Reviews (64)

A good movie with even better music
Mowgli was raised by wolves and now he's growing up in the jungle. He's been in the jungle all his life, so he doesn't know what it's like to even be around another person. But it's not as bad as it sounds, Mowgli has tons of great friends such as the hilarious Baloo the bear. But he also has a few enemies, mainly a gruesome tiger named Shere Khan, who doesn't like humans at all. It's up to Mowgli to survive in the wilderness, and with the aid of his friends, he'll have a good chance of not having to worry about Shere Khan. But will Mowgli ever find out what it's like to be around other people?

"The Jungle Book" is a good movie. It has good animation, it's entertaining with the animated drama and the hilarious antics of Baloo, and it has some of the best songs out of any of the Disney movies, such as "Bear Necessities." I recommend anybody who likes animated movies to take a walk in the jungle and give "The Jungle Book" a chance.

It's just a bare necessity!
The feature-length cartoons Disney continues to produce are fine films, but nowhere near as good as classics like The Jungle Book. Unburdened by the modern-day Disney habit of giving every film a heavy family-friendly moral message, the Jungle Book is just 100% pure fun, with a cool hero (Mowgli), entertaining friends (especially the bear Baloo) and some great villainous characters (most memorably Shere Khan the tiger). This movie was made years before Phil Collins or Elton John were drafted in as cartoon soundtrack composers, and the songs are just awesome - "The Bare Necessities", "I Wanna Be Like You" and Kaa the snake's hissed encouragement to "Trust in Me". Get this DVD while you can!

Contrasting review
I know how many people gave five star reviews on here. Mine is not a five star review. I am giving you my straight opinion on this movie.

One, I don't think this movie is fit for family viewing. Adults will not find it interesting or entertaining, and it hardly serves any purpose in teaching moral lessons to children. Two, this cartoon almost borders on animated pedophilia. It just looks sick and wrong, really, with this older, scary bear taking this young innocent away and teaching him his "bear ways."

This is not charming entertainment. This is a pain. If you want a charming, older Disney movie you should check out their animated version of Robin Hood. The music in Robin Hood is far better as well. I have always disliked "The Jungle Book."

To Run with the Wolves: A Girlhood Dream
I'm a little kid, don't remember exactly how old, elementary school age. My teenage cousin promises to take me to see *The Jungle Book*. She falls asleep. Minutes are ticking down to show time. I poke at her but she snoozes on. Elders tell me to leave her alone. I stand over her and glare, using my powers of mind control to will her awake. It works!

I was just desperate to see this movie. I loved all the Disney animals stories and *The Jungle Book* turned out to be my favorite. The lively songs, lush animation, compelling characters, and strong storyline left quite an impression on me. Can never forget the loving and gentle Bagheera, that kooky monkey, and Baloo, Baloo the lovable bear. Ooh, and that sinister Shere Khan striking fear in the hearts of all and the slithering sneaky snake always up to no good. The voices used are wonderful and fit the characters to perfection. I was in heaven, and it has stood the test of time by remaining one of my favorite animated films.

I just wanted so badly, just longed to be a girl version of Mowgli. Raised by wolves, living wild and free in the jungle, playing with the bears and apes. Climbing trees and swinging from vines. Yep, that was the life for me. I sobbed at the end, crying: No, Mowgli, don't leave your animal friends behind and live with people. You are making a big mistake! Would he return to his original home? I wondered, why of course he would!

As an adult, I understand Mowgli's decision to join the village and live with his own kind. The girl in me, though, still doesn't get it and yearns to run free.

jungle book
jungle book is an enjoyable and funny film it is wonderful for children and i thought it was good as well. ... Read more

Reviews (6)

Charming movie
I've seen this movie quite a few times now over the years, and why not wright a little review of this wild and crazy classic. it actally isnt as silly as most of the jerry lewis films, this is serious at times, and has alote of fine actors in it.
Jerry Lewis plays (as almost always) a nice and friendly chap, but clumsy who just can't seem to do anything right.
In this movie he is working at a big store, a huge store. and everything goes wrong! almost anyway. alote of fun scenes. not just a couple. i laughed many times through the movie. this is a fun and crazy jerry comedy, i think its one of the best jerry lewis movies. (atleast of what ive seen so far)
oh, and by the way, check out that beatiful secretary "Shirley", oh mama! i wish she had played a bigger role! and don't you just love the movie title? check it out.

Physical Comedy At Its Finest!
This is the first movie Jerry Lewis appeared in after his masterpiece "The Nutty Professor." Freed from the chores of writing and directing this film, Jerry turns in one of his finest performances. Norman Phiffier (Jerry Lewis) lives his life according to the philosophy that honesty is the best policy. He is a dog walker and dog sitter in love with Barbara (the beautiful Jill St. John). He believes that she is just an elevator operator at Tuttle's Department Store but, in reality, she's the daughter of the store owner and heiress to the Tuttle fortune. Her mother Phoebe (Agnes Moorehead) disapproves of Norman and doesn't want her daughter to marry him. Determined to break up their romance, she instructs the store manager Mr. Quimby (Ray Walston) to hire Norman to work in Tuttle's Department Store and give him the worst possible jobs. He first assigns Norman to paint the tip of the flagpole hanging outside the ninth floor window. Norman tries to climb out on the pole and almost falls to his death. He comes up with the bright idea of putting a paint brush at the end of a fishing pole. To paint the bottom, he enters the office of the store's president John Tuttle (John McGiver). John is a henpecked husband whose wife really runs the store. Since John is busying himself by putting golf balls, Norman takes him to a machine that electronically measures how far you hit the golf ball. When Norman hits the ball it flies out the window, hits a traffic cop on the head, keeps bouncing around and knocking things over, and eventually lands back on the tee and explodes!

One of Norman's jobs is working in the women's shoe department. Mr. Quimby has hired a lady wrestler to come in and try on a pair of shoes much too small for her foot size. Norman tries to force the shoes on her feet and they end up getting knocked to the floor. She gets Norman in a headlock, picks him up and flings him over the counter. Looking closely, it's plain to see that it's Jerry and not a stunt double flying over the counter! After getting stomped on, Norman gets thrown into a huge rack of shoe boxes, which crash through the window and land on the same traffic cop who earlier got hit with the golf ball! In another scene, Norman is working in the men's clothing department on the morning that they're having a 50% off sale. As soon as the doors open, a crowd of stampeding women converge on the clothes, grabbing every article of clothing in sight. They even pull off most of Norman's clothes! There are many other departments Norman has to work in, all ending with disastrous results.

My favorite scene involves a rich woman, carrying her Chihuahua and accompanied by her manservant, who is bringing an old vacuum to the store to be repaired. Mrs. Tuttle appears with Mr. Quimby to observe the proceedings. Norman rewires the vacuum to increase its suction. The vacuum becomes so powerful that it starts moving on its own, sucking up everything in sight, including the old lady's dog and Mrs. Tuttle's wig! Norman is unable to switch off the vacuum or even unplug it, so the vacuum's bag keeps getting bigger and bigger, and eventually floats up to the ceiling! Norman ends up climbing a ladder and sticking a knife into the bag. The resulting explosion of dirt and debris is hilarious, as the Chihuahua plops back into the old lady's arms. Norman puts the dirty, dust covered wig back on Mrs. Tuttle, who promptly fires him. Mr. Tuttle, accompanied by his daughter Barbara, come to Norman's aid and Norman finally learns that Barbara is the Tuttle's daughter. Proud and determined to make it on his own, Norman quits and goes back to being a dog walker. The last scene involves Norman walking a large number of dogs. First Barbara, then her father, and finally her mother go by also walking many dogs and wearing jackets that say I'M SORRY. They all round a corner out of sight. The next thing you hear are the screeching of brakes and the sounds of cars crashing. The last shot is of the poor traffic cop, surrounded by wrecked cars and barking dogs. "Who's Minding The Store?" is, without a doubt, one of the funniest movies Jerry Lewis has ever done!

Hilarious but...3 stars for format
No need to review the film which is a comedy gem...just the format:
The film starts in widescreen, unusual for a video tape. And just when you're getting used to it, the opening credits end and it reverts back to fullscreen(!)
To add insult to injury, the end credits are not even included, the movie simply ends! So much for finding out who the actors were.......

C'mon Paramount...how about the full version on DVD?

