Reviews (71)

Finally An Affair To Remember is on DVD
In April of this year I bought this DVD. I love it so much. I remember when I was little and saw it . It brought tears to my eyes. I especially love the special features that are on this DVD. I have always loved The Extremely hansome an Debonair Cary Grant. He is a role model of what Male Actors Should Be.

Cary Grant, and Deborah Kerr meet on a Ocean Cruise well they meet and they fall in love. But one problem They are both already engaged to different people. Well as the Ocean Voyage goes on they get more and more romantic. Well when they get off the boat they make an agreement that 6 Months from that day they would meet at the top of the Empire State Building to see if they still love each other. Well that day comes and Cary Grant is on the top floor. But as Deborah Kerr is running to the Empire State Building she gets ran into by a car and is paralyzed. But at the end Cary Grant finds her and they Kiss and Get Married. Great Movie. The way that all movies are supposed to be.

Better than I anticipated....
"An Affair to Remember" with Cary Grant and Deborah Kerr has a lot to offer. I was skeptical when my wife brought this video home for "us" to watch, but I decided to give it an honest try. Once the movie got underway, and the character development started to take place, I became interested. There was more to Grant than a womanizing cad (thought it took a while for him to shake that image in the movie), and Kerr came across as a world-wise, yet innocent (in a sense), former night club singer.

While they are both committed to other people, Grant and Kerr meet and fall in love on a ship cruising from Europe to America.

Some of the dialogue and situations appear to be somewhat contrived, but the acting and story line development stirs true emotion.

This is probably not a movie for the bump and grind Monday Night Football crowd, but it is both watchable and enjoyable. Maybe I was primed to watch it by seeing "Sleepless in Seattle" recently, a movie that my wife and I both enjoy.

Anyway, give this movie a chance...it's somewhat dated, but it's still got something to offer.

Overrated Tearjerker
The first part aboard the boat seems convenient & affected. The bit where she takes him to meet her relative is charming and pretty but pointless. The accident and her subsequent behavior bespeaks of underlying insecurities and purhaps subconcious concerns about his character. I didn't feel particularly sympathetic toward either character and, thus, the reunion doesn't touch me.

One of my favourite movies
While I haven't seen the remake of this film, I have seen the original, and this is by far one of my favourite movies ever. The picture is beautiful, the casting is flawless, and the story timeless. I would recommend this for chick-flick lovers and even those who aren't particularly fond of romantic-comedies.

Practically nobody, huh?
Amazon says "practically nobody" likes the 1994 remake with Warren Beatty and Annette Bening, but actually I would prefer that one to this any day. However, if you have to see the original, amazon is where to get it. ... Read more

Amazon.com essential video

This silky smooth film noir pits gruff police detective Dana Andrews, stiff and blunt in his street-bred manners, against a cultured columnist and acidic wit (Clifton Webb at his prissiest) in a battle of wits during a murder investigation. The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment, when one lonely night he turns from the picture to see Laura walk through the door. It's not a ghost: both the cops and the killer mistook the mutilated corpse for the lady of the house. Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as Laura, the object of every man's gaze and the target of a killer that missed once but is bound to try again. Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries. In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder. Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard. --Sean Axmaker ... Read more

Reviews (59)

