whose book "The Small Woman" is the basis of the story, wrote the script, which is witty, wise and wonderful, with Isobel Lennart.
Many times I've laughed out loud , and many times I've cried watching this film; it's good for several viewings, as it is epic in scope, and the script has an intelligence that makes it a rare gem. total running time is 158 minutes.

In the film, Chinese tradition has five "Happiness" wishes: Wealth, longevity, good health, virtue, and a peaceful old age and death. "Each person must decide in their heart what the sixth happiness is".

Break out the Kleenex...
...for this manipulative, mawkish tear-jerker. The story feels superficial (you never get a feeling for Aylward's sense of spirituality, only the very ocassional bit of tacked-on religiosity), and it's all grossly sentimental. All those feel-good moments with singing kids and long hugs actually detract from the important message about selfless service by making self-sacrifice seem all too easy and romantic, even in the face of brutal Japanese invasion.

The casting choices will try your suspsension of disbelief, to say the least: a Swede as an Englishwoman, a hulking German as a half-Dutch/half-Chinese colonel, and an Englishman as a Chinese mandarin. That said, this is still a fun film if you take it for what it is. It boasts an unusual story and exotic setting, and Bergman is as radiant as ever (even if she overacts in a couple scenes). Donat and Jurgens are uqually winning, in their own way.

Hardly Bergman's best film, but certainly worth a watch if you're a fan.

Noah visits the baby Jesus
The Inn of the Sixth Happiness was filmed in Wales and the scenery is beautiful. Ingrid Bergman is in top form as Gladys Aylard would be missionary to China. One of my favorite scenes is when her assistant Yang, who has a fondness for Noah and his ark, is telling the diners at the inn that Noah came in his ark to visit the baby Jesus along with the wise men. When she gives him a disapproving look he goes on to explain that even though Noah was born long before Jesus people lived alot longer back then, so no one could say for sure that he couldn't have been there. ... Read more

Amazon.com

Released at a time when psychic auras, near-death experiences, and Kirlian photography were all the rage among early New Age proponents, Resurrection achieves a spiritual depth rarely found in Hollywood movies. In one of her finest performances, Ellen Burstyn stars as Edna McCauley, a transplanted farm girl who develops healing powers following an accident that left her widowed and paralyzed. Returning to her Kansas homeland, she attracts awe and controversy, performing healings while deflecting any pretense of religion. That's a risky position in the Bible belt, and even Edna's new beau Cal (Sam Shepard) responds with zealous incredulity, fearing what he can't understand while others embrace Edna with unquestioning faith. Through it all, Edna remains calmly resolute as the conduit of an extraordinary gift.

Sensitively written by Lewis John Carlino (The Great Santini), Resurrection tenuously mixes spiritual significance with John Ford's homespun tradition, but for the most part it works: Burstyn superbly conveys Edna's heartfelt determination, and both she and stage veteran Eva LeGallienne (in a rare and final film performance, as Edna's grandma) deservedly earned Oscar nominations. The movie dares to suggest that miracles reside within everyone, and that pure grace will manifest itself in unexpected ways. To that end, Richard Farnsworth is warm and wise in a brief but perfect role; Burstyn's final scene with Roberts Blossom (as her disapproving father) is a heartbreaker; and the film ends with an act of compassion that brings the story full circle as an affirmation of life's greatest mysteries. --Jeff Shannon ... Read more

Reviews (36)

The Best Film I've Ever Seen Ellen Burstyn Do
Ellen plays a woman who suffers a near death experience and tragedy to find that she has developed the power to heal people. The scene where she climbs into the tragically stricken womans hospital bed to heal her and visually takes the womans deformity into her own body is nothing short of Oscar winning acting at the highest level.The film has a slow start, is typically dated in the costuming and sets, but Ellen shows the actors of today how to take a sow's ear and turn it into a silk purse.This movie is a fantastic choice to curl up with on a bad winter day and get lost in. I highly recommend it and I don't waste my time reviewing ANYTHING unless I truly believe in the product. Buy it.

ONE OF THE BEST EVER!
I taped this movie from TV, a long time ago. I thought it would be reshown, but it has not been, to my knowledge. Despite my e-mailing the networks, they seemed uninterested in showing it again, therefore my copy is in very poor condition; needing to be replaced, badly. I have been looking for it, on video for ages, either with no success, or an unusually high price tag attached, for some reason. I absolutely love this movie, as it has something for everyone. It is a very well written and acted drama, with both Ellen Burstyn and Sam Shepard "playing off" each other perfectly. The supporting cast is also as good as it gets. Not only does Ellen's character want to leave this "gift" behind, but Sam Shepard does not appreciate it, as he views it more a curse, than blessing; feeling it is something that will distroy, their already, struggling relationship. Even when he sees what the "gift" affords to people in need, it is beyond his grasp to accept. This is a hard-edged movie, but has such a soft undertone and so much feeling and love, plus the struggle by Ellen Burstyn, as she tries to reason why this gift has been given to her, as she feels totally unworthy, therefore she rages against it, trying to throw it away..then.. the final acceptance of something that is truly a gift from God and therefore, should not be questioned. Anyone who wants to be inspired by a truly wonderful movie that will leave you with that "feel good" feeling... this is the movie to do just that! I hope others will enjoy it, as much as I have.

An Outstanding Film
If you like Ellen Burstyn, or even if you don't and have a bit of an open mind, you'll love this film. It is a moving and sensitive portrayal of the painful journey of someone blessed/cursed with perception and abilities that we normally discount. Ellen Burstyn is magnificent, and the story is compelling.

Another Ellen Burstyn Classic
Anyone captivated by the 70's Ellen Burstyn ("The Last Picture Show," "The Exorcist," "Alice Doesn't Live Here Anymore," "Same Time Next Year") ought to have this gem as well. As Edna, she steps across the line between life and death but returns, now with the gift to heal. The why is asked, but Burstyn's portrayl of a not-so-perfect human who is given an extraordinary gift makes the why irrelevant. The genius, though, is that the gift - to be healed - can be given only to those who "accept" it (some people need their sickness, Edna explains, after one unsuccessful tent "healing"). "Ressurection" is clearly a Burstyn-driven vehicle, but she's nearly upstaged by French actress Eva LeGallienne as Edna's grandmother. Both women were justly Oscar-nominated, and both are stunning. The film's conclusion is classic. A terminally ill boy whose only fear is for the parents he will leave behind doesn't know he's been healed, and the freeze-frame on Burstyn ends the film with a dosage of "feel-good" for the viewer. A must-see!

bioenergy healing
From an insider at Universal Studios I learned that this screenplay portrayed an amalgam of a number of "healing" episodes into one. This reviewer, is also a healer even though not as powerful as the character depicted. The healing power related in this picture is also known as bioenergy and is not connected to any religious power. It is within all of us, if only we would let it emerge.The very basis or successful bioenergy is based solely on unconditional love for an even total stranger. The emphasis is on the unconditional reaching out to out to another person, who is ailing. Remember though that not everyone can be healed, especially those who use illness for attention.The portrayal by Ellen Burstyn in her actions is overwhelming in its accuracy and also the thoughts of the maniacal fundamentalist who believes that this gift is from the devil; it isn't. ... Read more