THE BEST PART WAS WHEN JERRY WAS WITH THAT BIG SHEEPDOG
I GOT TO OPEN A PRESENT EARLY-AND IT WAS 3 JERRY LEWIS VIDEOS-WHOS MINDING THE STORE-ROCK A BYE BABY-THE NUTTY PROFESSER!

WHOS MINDING THE STORE IS ABOUT A DOGWALKER WHO ALSO DOG-SITS WHEN THE DOGS OWNERS ARE AWAY-BUT WHEN A MEAN WOMAN WHO OWNS A DEPARTMENT STORE FINDS OUT HER DAUGHTER IS GOING TO MARRY THIS LOSER SHE HIRES HIM TO WORK AT HER STORE AND GIVE HIM TOUGH JOBS-SHE EVEN HAS HIM FIRED!

I WOULD RECCOMEND THIS MOVIE TO ANY JERRY LEWIS FAN!

Who's Better than Jerry?
THIS MOVIE IS ONE OF JERRY'S GREATEST, GREAT SUPPORTING CAST & A GREAT GAG DIRECTOR, FRANK TASHLIN...NO COMEDY OF TODAY EVEN COMES CLOSE TO THIS ONE...ONE OF THE KING OF COMEDY'S GREATEST! ... Read more

Amazon.com essential video

Vincente Minnelli's 1958 adaptation of Colette's story about a girl (Leslie Caron) groomed as a courtesan--but desired as a wife by a Parisian playboy (Louis Jordan)--won a lot of Oscars, but it also has the unusual distinction of being an MGM musical shot on location in the City of Lights. What a musical it is (by Lerner and Loewe): Maurice Chevalier and Hermione Gingold crooning "Ah, Yes, I Remember It Well," plus the songs "Thank Heaven for Little Girls," "Gigi," "I'm a Bore," and "She's Not Thinking of Me." Director Vincente Minnelli (Some Came Running, Meet Me in St. Louis) makes a sumptuous, dreamy, almost laid-back affair of it all, and the indispensable cast is forever etched into memory. Hollywood's long-running infatuation with continental grace and manners, the memory of a much earlier time imported to American movies through such immigrant directors as Ernst Lubitsch, may have finally come to a gentle end with this film. --Tom Keogh ... Read more

Reviews (62)

"GiGi" - 9 Oscars / Best Pix 1958 now on WideScreen DVD!!
MGM's "Gigi" was their last big Musical production. MGM won 9 Oscars including; Picture of the Year (1958), Best Director - Vincent Minnelli, Best Song - "Gigi", Best Cinematography, Art & Set Design, Best Costumes.

The Colorful Metrocolor WideScreen production was directed by Vincent Minnelli - Oscar Winner!! Lerner & Loewe provide us with the great lyrics & music. Gigi title song won an Oscar! Another favorite is Maurice Chevalier's singing of "Thank Heaven For Little Girls".

Summary: We are in the Summer of 1900 Paris. Leslie Caron as "Gigi" was perfectly cast as the young Parisian grand daughter being groomed & refined to be the socialte wife for a rich to do gentlemen. Gigi is infactuated with her Grandmothers (Herimone Gingold)ex's nephew Gaston (Louis Jourdan) a rich playboy who befriends the young rough around the edges, Gigi. As this story developes Gaston's has numerous public affairs that continue to fail & his only joy is being with Gigi. As the story evolves we have lush & colorful sets and lavish scenes of 1900 Paris & a complex love story begins. Hollywood Happy endings, prevail!

This DVD has a Full Screen & WideScreen (LetterBox) version. the movie is 116 minutes long. Excellent Quality picture & Color. Only extra is a trailer. Very delightful family movie.
Enjoy.

A BEAUTIFUL MUSICAL.
A lavish, glossy and eminently tuneful movie treat, GIGI tells the story of an illegitimate waif who lives in 1890's Paris with her Aunt Alicia and her Grandmother (Hermione Gingold). Their plan is transform this waif into an elegant courtesan so that she can become the mistress of wealthy Jourdan, who eventually takes her as his bride because he truly loves her. This throws Gingold for a loop; the family is not used to marriage: Chevalier - Jourdan's father - was once her lover...Produced in Paris, it's a delight from the first frame to the last. All the usual Parisian landmarks are featured: the Tuileries, the Bois de Boulogne, the Palais de Glace, etc. Chevalier steals every scene he's in (except, perhaps when he's singing I REMEMBER IT WELL with Gingold). The original story was based upon a French story by Collette and was ingeniously adapted for a musical stage play by Lerner and Lowe. Caron had played the role on the Paris stage, and here her songs were dubbed by Betty Wand. The film won a grand total of 9 AA & a special Oscar was given to Chevalier for his contribution of over 50 years of performing in the entertainment world.

Bravo! Bravo!
I think that GIGI is the best musical ever. I just love Aunt Alicia and her sister. Hermoine Gingold is fabulous. This movie takes you into a world that you don't want to come out of. If only they would make more movies like this today. My grandaughter absolutely adores it. I want to watch Gigi over and over and does not want it to end. I get lost in the movie and wish I could stay there forever. It is absolutely fantastic.!!!!! More young people should be able to see this movie. Whomever have not seen this movie they are missing out on life itself. Julia Reid

Watch it for Leslie Caron!
I had never seen the Best Picture of 1958, the year of my birth. Turner Classic Movies (possibly the best channel of all available televison channels) provided many of the Best Picture winners during the month of February so I finally got to see it.
Although quite dated and politically incorrect (I challenge you to see/hear Maurice Chevalier sing "Thank Heavens for Little Girls" and not think it so) this movie is a perfect vehicle for Leslie Caron. She is funny, charming and winsome. Effective as both a young girl and then convincingly blossoming into a young lady, Miss Caron is entirely believable in her role. Hermione Gingold plays her guardian aunt with Maurice Chevalier the uncle of her suitor. Louis Jourdan is charming but I found Monsieur Chevalier to be what my mother used to call a "professional Frenchman". Laughing off the suicide of one of his nephew's mistresses is totally unacceptable and I also found Chevalier's mannerisms tedious.

On the whole I found that by watching the movie strictly for the performances of Caron, Gingold and Jourdan it was very enjoyable. Paris was lovely, the costumes gorgeous and Vincente Minelli's direction superb.

Substance, not sparkle -- the triumph of innocence in "Gigi"
When Yeats mourned, "The ceremony of innocence is drowned," he was prophesying the loss of all that is decent in the coming 20th century - and he was crying out for us to fight for all we are worth to prize the innocence of the young, to put aside all self-indulgent pursuits in the face of innocence. "Gigi" is set against all the magnificence the world can offer as a backdrop for the test of innocence against the cunning and the carnal. The movie's real appeal comes not from its lush setting, costumes and flight from our crass age into the Impressionist gentility of fin-de-siècle Paris, but ultimately from Aristotle's pet component of any literary work of merit: the plot. And "Gigi" has a plot that never fades for an instant. In truly entertaining fashion we watch as the fate of the heroine's innocence comes to hang on the edge of a knife from the movie's sunny beginning to its climactic end. For lovely, irresistible Paris is, in reality, a turbulent arena where the innocent are thrown to all the well-tailored wolves of Society, to fend for themselves with nothing but their hearts and their integrity as protection against a life-lived-hollow.

The watchword for "Gigi" is paradox, that steady companion of reality. Look for it everywhere, in the boredom that pervades the intricate lives of the rich elite versus the interest and charm that young Gigi exudes when she simply enters a room. The simple, the "straight of heart," are the enviable ones, while the titans gnash their teeth (and one another's) in their futile pursuit of a remedy for an ennui that becomes downright pathological. Leisure becomes the hardest work of all for the upper classes; titillation requires higher and higher doses, until no amount of frivolity - France's special export to the world - will give joy. Where, the movie asks, is all this legendary Gallic joie-de-vivre? The wealthiest of them all, Gaston (played to perfection by Louis Jordan), is so far past the pursuit of money that he alone of his class has the composure to look around himself, take his life's bearings, and realize that the Emperor is quite naked. And so he is driven on his strange, unconscious heroic quest to live an authentic life. It begins when, on an impulse, he hops out of a carriage ride with his uncle, Paris's veteran joie-de-vivre mentor (played to sheer magnificence by Maurice Chevalier), and seeks refuge in the simple house of Hermione Gingold, who plays Gigi's grandmother.