COOL, ELEGANT FILM NOIR....
Although toned down from Vera Caspary's novel, "Laura" is a classic example of sexual obssession in 40's film noir. Otto Preminger (with help from Rouben Mamoulian) created a masterpiece of a mystery film loaded with decadence and sexual tension. Tough streetwise police detective Mark McPherson (Dana Andrews) investigates the violent society murder of beautiful, enigmatic ad exec Laura Hunt (Gene Tierney) and enters the cold, calculating world of high society where everyone has dark secrets. He encounters a list of suspects including ascerbic Waldo Lydecker (superb Clifton Webb) as Laura's "benefactor" and companion who introduced her to the high end of advertising and her gigolo fiance' Shelby (Vincent Price) who is more or less kept by Laura's aunt (Judith Anderson). It is Lydecker who matches wits with Mark every step of the way. Mark has become obssessed with Laura's portrait, her perfume and letters and has obviously fallen in love with the "dead" Laura. The sexual obssession theme lies underneath the complicated relationships including Mark's fascination with Laura's relationships and her personal things and in the flashback sequences, it is clear that Lydecker fancied himself more than just Laura's "companion". He sought to possess her. But it gets stickier as it goes along when Laura turns up very much alive. There is so much to savor in this film along with the performances (especially Webb's) like the beautiful b&w photography that gives the film a dream like quality and the lovely "Laura" them by David Raskin that haunts the film and emphasizes the romantic longing Mark has for Laura and Laura's mysterious, paradoxical personality. Any way you slice it, "Laura" is a classic film heads up above the rest and needs to be available on DVD. It is not to be missed.

A MUST SEE
I saw this movie at least ten times. First time was in my early teens, when it was shown on local TV. I never heard of Gene Tierney before, but after seeing this film, I knew I would never forget her. She was the most beautiful actress I ever saw and her mannerisms reveal a classy keen intelligence. Everything about this movie will haunt you--Tierney's beauty, the musical score by David Raksin, the portrait, and the ending.

The film is about a woman who seemed to have everything--a successful career, beauty, brains, wealth--who is discovered murdered in her apartment. A detective, Mark McPherson, played by Dana Andrews investigates the case and starts questioning possible suspects. One is the Svengali-like Waldo Lydecker (Clifton Webb), a syndicated columnist and radio personality. Another is Shelby Carpenter, a smooth Southern gigolo played by Vincent Price (yes Vincent Price!). And there's Laura's middle-aged socialite aunt, Ann Treadwell, who was using Carpenter as her boy-toy until Carpenter meets Laura. Other possible suspect is Laura's maid, a feisty loyal Irishwoman.

The film shows narrated flashbacks by Lydecker. He idolizes her and intercepts Laura's suitors, all of whom he considers beneath her. He couldn't intercept Carpenter who attracts Laura, and who Laura was supposed to marry the week she was found murdered. The first twist of the film is when McPherson falls in love with Laura, who's presumed dead. From reading her diary and letters and continuously seeing her portrait, he discovers she's the woman of his dreams, an unattainable goddess whose physical presence he can only imagine. So when twist number two happens, the murder investigation understandably becomes secondary to this gumshoe detective.

This is the best film directed by Otto Preminger. I believe it's the first American film he directed, and his following films pale by comparison. Ironically, this is a film full of second choices. The lead was written with Jennifer Jones in mind, but she turned it down. It was then offered to Heddy Lamarr who also turned it down. Tierney claimed in her autobiography that she didn't want the role either and thought the film was going to bomb, due to the fact that many aspects of it were not prepared (the final script, the music) and that Dana Andrews (also a second choice) prior to this film never had a role as a leading man. The portrait that was originally intended for the film was painted by the wife of director Rouben Mamoulian, who was initially hired for the film but was fired by Preminger who was producing it. Paintings don't transcribe well to film so a touched-up photograph of Tierney was used as the portrait. Preminger took the directing himself. He wanted to use the song "Sophisticated Lady" by Duke Ellington as the musical score, but David Raksin made a deal with him, in which he would write a score Preminger would approve of in one weekend. Raksin claimed he kept looking at a photo of Tierney during the composition of the score and that she was his inspiration. Thus second choices made this movie a classic.

The dialogue is witty and biting, particularly that of Lydecker. The film was nominated for Best Adapted Screenplay, Best Supporting Actor (Webb), Best Black and White Cinematography and Best Musical Score. It only won for Best Cinematography, and I'd like to learn what films aced it in the other categories. Although awards are not considered important by many film connoisserus, the winners are the ones recognized by the next generation. Thus "Laura" remains one of the most underrated films of all time.

Revised Release Date
Fox now says Laura will be out November 04. We can just hope this is not just another tease after first announcing Sept 03. Are lawyers involved in this delay?