Chevalier represents the Parisian romantic idol of his age. One gets the feeling in watching him in "Gigi" that he was almost spending his entire movie career simply in apprenticeship for this seminal role. For I do not think we could really understand the frantic romanticizing of the 19th century French without his incredibly compelling, appealing performance - it flows so naturally from his every pore that it seems less like acting than living the bon vivant code he preaches. And yet, having reached the pinnacle of self-interest, Parisian style, he is still touched by Gigi's grandmother, just as his nephew is ultimately won over to real love by the innocent one, Gigi herself. We are, in fact, educable! And the undercurrent of joy that pervades this masterpiece of filmmaking is centered around this buoyant theme: we can all be taught to realize virtue.

Gigi is Gaston's soulmate, though neither knows what that means at the movie's start. He is too emotionally stunted to realize she is a woman - and wouldn't know what to do with a woman besides woo her - and she is unaware that she is leaving childhood. The movie chronicles the maturing of both partners-to-be: Gigi from physical and emotional adolescence to womanhood, Gaston from the emotional adolescence that Society has demanded, to manhood. There is realism in the depiction of all this gaiety, as we watch Gaston try desperately to follow his uncle's "sage" advice, clinging sulkingly to his boorish, feckless bachelorhood and blaming Gigi for being "unreasonable" in wanting marriage over a high-priced affair. His antics make him the more likeable, as we identify with whatever false ideal we might have clung to long after it had outlived its usefulness. In the case of "the Parisians" that Gigi rants against in her early soliloquy, it is the puerile, incessant pursuit of romantic adventure long after grown adults should have found their mate that has gone stale ... and made their lives atrophy as pathetic parodies of eternal 17-year olds. The victim of all this pursuing is innocence - in this case, the innocent love that a young woman can bring to her mate only once, not in the absurd repetition of romantic pursuit that characterized adulterous Paris.

Does Gigi conquer this silly, dangerous sensuality alone? No, again paradox moves to the forefront, and Gaston discovers for himself the infinite spiritual beauty of true love that Gigi has been trying to express to him. In her moment of weakness, he finds the need to become strong - and so useful to his mate. And thus in the end, love conquers its counterfeit, amorousness.

"Gigi" is a warning to our own age that has set itself on its own reckless pursuit of loving relationships, turning nature on its head in the process and life into a cosmic game of trivial pursuit. In raising before us the challenge to love, no less relevant to us now, the artist's value to Society rises above mere diversion. The challenge is whether we even now can listen to the message of "Gigi," whether we in our own jaded Society can pull back from the abyss of terminal, self-centered sensuality and rediscover the God-given joy of our heart's true desire ... innocent love become mature through fidelity. ... Read more

Reviews (11)

No virtuous woman for Ingrid Bergman this time around
Ingrid Bergman plays Clio Dulaine, the half-Creole illegitimate daughter of a new Orleans aristocrat, who returns to the Crescent City from Paris after her mother's death to revenge herself on her father's family. While she succeeds in humiliating the Dulaines, she flirts with Texas gambler, Colonel Clint Marron (Gary Cooper). He is not thrilled by her need for revenge and heads off to Saratoga Springs. Clio eventually shows up, pretending to be a French noblewoman in an attempt to get a rich husband, setting her sights on railroad tycoon Bart Van Steed (John Warburton). But we all know who is really the right guy for her. Bergman, a brunette for this film, certainly finds the sexy Clio to be a nice change of pace from the nuns and cool refugees from the continent she had been playing of late. Unfortunately, the melodrama offers nothing new and Bergman ends up with Gary Cooper because, well, he is Gary Cooper; a bit roguish, but still a pillar of strength and virtue. All the sparks are on her side of the equation. "Saratoga Trunks" is based on a novel by Edna Ferber. Flora Robson received an Oscar nomination for Best Supporting Actress for role as Angelique, Clio's attendant, in this 1945 film was directed by Sam Wood.

wonderful period movie!
fabulous adaption of edna ferber's nove...set in tun-of-the-century new orleans. ingrid bergman is luminous as clio dulaine and the costumes are ravishing!Supporting actors wonderful and Gary Cooper is perfect as clint. A must-see!

Character actress saves the day!
While I concur that English actress Flora Robson playing a "mulatto" is stretching things a bit, her studied performance, as well set decorations, is the only reason that this Cooper/Bergman vehicle is tolerable.

Robson had an extremely long career on the stage and in film, comparable to contemporary Dame Judith Anderson. By portraying the role of Bergman's maid, she joined a rather short list, including Lord Olivier ("Othello") and Ava Gardner ("Showboat"), of white actors "passing" as black.

Hey, it was the norm, back in the day. "Saratoga Trunk" was no different from most era westerns or historical dramas in the practice of white actors portraying persons of color.

Very Entertaining
This movie is fun and entertaining, with Ingrid Bergman giving a wonderful performance as Clio, showing just how talented and versatile she is. Gary Cooper is also good in a very typical Cooper role as a Texas cowboy. The movie has some very witty and sparkling dialogue, with Bergman having some of the best lines, and the best scenes are between her and Cooper. A must-see for Bergman fans.

Ingrid, Gary and Max Steiners Love Theme
Ingrid is more beautiful than ever; Gary is perfect as "that Texas" out for revenge and fortune by hook or crook. As Clio and "Cleent", in her restored French Quarter house, when they stroll in her small garden and the lovely Steiner love theme plays, it is a romantics dream. ...if you love beautiful costumns, sets, and the romantic films from the golden era, you will like this movie.
When the little lawyer sent by her fathers aristocratic family comes to her house to buy her off and get her out of town, she bests him in the negotiations. A Magic Movie Moment comes when he looks at her with a small smile and says "may I say - you are very -- beautiful?" And she says with a beautiful, wicked smile "Yes, isn't it lucky?" You want to say YES!! You go girl!
Florence Bates as the grand dame in Saratoga steals every scene she is in. Jerry Austin as the dwarf "Pepito" jack-of-all-trades, is fun and I think brings dignity to the role. Flora Robson is quite good as the maid/companion and received an academy award nomination.
But it is the romantic French Quarter, the wide veranda at the Saratoga hotel, with all the old biddies rocking and gossiping; and Clio and Clint, two rogues, and their love story that make this so much fun to watch. Just relax and enjoy. ... Read more

Reviews (29)

THE MOVIE THAT SAVED THE MORALE OF WARTIME AUDIENCES!
The most important picture of World War II was an intensely moving drama about a middle class British family and its strong matriarch standing up against the tragedies and terrors of the onset of World War II. The movie was "Mrs. Miniver".

"Mrs. Miniver" remains today one of the most powerful and compelling films ever made about the hardships of war even with the lack of a single battle scene. Like "Gone With the Wind", "Mrs. Miniver"'s greatness lies in its revealing look of the individuals affected by a war. Making the film an even greater emotional experience is the fact that this film was made just at the time it revolves around, during the onset of WWII, when the outcome of the war was still uncertain and the future of the world was hanging in the balance.

In the title role of the film, Greer Garson is radiant, willful, warm and determined in the role of Kay Miniver, a British housewife who must keep her head on the homefront with her two young children while her husband (Walter Pidgeon) and son (Richard Ney) defend their country at the onset of World War II. Through her faith, her intelligence, and her love, Kay manages to hold her family together even as England collapses under the powerful effects of an unstoppable war. The picture's ending on a strong note of hope is that lingering optimisim which was the hope of audiences during WWII... that one day, there would be peace.

Garson won an Academy Award for her brilliant portrayal, and rightly so, for she invests her scenes with a genuine determination and will: In one scene, she holds a German soldier at bay with a gun in her kitchen as her children sleep upstairs. In another scene, she reads "Alice in Wonderland" to her children in a bomb shelter as bombs begin to fall over them. In still another scene, Garson drives with her daughter-in-law (Teresa Wright, whose charming portrayal earned her an Oscar for Best Supporting Actress) through a countryside engaged in sky battle.

William Wyler's brilliant direction sears through the film and its cast, earning him an Oscar for Best Director, and for the film itself, Best Picture of 1942.

Still powerful after half a century, "Mrs. Miniver" is a brilliant testament to the soldiers who lost their lives on the battleground- and on the homefront- in defense of their country. Wartime audiences were given a great boost of morale in this movie, and that morale shines through in this indescribably great film classic.

Powerful, uplifting drama of a family during the Blitz
One of the most important films of World War II, Mrs. Miniver is the wonderful story of a middle-class English family during the German Blitz. I'll admit that the film occasionally feels a bit forced, but that seems to have been the point. It's telling that director William Wyler battled with studio head Louis B. Mayer to include a fascist-spouting Nazi pilot; once Pearl Harbor was attacked, Mayer let Wyler have his way with the character. Mrs. Miniver provided a great deal of morale in the early war years, so much so that Winston Churchill said the film was more helpful than a fleet of destroyers. The film's real power is derived from the wonderful performance of Greer Garson in the title role; the film established her as THE leading lady of the 1940s and it's easy to see why. She's radiant here, giving a controlled, yet spirited performance (oddly, she didn't want the role, and took it only when Norma Shearer passed it up). She won a richly deserved Oscar for it, though she's gone down in history for having given a one-hour acceptance speech--in reality, it was only 5 minutes, much shorter than some we have to endure today.

Dated, Still a Classic
"Mrs. Miniver" is regarded as a classic WW2 homefront movie. In this case the setting is a comfortable prim and proper English town in the Summer of 1939. When WW2 breaks out, the "good and decent" townspeople must put aside their stuff class distinctions and pull together against the common enemy, Nazi Germany. The Battle of Britain, the retreat from Dunkirk and eponymous wartime romances/ heartbreak are aptly used as background. The female leads carry the picture. In fact Greer Garson and Teresa Wright won Best Actress and Best Supporting Actress Oscars. Another cast member, Dame May Whitty was also nominated for Best Supporting Actress and male lead, Walter Pidgeon, was nominated for Best Actor. MM also won Best Movie honors and Director William Wyler also was given a statuette. MMs timing was fortuitous! Work began just before the attack Pearl Harbor and wrapped in the Spring of 1942 just as this country needed propaganda/soap operas supporting the Big One. One can appreciate the rush to Oscars but that too has its own story: Lost in all the awards was Ms. Garson's stunning role alongside Ronald Colman in "Random Harvest". Almost lost was Ms. Wright's work as Lou Gehrig's wife in "Pride of the Yankees" for which she and Gary Cooper were nominated for Oscars. MM has two main weak points: One is that the 133 minute run time is plainly too long. Some of those flower-growing contests should have been shortened. Other scenes unfold far too leisurely. The second weak point is that unlike other propaganda flicks (like "Casablanca"), MM has not aged gracefully. It now appears dowdy and dated. There are definite strong points: The small town setting is one. The little vignettes are outstanding such as when the maid Gladys learns her boyfriend's getting drafted! There is also the best-trained movie cat in history. (This review is passing over without comment those "famous" scenes of the captured German pilot and the minister's closing speech/sermon). In the last analysis, MM will always have those two strong Garson and Wright performances which will preserve it as worthwhile viewing even today. MM is recommended for serious movie viewers.

Simply beautiful
I've seen this film several times now, and despite knowing what occurs, the beauty never wears off.

The film is aesthetically lovely, thanks to William Wyler's low key yet attentive and detailed style. The characters act naturally, something oft times missing in older films that lean to be more stylized. The acting is incredible in this film, and something many a modern film would do well to copy. Greer Garson is the portrait of strength, beauty, and dignity as Mrs. Miniver in a brilliantly played role. Yet it's the substance that stays with you. The film is telling a story about people and a time in history, and it's simple because it allows itself to be. It flows like real life, the trivial, the simple, the small moments, the enormous and life shattering. It taps into the real emotions people feel, and not big "war movie" emotions, but the joy of greeting a child upon return, of having a flower named after you and winning an award, of happiness and humor, of exhaustion, fear, pain, and grief. The film gently brings us into another life and lets us reside there. While there, we begin to love the Minivers and those that they love.

At one point in the movie, the family is in a bomb shelter and Mr. and Mrs. Miniver are talking. Mr. Miniver picks up "Alice in Wonderland" and begins to recite a passage about the joys of childhood, a summer past, and the simple pleasures in life. Mrs. Miniver finishes the passage, and Mr. Miniver (Walter Pidgeon) mentions that he wonders if Lewis Carrol ever thought that his story would be so beloved decades later. I found that interesting, because after all these years and viewings, it's the characters and their palpable experiences and emotions, the strength and courage they show, and the simplicity of the film in allowing us to see it plainly and feel it too, because it's a story of the human experience we can all relate with that isn't limited to the battleground, that do and will keep this movie everlasting, and an homage to the human spirit.

Mrs. Miniver
It is such a disappointment to not be able to obtain the DVD edition of Mrs. Miniver yet. This is a film I shared with my granddaughter several years ago and is a warm memory for her.

It was my pleasure and honor to meet Greer Garson at the end of her life at Presbyterian Hospital in Dallas. It was her birthday and our department was responsible for the setting up of the room and the refreshments. I was to uncork the champagne. At 5:30pm, Mrs. Fogelson (her married name) was wheeled into the room, absolutely radiant at the age of 92, wearing a brocade gown that matched the beauty of her green eyes. The celebration was short, in keeping with her frail condition, but she was such a grand lady, just like her presentation of Mrs. Miniver. Frail, yet regal. Queenlike, yet personable.

After her party, I took flowers to her room. She had already been tucked back into bed, but still so pretty, though tired. I went to her bed and she held out her hand to me. She held my hand with both of hers, and I felt as though I was the most important person she had ever met.

Evertime I watch the movie, Mrs. Miniver, I am transported back to that day by her bed after her birthday. She lived only two more years, but everyone remembered her with such love and respect. I treasure having been given the very last glossy of her portfolio.

Rest in peace, beloved Mrs. Miniver. ... Read more

Reviews (14)

A delicious little devil!
Claude Rains was one of those unique creatures in Hollywood--a charactor actor who became a star by his obvious talent, fascinating character portrayals and chameleonlike ability. In these respects he was, acting wise, a male Bette Davis, and in this film we are treated to two of the best who know they are good, know the other is good, and are in their element opposite one another. Rains is at his nasty best as scoundrel extraordinaire Alex Hollenius, a world-famous maestro with an ego out of this world. Bette Davis plays Christine Radcliffe, Hollenius' protegee and lover who has spurned him to marry Karel Novak (Paul Henreid), a talented but high-strung violinist who has returned from WW2 traumatized and emotionally fragile. The fun really begins after the marriage, when a cat-and-mouse situation ensues with Christine's desperate but ultimately futile attempts to prevent the cruel, taunting Hollenius from revealing their past affair to an extremely jealous and violence-prone Karel. All this comes to a head in an over-the-top, wildly entertaining scene between Davis and Rains, which only two grand masters of acting such as they could manage to pull off well. Utterly fascinating to watch these two spitfires send verbal sparks flying off one another throughout the film; poor Paul Henreid does the best he can and his performance is quite good in his (for the most part) restrained way, but unfortunately he gets lost in the fireworks between Davis and Rains.

Excellent Claude Rains fare. Melodrama at its best.
I'm collecting Claude Rains films and recently bought this video, Deception, and viewed it today. I agree the music sound is rather shaky at times so that could be improved upon. I'd consider it one of Rains' best acting performances - so suave, always a 'bon mot' at the right moment, thoroughly enjoying the role he is called upon to play, executing it with a flamboyant style particularly the scene of ordering dinner. Who could top that? It's a delight. I will treasure this film. Also, I've grown to appreciate Bette Davis movies as I got older and feel she gave a heart-rending performance, thoughtful and, thank goodness, not so overwrought. Paul Henreid does well but in my opinion cannot keep up with the other two fine actors. Do see this one!

idiotic
I checked this out of the library on the recommendation of Julian Lloyd Webber (in his "Travels with my Cello"). I didn't expect it to good; I expected it to be good fun, like the equally idiotic but inadvertantly hilarious "Humoresque" (another 1946 movie having to do with the fledgling career of a string player, promoted by a dark, emotionally unstable, woman caught between two lovers). Well, I was disappointed. It's idiotic, all right, but it isn't any fun--or, rather, it wouldn't be except that the cello concerto depicted within was written (in real life) by Erich Korngold, and it's brilliant! Six stars for the music; zero stars for the movie.