Release date
The review from Utica is correct: Laura was supposed to be out 9/03. It's been on my wish list for almost a year. Maybe Fox should get Eisner to oversee releases (he must be looking for something to do).

Wasn't this supposed to be out on DVD last November?
I ordered this DVD early LAST YEAR, and it is yet to be released. There are so many mediocre if not downright awful films that are always being released onto video and DVD, yet this film, which is truly one of the best classics of all time, is still not available. What is Fox doing? ... Read more

Reviews (9)

Stunning Tribute To War Time Nurses Everywhere
"So Proudly We Hail", often comes in for more than it's fair share of criticism over it's depiction of the sterling work carried out by nurses in the South Pacific during World War Two. Mention is made of the nurses looking like they have just stepped out of the beauty parlour with makeup and hair all looking perfect. I'm always mystified by that reaction as I feel this production goes a long way towards depicting the back breaking and often extremely dangerous work that nurses carried out during the war in the Pacific. The film was made with the very best of intentions at a time when the outcome of the war was still far from certain. Criticism has also been leveled at the propaganda inherent in parts of the script. Once again one has to view this film in it's time and place and if it motivated people to feel patriotic about their country in time of war and at least partly informed the movie going public about some of the work of wartime nurses then that is a job well done in my belief.

"So Proudly We Hail", traces the stories of 9 nurses from the time they leave San Francisco through the trials and tribulations of their service with the armed services in the South Pacific. Three in particular are focused on, team leader Lt. Janet Davidson (Claudette Colbert), vivacious Lt. Joan O'Doul (Paulette Goddard) and inwardly tormented Lt. Olivia D'Arcy )Veronica Lake). Their stories are interwoven through the real life action of the group first being sent to Hawaii and then after a torpedo raid which sinks some of their companion vessels, being removed to the Bataan and Correigador regions where they care for and then help evacuate the military and civilian wounded. The saga ends with the remains of their party being evacuated after much loss and suffering to Australia before embarking for home at the end of their tour of duty. The women experience all the deprivations of war and personal loss along the way as Lt. Davidson falls in love with Lt. John Summers (George Reeves) only to live in daily fear of him being killed while still having a job to do as the team's main source of strength. Lt. O'Doul (Paulette Goddard) experiences similiar feelings for "Kansas" (Sonny Tufts), the gangly soldier who wins her heart and in the most tragic situation Lt. D'Arcy who confronts old demons and the loss of her fiance at the hands of the Japanese. Many frightening incidents darken the daily grind of the nurses work such as regular bombing of their medical camp by the enemy and having to experience all the pain and suffering of wartime casualties and death of loved ones. Each woman is touched in some way by her involvement in the action and emerges the better for her experience. We see the women work under not only hazardous conditions but in those that would test the sanity of the strongest person with daily shortages of supplies, shelter and food a constant feature in the daily work.

The film places great emphasis on the inner strength of the individual under fire whether it be soldier, nurse or wounded civilian. In this respect the film could never be judged superficial as many real life elements of this period are tied into the story. Powerful scenes abound in "So Proudly We Hail", a standout is the scene during the evacuation of the camp when the nurses are stranded in one of the huts under fire and the real life treatment of war nurses in Nanking is mentioned as a telling reminder of the brutality of war. Lt. D'Arcy's ultimate self sacrifice for the good of the group still is a scene that packs a real punch with it's graphic depiction of a suicide killing of enemy soldiers. All three lead actresses are standouts in their own unique way. Claudette Colbert delivers yet another powerful and totally convincing performance as the leader of the group. Long associated with extremely glamourous roles here she portrays a character forced under terrible conditions to still be strong for the sake of her nurses. Paulette Goddard in an Academy Award nominated performance is excellent as the flighty mantrap with only men on her mind who develops into a responsible and dedicated nurse as her wartime experiences deepen her character. Veronica Lake also minus her o usual glamourous persona is effective in her role as the bitter nurse who is out to punish all Japanese because of the loss she has suffered. Despite the reported tension between Claudette Colbert and Paulette Goddard during filming none of that shows on screen as the main three actresses work very effectively together as the one team. One last standout in the cast is actress Mary Servoss who plays Capt. "Ma" McGregor the lead of the camp and in ultimate charge of all nursing staff. Her beautiful scene where she faces the death of her wounded son is a stunner and the emotional highlight of the whole film.

Passed off as Hollywood's removed idea of what war is like, "So Proudly We Hail", offers much more than that and contrary to popular belief in a number of scenes where appropriate, the women do show what the wear and tear of war work does to the individuals. I find the film a powerful depiction of war and the terror it causes. Mixed with horrific scenes such as Lt. D'Arcy's suicide are inspiring ones like the simple Christmas celebration on the boat and the scenes showing operations being conducted right in the middle of air raids. These can't help to move the viewer and instill even in the most hardened cynic a belief in the basic good of man. A true epic is how I would describe "So Proudly We Hail", and a film I recommend to anyone who believes in the power of a person's inner strength to beat outside adversity.

ONE OF THE BEST WARTIME MOVIES MADE!
If there had been a 6-7 star rating for the picture, I would've given it 6-7 stars. Excellent writers, Good direction, + an excellent cast made for an excellent wartime drama.

excellently acted war drama
Story of nurses on Bataan & Correigador during WWII. Paulette Goddard deserving of her oscar nomination for this film. Other performances uniformly good. Reflects role of women early in war & also attitudes at home when film was made.Events depicted in film are true.Love story fiction.Well worth viewing

Truly A Great Movie!
I think that So Proudly We Hail is one of the best movies that I have ever seen. It definately keeps you on the edge of your seat! It has everything that a good movie needs...plenty of action, romance and even humor. The ladies play very convincing roles as the nurses, with the exception of Veronica Lake, whose acting leaves a little to be desired. All in all this movie is the BEST and I would certainly recommend it to anyone who enjoys good movies.

Excellent movie, showing a little known part of World War II
Excellent action movie depicting a little known women's role during World War II. The pride in duty, country and extreme courage in the face of adversity is something lacking in todays world. That particular battle is one of shame to our government in leaving military personnel to become prisoners of war or die. This movie says it all. Nitengail8 ... Read more

Amazon.com essential video

Get out your handkerchiefs for this four-star weepie, a 1957 remake of the 1939 Love Affair, directed by Leo McCarey, who also made the original. Grant and Kerr are strangers on an ocean liner, involved with other people, but who can't resist each other for a shipboard romance. They decide to test whether this is the real thing by agreeing to split up, then meet in six months atop the Empire State Building. Is there anyone who can resist that setup or the tragic romantic mishap that nearly splits them up? Can you keep dry eyes during the famous finale? Some prefer the original (with Charles Boyer); practically no one liked the underrated 1994 remake with Warren Beatty and Annette Bening. While occasionally a shade slow, this one soars on Grant's charm and Kerr's noble suffering. --Marshall Fine ... Read more

Reviews (71)

Finally An Affair To Remember is on DVD
In April of this year I bought this DVD. I love it so much. I remember when I was little and saw it . It brought tears to my eyes. I especially love the special features that are on this DVD. I have always loved The Extremely hansome an Debonair Cary Grant. He is a role model of what Male Actors Should Be.

Cary Grant, and Deborah Kerr meet on a Ocean Cruise well they meet and they fall in love. But one problem They are both already engaged to different people. Well as the Ocean Voyage goes on they get more and more romantic. Well when they get off the boat they make an agreement that 6 Months from that day they would meet at the top of the Empire State Building to see if they still love each other. Well that day comes and Cary Grant is on the top floor. But as Deborah Kerr is running to the Empire State Building she gets ran into by a car and is paralyzed. But at the end Cary Grant finds her and they Kiss and Get Married. Great Movie. The way that all movies are supposed to be.