I adore Claude Rains
The quintessential Rains dominates this flick about a pianist and a cellist (yes, Henreid plays a CELLIST, not a violinist, as so many reviewers here seem to think) who really don't stand a chance up against Rains's wicked wit. There is a truly diabolical scene in which Rains treats the cutesy couple to a potentially magnificent gourmet meal--if only he'd let them get TO it!

Good food, good wine, good music, great Rains. Frankly I'd take Claude any day over Paul, yes even in Casablanca.

Subtle It Ain't
Looks like I'm going to go against quite a few of the other reviewers for this film by not praising it wildly. The story is quite basic. Pianist Bette Davis reunites with former love Paul Henreid, a cellist, hiding from him her love affair with composer and musical genius Claude Rains. Of course, one lie naturally leads to others, until she finds herself backed into a corner trying to save her marriage and her husband's future. All of this is played against a backdrop of unreal sets and dramatically charged classical music. The whole premise is a difficult one to believe, although it is buried beneath lots of bravado acting, interesting dialogue, and sometimes laughable bits of conflict and action. Rains seems to be having a great time as the flamboyant, manipulative composer, biting into the dialogue and exploiting it for all its worth. He overpowers his co-stars, but he and Davis are good together. Henreid attempts to give more of a performance than I have seen in other films, but he never stands a chance with this cast. For me the grand gestures, the grand acting, the grand music, the grand dialogue was ... well ... too grand! Director Irving Rapper needed to get a better handle on the film. It seems a little out of control. It's not a horrible film, but by the end I found myself thinking, "What was that all about?!?!?" ... Read more

Amazon.com

A movie doesn't win seven Oscars for nothing. A glowing Greer Garson (Best Actress) commands the screen as Mrs. Miniver, a middle-class British housewife whose strength holds her family together as World War II literally hits their home. Walter Pidgeon as her architect husband seems to be the prototype for future TV dads in this affecting portrait of love--familial and romantic--during war. But the relationship between Mrs. Miniver's college-age son (Richard Ney) and the upper-crust Carol (Best Supporting Actress Teresa Wright) is filled with inherent drama--as the war speeds up their young love, it also has the potential to doom it. The 1942 film, which also won for Best Picture and Best Director, is filled with colorful characters, snappy dialogue, and sensational plot twists. Although you spend much of the movie dreading that one of the Minivers will become a casualty of war, when it finally happens, it's not what you anticipated. Exactly what you'd expect from a legendary film that lives up to its billing. --Valerie J. Nelson ... Read more

Reviews (29)

THE MOVIE THAT SAVED THE MORALE OF WARTIME AUDIENCES!
The most important picture of World War II was an intensely moving drama about a middle class British family and its strong matriarch standing up against the tragedies and terrors of the onset of World War II. The movie was "Mrs. Miniver".

"Mrs. Miniver" remains today one of the most powerful and compelling films ever made about the hardships of war even with the lack of a single battle scene. Like "Gone With the Wind", "Mrs. Miniver"'s greatness lies in its revealing look of the individuals affected by a war. Making the film an even greater emotional experience is the fact that this film was made just at the time it revolves around, during the onset of WWII, when the outcome of the war was still uncertain and the future of the world was hanging in the balance.

In the title role of the film, Greer Garson is radiant, willful, warm and determined in the role of Kay Miniver, a British housewife who must keep her head on the homefront with her two young children while her husband (Walter Pidgeon) and son (Richard Ney) defend their country at the onset of World War II. Through her faith, her intelligence, and her love, Kay manages to hold her family together even as England collapses under the powerful effects of an unstoppable war. The picture's ending on a strong note of hope is that lingering optimisim which was the hope of audiences during WWII... that one day, there would be peace.

Garson won an Academy Award for her brilliant portrayal, and rightly so, for she invests her scenes with a genuine determination and will: In one scene, she holds a German soldier at bay with a gun in her kitchen as her children sleep upstairs. In another scene, she reads "Alice in Wonderland" to her children in a bomb shelter as bombs begin to fall over them. In still another scene, Garson drives with her daughter-in-law (Teresa Wright, whose charming portrayal earned her an Oscar for Best Supporting Actress) through a countryside engaged in sky battle.

William Wyler's brilliant direction sears through the film and its cast, earning him an Oscar for Best Director, and for the film itself, Best Picture of 1942.

Still powerful after half a century, "Mrs. Miniver" is a brilliant testament to the soldiers who lost their lives on the battleground- and on the homefront- in defense of their country. Wartime audiences were given a great boost of morale in this movie, and that morale shines through in this indescribably great film classic.

Powerful, uplifting drama of a family during the Blitz
One of the most important films of World War II, Mrs. Miniver is the wonderful story of a middle-class English family during the German Blitz. I'll admit that the film occasionally feels a bit forced, but that seems to have been the point. It's telling that director William Wyler battled with studio head Louis B. Mayer to include a fascist-spouting Nazi pilot; once Pearl Harbor was attacked, Mayer let Wyler have his way with the character. Mrs. Miniver provided a great deal of morale in the early war years, so much so that Winston Churchill said the film was more helpful than a fleet of destroyers. The film's real power is derived from the wonderful performance of Greer Garson in the title role; the film established her as THE leading lady of the 1940s and it's easy to see why. She's radiant here, giving a controlled, yet spirited performance (oddly, she didn't want the role, and took it only when Norma Shearer passed it up). She won a richly deserved Oscar for it, though she's gone down in history for having given a one-hour acceptance speech--in reality, it was only 5 minutes, much shorter than some we have to endure today.

Dated, Still a Classic
"Mrs. Miniver" is regarded as a classic WW2 homefront movie. In this case the setting is a comfortable prim and proper English town in the Summer of 1939. When WW2 breaks out, the "good and decent" townspeople must put aside their stuff class distinctions and pull together against the common enemy, Nazi Germany. The Battle of Britain, the retreat from Dunkirk and eponymous wartime romances/ heartbreak are aptly used as background. The female leads carry the picture. In fact Greer Garson and Teresa Wright won Best Actress and Best Supporting Actress Oscars. Another cast member, Dame May Whitty was also nominated for Best Supporting Actress and male lead, Walter Pidgeon, was nominated for Best Actor. MM also won Best Movie honors and Director William Wyler also was given a statuette. MMs timing was fortuitous! Work began just before the attack Pearl Harbor and wrapped in the Spring of 1942 just as this country needed propaganda/soap operas supporting the Big One. One can appreciate the rush to Oscars but that too has its own story: Lost in all the awards was Ms. Garson's stunning role alongside Ronald Colman in "Random Harvest". Almost lost was Ms. Wright's work as Lou Gehrig's wife in "Pride of the Yankees" for which she and Gary Cooper were nominated for Oscars. MM has two main weak points: One is that the 133 minute run time is plainly too long. Some of those flower-growing contests should have been shortened. Other scenes unfold far too leisurely. The second weak point is that unlike other propaganda flicks (like "Casablanca"), MM has not aged gracefully. It now appears dowdy and dated. There are definite strong points: The small town setting is one. The little vignettes are outstanding such as when the maid Gladys learns her boyfriend's getting drafted! There is also the best-trained movie cat in history. (This review is passing over without comment those "famous" scenes of the captured German pilot and the minister's closing speech/sermon). In the last analysis, MM will always have those two strong Garson and Wright performances which will preserve it as worthwhile viewing even today. MM is recommended for serious movie viewers.

Simply beautiful
I've seen this film several times now, and despite knowing what occurs, the beauty never wears off.

The film is aesthetically lovely, thanks to William Wyler's low key yet attentive and detailed style. The characters act naturally, something oft times missing in older films that lean to be more stylized. The acting is incredible in this film, and something many a modern film would do well to copy. Greer Garson is the portrait of strength, beauty, and dignity as Mrs. Miniver in a brilliantly played role. Yet it's the substance that stays with you. The film is telling a story about people and a time in history, and it's simple because it allows itself to be. It flows like real life, the trivial, the simple, the small moments, the enormous and life shattering. It taps into the real emotions people feel, and not big "war movie" emotions, but the joy of greeting a child upon return, of having a flower named after you and winning an award, of happiness and humor, of exhaustion, fear, pain, and grief. The film gently brings us into another life and lets us reside there. While there, we begin to love the Minivers and those that they love.