Better than I anticipated....
"An Affair to Remember" with Cary Grant and Deborah Kerr has a lot to offer. I was skeptical when my wife brought this video home for "us" to watch, but I decided to give it an honest try. Once the movie got underway, and the character development started to take place, I became interested. There was more to Grant than a womanizing cad (thought it took a while for him to shake that image in the movie), and Kerr came across as a world-wise, yet innocent (in a sense), former night club singer.

While they are both committed to other people, Grant and Kerr meet and fall in love on a ship cruising from Europe to America.

Some of the dialogue and situations appear to be somewhat contrived, but the acting and story line development stirs true emotion.

This is probably not a movie for the bump and grind Monday Night Football crowd, but it is both watchable and enjoyable. Maybe I was primed to watch it by seeing "Sleepless in Seattle" recently, a movie that my wife and I both enjoy.

Anyway, give this movie a chance...it's somewhat dated, but it's still got something to offer.

Overrated Tearjerker
The first part aboard the boat seems convenient & affected. The bit where she takes him to meet her relative is charming and pretty but pointless. The accident and her subsequent behavior bespeaks of underlying insecurities and purhaps subconcious concerns about his character. I didn't feel particularly sympathetic toward either character and, thus, the reunion doesn't touch me.

One of my favourite movies
While I haven't seen the remake of this film, I have seen the original, and this is by far one of my favourite movies ever. The picture is beautiful, the casting is flawless, and the story timeless. I would recommend this for chick-flick lovers and even those who aren't particularly fond of romantic-comedies.

Practically nobody, huh?
Amazon says "practically nobody" likes the 1994 remake with Warren Beatty and Annette Bening, but actually I would prefer that one to this any day. However, if you have to see the original, amazon is where to get it. ... Read more

Reviews (78)

A poignant drama that provides insight into post-WW2 America
"The Best Years of Our Lives" is a compelling dramatic masterpiece, and certainly one of the best films ever made. It's not as well known today as other pieces from the period, such as "Casablanca" or "Citizen Kane", but it is nevertheless a classic that deserves ranking with those same films.

This film paints a picture of the struggles of World War II servicemen that they faced AFTER the war was over. It was a more personal struggle of men returning home after being away for many years, and after experiencing horrors that their loved ones could never fully understand. They return home as changed people, and come home to changed lives.

The story of such a homecoming experienced by thousands of men after World War II is told from the perspective of three fictional characters: Captain Fred Derry, a bombadier in the Army Air Corps (Dana Andrews), Sergeant Al Stevenson, an Army infantryman (Frederich March), and Seamen Homer Parrish(Harold Russell). They happen to meet on the plane to their hometown, having never met before, and immediately form a bond built upon mutual understanding of the experiences of war and the anxieties of returning home again.

Captain Derry came from a poor background before the war, and married a blond bombshell (Virgnia Mayo) while in the Air Corps. He hopes to return home to a better life, a nice home with his wife, and a better job. This was not to be, as Derry struggles to try and deal with bad job prospects (no one in the civilian world needs a bombadier) and a cheating wife. In a poignant moment in the film, Derry (at his lowest) tells his Father to throw away the citations for his medals, because "they don't mean anything". His Father reads the one for the Distinguished Flying Cross, signed by General Jimmy Doolittle, and a look of pride comes over the old man's face for his son's heroism that makes you want to cry and cheer all at the same time. It also makes the viewer see how criminal it was for such a man to be made to feel worthless.

Sergeant Stevenson comes home to better circumstances, being a banker in the civilian world with a wife, two grown children, and a nice apartment. But he too must confront troubles, as Stevenson must get to know a family that progressed without him, and balance his job with his desire to aid servicemen seeking G.I. Bill loans. He battles with his bank's bosses over the loan issue, and also struggles with alcoholism.

Seamen Parrish's problems are the most obvious. He lost his hands during the war, and now must come home to his family and fiancee with hooks for hands. The actor who potrayed Parrish, Harold Russell, was a real disable veteran, and lends credibility to the role that no one else could have due to real life experience.

This may seem like a depressing film, but it is actually uplifting in its entirety because it does show that hope doesn't die, and that you really can come home again after all. It is also a film of historical importance due to the insights it provides into post-World War II America, and the struggles of veterans in the post-war years. Captain Derry, Sergeant Stevenson, and Seamen Parrish, and their individual struggles to reclaim their lives can provide the student of history an important perspective on the many real life veterans who returned home, and the country of the time they returned home to.

The film has certainly earned accolades over the years. It won the Oscar for Best Picture of 1946. It was named by the American Film Institute as one of the 100 Best Movies ever made, and was also named as one of the most important films of all time by the National Archives for the National Film Registry.

"The Best Years of Our Lives" is not to be missed for both its dramatic poignancy and its insight into an important period of American History. And its a beautiful sight to behold in DVD quality.

One of the best pictures of our lives
The story of three American veterans of WW II and their adjustments to civilian life remains as poignant and moving today, as when it was first released. The three veterans (Fredric March, Harold Russell, and Dana Andrews) all from the same town, but different backgrounds, journey home together on a military transport plain. Fredric March's character, Al Stephenson, is a mature married man with a good profession, a beautiful wife (Myrna Loy), and two grown children (Teresa Wright and Michael Hall); Harold Russell is a disabled Navy veteran (he lost both hands in battle) unsure of where he stands in life and with his high school sweetheart (Cathy O' Donnell); and Dana Andrews is the "glamour boy" bombardier who comes home to find that the civilian world, which includes his wife (Virginia Mayo), cares little about his exploits as a caption in the Air Force. The journey each man takes is both engrossing and entertaining. It's hard to believe this movie is almost 3 hours long; it moves along so quickly. With a dream cast of top talent from 1940s Hollywood, director William Wyler gets superb performances from the stars as well as the most minor bit players. The action begins with a night on the town with March, Loy, and Wright celebrating March's return home. During their celebrating, they run into Russell and Andrews at Russell's uncle's (Hogey Carmichael) tavern. Having celebrated a bit too much, Loy and Wright load March and Andrews into their car to take them home. They drop Andrews off at his wife's apartment building, but he doesn't have a key to get in, and in a drunken stupor collapses outside its entrance. Loy and Wright proceed to load Andrews back in the car and take him in for the night. The relationships between all the main characters reach a level of poignancy without being overly sentimental, which is no easy feat, especially with what must have been tough stuff to watch for an overwhelming majority of the audience when originally released. Russell and O' Donnell's scenes are moving and sensitive, as are Loy and March's. Even though Andrews arrives home physically intact, his lot seems to be the worst of the group. Married to a self-centered-woman who doesn't love him, he longs for a relationship with someone like Peggy Stephenson (Wright). Things get complicated when the feelings are mutual, with Wright beginning to have strong feelings for Andrews. There are many wonderful moments in this film. Roman Bohnen as Andrews's father is terrific as a man who has a tough time expressing his genuine love for his disillusioned son. When he reads the official letter recounting his son's bravery to his wife (Gladys George), it's an incredibly powerful moment. Another wonderful scene is Wright's visit to the store where Andrews works as a salesman at the perfume counter (as well as at the soda fountain). The good-natured flirting between them seems both honest and real in the hands of these two pros. One could go on and on about the wonderful score, the great Gregg Toland cinematography--from the opening shots from the transport plane to the aircraft "graveyard,"--but this is one wonderful whole that is equal to the sum of its parts; everything falls together seamlessly. Top talent at their peak; run don't walk to get a copy of this classic Best Picture winner (1946).

An Amazing Film.
I was fortunate enough to see this movie on TV a few nights ago, and I must say that it is one of the best films I've seen for YEARS. It's hard to believe that I've never heard of this movie. Even though I was born more than 30 years after this movie's release, it melted my heart unlike any film I've seen. I was very surprised by some of the material in the movie. It seemed way ahead of its time, with topics like alcohol addictions, the questionable results of WWII, etc. It's definately a movie that I'll be adding to my DVD collection.