At one point in the movie, the family is in a bomb shelter and Mr. and Mrs. Miniver are talking. Mr. Miniver picks up "Alice in Wonderland" and begins to recite a passage about the joys of childhood, a summer past, and the simple pleasures in life. Mrs. Miniver finishes the passage, and Mr. Miniver (Walter Pidgeon) mentions that he wonders if Lewis Carrol ever thought that his story would be so beloved decades later. I found that interesting, because after all these years and viewings, it's the characters and their palpable experiences and emotions, the strength and courage they show, and the simplicity of the film in allowing us to see it plainly and feel it too, because it's a story of the human experience we can all relate with that isn't limited to the battleground, that do and will keep this movie everlasting, and an homage to the human spirit.

Mrs. Miniver
It is such a disappointment to not be able to obtain the DVD edition of Mrs. Miniver yet. This is a film I shared with my granddaughter several years ago and is a warm memory for her.

It was my pleasure and honor to meet Greer Garson at the end of her life at Presbyterian Hospital in Dallas. It was her birthday and our department was responsible for the setting up of the room and the refreshments. I was to uncork the champagne. At 5:30pm, Mrs. Fogelson (her married name) was wheeled into the room, absolutely radiant at the age of 92, wearing a brocade gown that matched the beauty of her green eyes. The celebration was short, in keeping with her frail condition, but she was such a grand lady, just like her presentation of Mrs. Miniver. Frail, yet regal. Queenlike, yet personable.

After her party, I took flowers to her room. She had already been tucked back into bed, but still so pretty, though tired. I went to her bed and she held out her hand to me. She held my hand with both of hers, and I felt as though I was the most important person she had ever met.

Evertime I watch the movie, Mrs. Miniver, I am transported back to that day by her bed after her birthday. She lived only two more years, but everyone remembered her with such love and respect. I treasure having been given the very last glossy of her portfolio.

Rest in peace, beloved Mrs. Miniver. ... Read more

Amazon.com essential video

The greatness of John Garfield was that he was a tough guy who wasn't afraid to wear his sensitivity on his sleeve. What makes this such a great film is that director Jean Negulesco and his two writers (including Clifford Oddets) construct a complex web of ambiguity around Garfield's own torment. He's a violin virtuoso from the slums of New York who rises to the top with the assistance of socialite Joan Crawford (who was never better). There's a sexual intensity to his art that she wants to possess, and there's a vulnerability behind her lacerating façade that he wants to expose. They play each other like a couple of virtuosos, stripping each other's spirit away. What helps transcend this depression-era class struggle is its cool sophistication. It's a sublime noir about loneliness. Everyone knows his dream has hit a dead end, except Garfield. He refuses to give up, even after his soul is long gone. --Bill Desowitz ... Read more

Reviews (20)

Nothing Good Can Come Of This Relationship
In HUMORESQUE we see a dedicated young musician (John Garfield) meet a wealthy possessive woman (Joan Crawford) who takes an obsessive interest in him and his career as a violinist. We know that nothing good can come of this relationship and we are surely looking at a tragedy in the making. In spite of all the warning signs we feel compelled to watch this movie to the end.

The acting of both Garfield and Crawford is superb. The role of Helen Wright seems to be the perfect vehicle for Crawford. Oscar Levant excells as a pianist and Garfield's friend. The rest of the strong supporting cast includes J. Carrol Naish, Joan Chandler and Tom D'Andrea. Garfield's violin is played by Isaac Stern.

HUMORESQUE received an Oscar nomination in 1946 for Best Scoring of a Dramatic Picture. Jean Negulosco directed many other fine movies during his career including JOHNNY BELINDA, ROAD HOUSE and THREE COINS IN THE FOUNTAIN.

A ROMANCE TO DIE FOR...
This is a superb melodrama about a young man, Paul Boray, from the wrong side of the tracks, who plays a mean violin, and the unhappily married society matron, Helen Wright, who becomes his patron and then his lover. John Garfield is well cast as Paul Boray, the ambitious violinist. Joan Crawford does a star turn as the glamorous and beautiful patron of the arts, who underwrites Boray's big break and ends up falling passionately in love with him. Theirs is a turbulent relationship. He is singularly devoted to his music, and she is an alcoholic, plagued by self-doubt. They are star crossed lovers whose romance is destined to end tragically.

The film has a magnificent musical score courtesy of violinist virtuoso Isaac Stern. Pianist Oscar Levant is a double threat in this movie, as he, too, does a star turn as Boray's best friend, acting as a comedic foil. He also dazzles on the ivories, playing away so that the viewer wonders why he, too, does not have some society dame underwriting a show for him, such is his talent. All in all, a well cast and well acted film. Fans of Joan Crawford and all those with an appreciation of classical music will especially enjoy this well made film.

Playing second fiddle to Beethoven's ghost
That sentiment sums up the frustration and disappointment of Helen Wright [Joan Crawford] about her love for and obsession with violin virtuoso Paul Boray [John Garfield] in an excellent film blessed with great acting and beautiful music. Mrs. Wright becomes Boray's patron and gives his career a financial boost but becomes hopelessly drawn to her protege as his concert career takes off. The two principals circle each other warily, sizing up the other and lashing out verbally with accusations of ingratitude and selfishness with Boray holding fast to his dedication to his music while Mrs. Wright begins a slow but steady decline into drinking and depression. Boray's tunnel vision concerning his instrument does not allow him to appreciate the love Gina [Joan Chandler] has for him, nor can he grasp his mother's sage counsel and warning about his involvement with a married woman. The film has generous servings of music by Sarasate, Dvorak, Lalo and a brief but excellent recital of Franz Waxman's adaptation of "Carmen".

Crawford & Garfield in top form!
Terrific movie and Joan's worthy follow up to "Mildred Pierce." Everything's terrific about this one, so curl up on the sofa and settle in for a first class melodrama.

Joan Crawford's finest film and performance.
Not only was Joan Crawford at the height of her beauty and glamour when she made Humoresque - she was also at the height of her acting ability, having just won the Oscar for Mildred Pierce. It would be unfair to say Humoresque is a better film than Mildred Pierce, considering how different the two films are. Mildred Pierce was gritty and dark and strived for harsh realism. Humoresque is romantic and tragic - beautifully written, acted, and filmed. There are moments in movies that linger in your mind a long time after viewing.. The finale of Humoresque is one of those moments. I'm certain I will never forget Joan Crawford's melancholy walk along the sea shore in the moonlight. It is one of the most artistic scenes ever captured on film...and all the emotion Joan goes through is genuine and deep. It is definitely a glimpse through to the heart of Joan Crawford, vulnerable and beautiful, defiant and strong. For in real life, Joan Crawford was never loved. And her character in Humoresque was, as Joan described, "a woman with too much time on her hands and too much love in her heart." Perhaps that was the real Joan Crawford, a woman clinging to her career and the fans that loved her, when nobody else did. People have long criticized Joan Crawford, but who would you be if nobody loved you? ... Read more

Reviews (3)

The Merry Widow VHS
The quality of the VHS is not very good. The sound track is actually very bad. It must be a copy from some bad source.

MGM gloss at it's best!
Lana Turner and Fernando Lamas light up the screen in MGM's watered-down version of Franz Lehar's operetta THE MERRY WIDOW.

Crystal Radek (Lana Turner) is invited to a forgotten little European kingdom where her dead husband was born, so she can attend the unveiling of a statue dedicated to his memory.

Little does she know that the Government is more interested in her 8-million-dollar inheritance than anything else! Count Danilo (Fernando Lamas) is called on to seduce Crystal and marry her, and ensure that her millions are put to use in the European back-water town.

Crystal gets wise, however, and decides that if Danilo is going to fall in love with anything, it will be her and not her money!

Featuring the delightful Una Merkel and Gwen Verdon leading the can-can chorus, it's full of plush sets and gorgeous costumes. One of MGM's most lavish and enjoyable musicals.