Superb (and Still Relevant)
I'm usually reluctant to watch old movies no matter how good they're supposed to be. I'm thankful that for some reason I decided to at least watch the beginning and see if it held my attention. This movie will break your heart, all of the characters are sympathetic, and although it is almost 60 years old it is extremely relevant right now, since the US is now in the middle of a war and a new generation of veterans is coming home. It is moving, touching, disturbing, thought-provoking, and inspiring, and for someone too young to have known any family members who remembered WWII or post-war America, highly informative. I suspect, from the number of awards this movie won in the 1940s, that it was well-received, but if this movie were released today it would be denounced as anti-American and unpatriotic.

Correction to Jeff Shannon's Review
The Best Years of Our Lives may have perhaps drawn from some things in a Life Magazine article on returning vets, but the plot is really based on MacKinlay Kantor's 1945 novel Glory for Me, which follows a similar trio of returning GIs. ... Read more

Reviews (3)

WITH OR WITHOUT BANGS
Dietrich played french ladies of dubious reputation so often, and to such great effect, its no wonder they loved her, and that she died in Paris. Remember her as Bijou Blanche in SEVEN SINNERS?

Here, in Renee Clair's confection, she has Ward Bond/Bruce Cabot to play against. Now, whether or not she ever had Bond/Cabot, as she had most of her other leading men, we'll never know. But, from the lack of sparkle in their duets together, probably not. On the other hand... Oh, well. It was wartime, and really sexy, really attractive leading men were scarce.

But, this is a mistaken identity antibellum movie, in which Dietrich plays (or almost plays) two different women. (Not to worry: Nothing psychological. Its all a misunderstanding.) We can tell one from another because one has bangs, and the other doesn't.

What's the difference? Its a parade of costumes. It could just as easily have been a vehicle for May West. Or some off-Broadway concoction for drag queans. It's a vol-au-vent; just a puffed confection made only to make you laugh. Some people enjoy watching pretty women change clothes. Does EVERYTHING have to be serious?

CONFUSED?
Bruce Cabot and Ward Bond were one and the same person. He (or they) had interchangeable careers, but notice, you never saw them together in the same movie, did you?

WITH OR WITHOUT BANGS
Dietrich played french ladies of dubious reputation so often, and to such great effect, its no wonder they loved her, and that she died in Paris. Remember her as Bijou Blanche in SEVEN SINNERS?

Here, in Renee Clair's confection, she has Ward Bond to play against. Now, whether or not she ever had Bond, as she had most of her other leading men, we'll never know. But, from the lack of sparkle in their duets together, probably not. On the other hand... Oh, well. It was wartime, and really sexy, really attractive leading men were scarce.

But, this is a mistaken identity antibellum movie, in which Dietrich plays (or almost plays) two different women. (Not to worry: Nothing psychological. Its all a misunderstanding.) We can tell one from another because one has bangs, and the other doesn't.

What's the difference? Its a parade of costumes. It could just as easily have been a vehicle for May West. Or some off-Broadway concoction for drag queans. It's a vol-au-vent; just a puffed confection made only to make you laugh. Some people enjoy watching pretty women change clothes. Does EVERYTHING have to be serious? ... Read more

Amazon.com essential video

Winner of seven Academy Awards, including best picture, director, actor, and screenplay, William Wyler's brilliant drama about domestic life after World War II remains one of the all-time classics of American cinema. Inspired by a pictorial article about returning soldiers in Life magazine, the story focuses on three war veterans (Fredric March, Dana Andrews, and Harold Russell in unforgettable roles) and their rocky readjustment to civilian life in their Midwestern town of Boone City. Capturing the contradictory moods of America in the mid to late 1940s, this three-hour drama spans a complex range of honest emotions, from joyous celebration and happy reunion to deep-rooted ambivalence and reassessment of personal priorities. A movie milestone when released in 1946, The Best Years of Our Lives still packs a punch with powerful, timeless themes. --Jeff Shannon ... Read more

Reviews (78)

A poignant drama that provides insight into post-WW2 America
"The Best Years of Our Lives" is a compelling dramatic masterpiece, and certainly one of the best films ever made. It's not as well known today as other pieces from the period, such as "Casablanca" or "Citizen Kane", but it is nevertheless a classic that deserves ranking with those same films.