Mesmerizing music, expert dancing, and gorgeous Lana Turner
The script is pedestrian but the dancing is superb. Picture Lana Turner at the height of her beauty dressed in fabulous gowns that showcase her hour-glass figure. The final waltz alone makes this video worth its price. Lana and Fernando whirl around a mirrored ballroom to the haunting strains of Lehar's "Merry Widow Waltz". The film demonstrates that, in addition to being beautiful, Turner was an incredibly graceful dancer. The music, Turner's poignant beauty, and fabulous dancing make this unforgettable. ... Read more

Reviews (13)

The King and His Teacher
Irene Dunne stars as a widowed single mother who is engaged to teach the numerous children of the King of Siam. Rex Harrison stars as the King, a man trying to bring Siam into the modern world and to find respect for himself and his country on the world stage. Ultimately, he comes to rely on Dunne for her support and guidance to achieve his goals, and there is an obvious feeling of attraction that develops between the two. Dunne delivers yet another solid, emotional performance as the independent woman who must learn to adapt to a new culture. Dunne was always such a pro, yet surprisingly is not as well known today as other actresses from her time. Harrison strikes me as an odd choice for the role of the King, but he grew on me as the movie progressed, and although I think he's not the best choice, he nonetheless delivers a credible performance. Gale Sondergaard, a favourite character actress of mine, is very good and quietly effective as the King's ignored first wife, looking out for the interests of her son, the heir. I don't know how much of the story is really true, but it is entertaining and a good look at another time and place in history. It's an excellent production, and even if you've seen the musical, I'm sure you'll enjoy this version, too.

A first-rate adaptation of Margaret Landon's book
NOTE: Despite what the Video Description says, this is NOT the Rodgers and Hammerstein musical version. However, as much as I enjoy "The King and I", I prefer this version of the peculiar and dramatic story of how "East Meets West" in 19th century Siam. Rex Harrison, the quintessential Englishman, gives a surprisingly effective performance as the King of Siam, who wishes to modernize his country, and Irene Dunne is strong yet feminine as Anna. The movie focuses on some of the more brutal aspects of the caste system in Siam, with some really excellent understated supporting performances by Lee J. Cobb as the Kralahome (the King's Prime Minister), Gale Sondergaard as Lady Thiang (the King's first wife), and Linda Darnell as Tuptim. It's certainly well worth purchasing and a terrific drama to add to one's video library. I recommend it highly!!

a wonderful film based on a great book
One of the best books I have ever read is Margaret Landon's true story of Anna Leonowens, who at the age of 33, went to Siam as a governess to tutor the king's children. A widow of incredible courage and talent, her story is moving as well adventurous, and this film is a marvelous adaptation of Anna's time in that strange and foreign land, with her small son to take care of.
Landon's book of course also inspired the terrific Rodgers and Hammerstein musical and the film starring Deborah Kerr and Yul Brynner, as well as the far less successful 1999 remake.

Rex Harrison, in his first film for an American studio is riveting as King Mongkut; it's a sensitive and insightful portrayal, with his beautiful voice and enunciation making the most of the intelligent script, and Irene Dunne is a strong and wonderful Anna. These were the days when Caucasian actors took the parts of Asians, and we have some excellent supporting parts taken by Lee J. Cobb as Prime Minister Kralahome, Linda Darnell as Tuptim, and Gale Sondergaard, who received a Best Supporting Actress Oscar nomination as Lady Thiang.
Oscars were given for Best Art Direction, and to Leon Shamroy for his fabulous cinematography, and nominations were for score (Bernard Herrmann) and screenplay.

The excellence and charisma of its two stars and their chemistry together are great to watch, and anyone who likes Landon's book as much as I do will appreciate this film. Total running time is 128 minutes.

Classy Movie with Claasy Actress
Anna and The King of Siam stars one of my favorite actresses. Irene Dunne has always been a star with tons of class and in this movie you can see why she was so popular in the 30s and 40s. The movie differs from the musical stage hit The King and I, but it is, nevertheless, very enjoyable. The sets, the photography and Rex Harrison as the King are all superb.

Excellent Movie
I have seen this movie over and over again. I love it. I have been waiting for it to come out on DVD but decided not to wait any longer. When I first saw it I was a bit surprised by Rex Harrison in the lead role, but after a few moments you begin to believe he is the King of Siam. The cast is superb.....the movie is excellent. ... Read more

Reviews (5)

A Genuinely Fun Movie
Gambit shows us two superbly developing stars, Shirley MacLaine and Michael Caine -- and in restrospect, you realize from watching this fine movie that they had what it takes, even back in the 1960s. Shirley was just superb as a street-wise nightclub dancer, and Michael was perfect as the crook with grand plans who never could seem to make things work just right. This is a funny film. Your kids will like it, if you can convince them to actually sit and watch it with you, and follow the plot. Gambit was a good precursor to Caine's best finagling movie, Dirty Rotten Scoundrels... you can see where he got practice appearing frustrated, the way his plans with Shirley kept going off track.
Enjoy.

First a classic heist film, then a clever romantic comedy.
Gambit is a marvelous film full of style as well as substance. Much as I'd like to discuss the plot, I dare not because much of the film's special surprises stem directly from telling the plot. So just trust me when I say grab it- if for no other reason the exotic locales, Shirley MacLaine's beauty, charm, and smarts (not to mention the stunning wardrobe by costumer Jean Louis), and the fun interplay between MacLaine, relative newcomer Michael Caine, and the urbane and charming Herbert Lom. A perfect film for the Sunday afternoon you're not going anywhere.

Another great heist movie!
Very enjoyable caper comedy with Shirley Maclaine and Michael Caine(plus Herbert Lom from the Pink Panther films). Has a neat gimmick to it(as the slogan goes-"don't tell the beginning"), but is really just and overlooked little gem of a comedy-check it out!!

Gambit Gambit Gambit
This is an excellent comedy adventure film full of action and suspense. It's one of those heist movies that used to be popular. Ronald Neame tightly directed this film for full dramatic-comic impact. It contains an admirable score by Maurice Jarre. Not bad.

Very Entertaining
An extremely amusing film.The first half is quite serious but the second half sweeps you off on a rollercoaster ride of humour,romance and sheer unpredictablity!My favourite line in the movie is when the millionaire asks what is said about amber Michael Caine doesn`t have a clue and tries to bluster his way out when Shirley Maclaine smiles sweetly and remarks coolly,"amber is the soul of the tiger trapped in stone" She is just lovely in it ... Read more

Book Description

A story of burgeoning womanhood and blossoming love, Colette's masterpiece reveals the author's grasp of the politics of relationships. With music, drama, and the charm of French-inflected English, this unabridged novella follows Gigi's training as a courtesan. Leslie Caron, the star of the best-loved film based on Gigi brings to life the Paris of 1899 in all its sensuous detail. 2 cassettes. ... Read more

Reviews (62)

"GiGi" - 9 Oscars / Best Pix 1958 now on WideScreen DVD!!
MGM's "Gigi" was their last big Musical production. MGM won 9 Oscars including; Picture of the Year (1958), Best Director - Vincent Minnelli, Best Song - "Gigi", Best Cinematography, Art & Set Design, Best Costumes.

The Colorful Metrocolor WideScreen production was directed by Vincent Minnelli - Oscar Winner!! Lerner & Loewe provide us with the great lyrics & music. Gigi title song won an Oscar! Another favorite is Maurice Chevalier's singing of "Thank Heaven For Little Girls".

Summary: We are in the Summer of 1900 Paris. Leslie Caron as "Gigi" was perfectly cast as the young Parisian grand daughter being groomed & refined to be the socialte wife for a rich to do gentlemen. Gigi is infactuated with her Grandmothers (Herimone Gingold)ex's nephew Gaston (Louis Jourdan) a rich playboy who befriends the young rough around the edges, Gigi. As this story developes Gaston's has numerous public affairs that continue to fail & his only joy is being with Gigi. As the story evolves we have lush & colorful sets and lavish scenes of 1900 Paris & a complex love story begins. Hollywood Happy endings, prevail!

This DVD has a Full Screen & WideScreen (LetterBox) version. the movie is 116 minutes long. Excellent Quality picture & Color. Only extra is a trailer. Very delightful family movie.
Enjoy.

A BEAUTIFUL MUSICAL.
A lavish, glossy and eminently tuneful movie treat, GIGI tells the story of an illegitimate waif who lives in 1890's Paris with her Aunt Alicia and her Grandmother (Hermione Gingold). Their plan is transform this waif into an elegant courtesan so that she can become the mistress of wealthy Jourdan, who eventually takes her as his bride because he truly loves her. This throws Gingold for a loop; the family is not used to marriage: Chevalier - Jourdan's father - was once her lover...Produced in Paris, it's a delight from the first frame to the last. All the usual Parisian landmarks are featured: the Tuileries, the Bois de Boulogne, the Palais de Glace, etc. Chevalier steals every scene he's in (except, perhaps when he's singing I REMEMBER IT WELL with Gingold). The original story was based upon a French story by Collette and was ingeniously adapted for a musical stage play by Lerner and Lowe. Caron had played the role on the Paris stage, and here her songs were dubbed by Betty Wand. The film won a grand total of 9 AA & a special Oscar was given to Chevalier for his contribution of over 50 years of performing in the entertainment world.

Bravo! Bravo!
I think that GIGI is the best musical ever. I just love Aunt Alicia and her sister. Hermoine Gingold is fabulous. This movie takes you into a world that you don't want to come out of. If only they would make more movies like this today. My grandaughter absolutely adores it. I want to watch Gigi over and over and does not want it to end. I get lost in the movie and wish I could stay there forever. It is absolutely fantastic.!!!!! More young people should be able to see this movie. Whomever have not seen this movie they are missing out on life itself. Julia Reid

Watch it for Leslie Caron!
I had never seen the Best Picture of 1958, the year of my birth. Turner Classic Movies (possibly the best channel of all available televison channels) provided many of the Best Picture winners during the month of February so I finally got to see it.
Although quite dated and politically incorrect (I challenge you to see/hear Maurice Chevalier sing "Thank Heavens for Little Girls" and not think it so) this movie is a perfect vehicle for Leslie Caron. She is funny, charming and winsome. Effective as both a young girl and then convincingly blossoming into a young lady, Miss Caron is entirely believable in her role. Hermione Gingold plays her guardian aunt with Maurice Chevalier the uncle of her suitor. Louis Jourdan is charming but I found Monsieur Chevalier to be what my mother used to call a "professional Frenchman". Laughing off the suicide of one of his nephew's mistresses is totally unacceptable and I also found Chevalier's mannerisms tedious.

On the whole I found that by watching the movie strictly for the performances of Caron, Gingold and Jourdan it was very enjoyable. Paris was lovely, the costumes gorgeous and Vincente Minelli's direction superb.

Substance, not sparkle -- the triumph of innocence in "Gigi"
When Yeats mourned, "The ceremony of innocence is drowned," he was prophesying the loss of all that is decent in the coming 20th century - and he was crying out for us to fight for all we are worth to prize the innocence of the young, to put aside all self-indulgent pursuits in the face of innocence. "Gigi" is set against all the magnificence the world can offer as a backdrop for the test of innocence against the cunning and the carnal. The movie's real appeal comes not from its lush setting, costumes and flight from our crass age into the Impressionist gentility of fin-de-siècle Paris, but ultimately from Aristotle's pet component of any literary work of merit: the plot. And "Gigi" has a plot that never fades for an instant. In truly entertaining fashion we watch as the fate of the heroine's innocence comes to hang on the edge of a knife from the movie's sunny beginning to its climactic end. For lovely, irresistible Paris is, in reality, a turbulent arena where the innocent are thrown to all the well-tailored wolves of Society, to fend for themselves with nothing but their hearts and their integrity as protection against a life-lived-hollow.

The watchword for "Gigi" is paradox, that steady companion of reality. Look for it everywhere, in the boredom that pervades the intricate lives of the rich elite versus the interest and charm that young Gigi exudes when she simply enters a room. The simple, the "straight of heart," are the enviable ones, while the titans gnash their teeth (and one another's) in their futile pursuit of a remedy for an ennui that becomes downright pathological. Leisure becomes the hardest work of all for the upper classes; titillation requires higher and higher doses, until no amount of frivolity - France's special export to the world - will give joy. Where, the movie asks, is all this legendary Gallic joie-de-vivre? The wealthiest of them all, Gaston (played to perfection by Louis Jordan), is so far past the pursuit of money that he alone of his class has the composure to look around himself, take his life's bearings, and realize that the Emperor is quite naked. And so he is driven on his strange, unconscious heroic quest to live an authentic life. It begins when, on an impulse, he hops out of a carriage ride with his uncle, Paris's veteran joie-de-vivre mentor (played to sheer magnificence by Maurice Chevalier), and seeks refuge in the simple house of Hermione Gingold, who plays Gigi's grandmother.

Chevalier represents the Parisian romantic idol of his age. One gets the feeling in watching him in "Gigi" that he was almost spending his entire movie career simply in apprenticeship for this seminal role. For I do not think we could really understand the frantic romanticizing of the 19th century French without his incredibly compelling, appealing performance - it flows so naturally from his every pore that it seems less like acting than living the bon vivant code he preaches. And yet, having reached the pinnacle of self-interest, Parisian style, he is still touched by Gigi's grandmother, just as his nephew is ultimately won over to real love by the innocent one, Gigi herself. We are, in fact, educable! And the undercurrent of joy that pervades this masterpiece of filmmaking is centered around this buoyant theme: we can all be taught to realize virtue.

Gigi is Gaston's soulmate, though neither knows what that means at the movie's start. He is too emotionally stunted to realize she is a woman - and wouldn't know what to do with a woman besides woo her - and she is unaware that she is leaving childhood. The movie chronicles the maturing of both partners-to-be: Gigi from physical and emotional adolescence to womanhood, Gaston from the emotional adolescence that Society has demanded, to manhood. There is realism in the depiction of all this gaiety, as we watch Gaston try desperately to follow his uncle's "sage" advice, clinging sulkingly to his boorish, feckless bachelorhood and blaming Gigi for being "unreasonable" in wanting marriage over a high-priced affair. His antics make him the more likeable, as we identify with whatever false ideal we might have clung to long after it had outlived its usefulness. In the case of "the Parisians" that Gigi rants against in her early soliloquy, it is the puerile, incessant pursuit of romantic adventure long after grown adults should have found their mate that has gone stale ... and made their lives atrophy as pathetic parodies of eternal 17-year olds. The victim of all this pursuing is innocence - in this case, the innocent love that a young woman can bring to her mate only once, not in the absurd repetition of romantic pursuit that characterized adulterous Paris.

Does Gigi conquer this silly, dangerous sensuality alone? No, again paradox moves to the forefront, and Gaston discovers for himself the infinite spiritual beauty of true love that Gigi has been trying to express to him. In her moment of weakness, he finds the need to become strong - and so useful to his mate. And thus in the end, love conquers its counterfeit, amorousness.

"Gigi" is a warning to our own age that has set itself on its own reckless pursuit of loving relationships, turning nature on its head in the process and life into a cosmic game of trivial pursuit. In raising before us the challenge to love, no less relevant to us now, the artist's value to Society rises above mere diversion. The challenge is whether we even now can listen to the message of "Gigi," whether we in our own jaded Society can pull back from the abyss of terminal, self-centered sensuality and rediscover the God-given joy of our heart's true desire ... innocent love become mature through fidelity. ... Read more

Reviews (2)

Lovely Slice of the 1940's
I was born in 1952, but would come home from gradeschool to find 1940's movies being played on the local TV station. I fell in love with the strange world of the 1940's, which was so very different from the late 50's.

This movie is a delightful romp, as Bob Hope and Dorothy Lamore fight Nazi terrorists and spies in Washington DC who are planning to attack American cities enmass, poisoning the water, blowing up power stations, the type of thing the Bush Administration is always trying to scare us about. I suppose this shows my political bias, but at one point in the movie, a character says that she will no longer work with the Nazi's since she values the freedom in this country. My immediate thought that was with the Patriot Acts 1 and 2, it is from INTERNAL sources that we now have to worry about our freedom, whereas in the 1940's it was the external enemy that wanted to turn us into a police state.

Anyway, this movie is delightful in giving a slice of the popular culture at that time, the wonderful tailored clothes, bizarre women's hair styles, the GI Joe patriotism, and most importantly the laughs which haven't aged a day since 1942, all the way up to the hilarious conclusion when members of all branches of the military join Bob and Dorothy in saving the USA!

If you enjoy WW2 memorabilia, this movie may be a fun experience for you. If you are a baby boomer like me who was raised on such black/white movies on TV after school, it will be a nostalgic look back wards. This is the REAL THING, not some modern movie made to re-enact the WW2 days. In a wierd sense, this is a very sweet movie when Bob and Dorothy were young and vital, and the world was in great danger, and yet we all had time to laugh.

SIMPLY GREAT !
As a French (currently living in Switzerland), I have never had the opportunity to be that familiar with Bob Ho