This film paints a picture of the struggles of World War II servicemen that they faced AFTER the war was over. It was a more personal struggle of men returning home after being away for many years, and after experiencing horrors that their loved ones could never fully understand. They return home as changed people, and come home to changed lives.

The story of such a homecoming experienced by thousands of men after World War II is told from the perspective of three fictional characters: Captain Fred Derry, a bombadier in the Army Air Corps (Dana Andrews), Sergeant Al Stevenson, an Army infantryman (Frederich March), and Seamen Homer Parrish(Harold Russell). They happen to meet on the plane to their hometown, having never met before, and immediately form a bond built upon mutual understanding of the experiences of war and the anxieties of returning home again.

Captain Derry came from a poor background before the war, and married a blond bombshell (Virgnia Mayo) while in the Air Corps. He hopes to return home to a better life, a nice home with his wife, and a better job. This was not to be, as Derry struggles to try and deal with bad job prospects (no one in the civilian world needs a bombadier) and a cheating wife. In a poignant moment in the film, Derry (at his lowest) tells his Father to throw away the citations for his medals, because "they don't mean anything". His Father reads the one for the Distinguished Flying Cross, signed by General Jimmy Doolittle, and a look of pride comes over the old man's face for his son's heroism that makes you want to cry and cheer all at the same time. It also makes the viewer see how criminal it was for such a man to be made to feel worthless.

Sergeant Stevenson comes home to better circumstances, being a banker in the civilian world with a wife, two grown children, and a nice apartment. But he too must confront troubles, as Stevenson must get to know a family that progressed without him, and balance his job with his desire to aid servicemen seeking G.I. Bill loans. He battles with his bank's bosses over the loan issue, and also struggles with alcoholism.

Seamen Parrish's problems are the most obvious. He lost his hands during the war, and now must come home to his family and fiancee with hooks for hands. The actor who potrayed Parrish, Harold Russell, was a real disable veteran, and lends credibility to the role that no one else could have due to real life experience.

This may seem like a depressing film, but it is actually uplifting in its entirety because it does show that hope doesn't die, and that you really can come home again after all. It is also a film of historical importance due to the insights it provides into post-World War II America, and the struggles of veterans in the post-war years. Captain Derry, Sergeant Stevenson, and Seamen Parrish, and their individual struggles to reclaim their lives can provide the student of history an important perspective on the many real life veterans who returned home, and the country of the time they returned home to.

The film has certainly earned accolades over the years. It won the Oscar for Best Picture of 1946. It was named by the American Film Institute as one of the 100 Best Movies ever made, and was also named as one of the most important films of all time by the National Archives for the National Film Registry.

"The Best Years of Our Lives" is not to be missed for both its dramatic poignancy and its insight into an important period of American History. And its a beautiful sight to behold in DVD quality.

One of the best pictures of our lives
The story of three American veterans of WW II and their adjustments to civilian life remains as poignant and moving today, as when it was first released. The three veterans (Fredric March, Harold Russell, and Dana Andrews) all from the same town, but different backgrounds, journey home together on a military transport plain. Fredric March's character, Al Stephenson, is a mature married man with a good profession, a beautiful wife (Myrna Loy), and two grown children (Teresa Wright and Michael Hall); Harold Russell is a disabled Navy veteran (he lost both hands in battle) unsure of where he stands in life and with his high school sweetheart (Cathy O' Donnell); and Dana Andrews is the "glamour boy" bombardier who comes home to find that the civilian world, which includes his wife (Virginia Mayo), cares little about his exploits as a caption in the Air Force. The journey each man takes is both engrossing and entertaining. It's hard to believe this movie is almost 3 hours long; it moves along so quickly. With a dream cast of top talent from 1940s Hollywood, director William Wyler gets superb performances from the stars as well as the most minor bit players. The action begins with a night on the town with March, Loy, and Wright celebrating March's return home. During their celebrating, they run into Russell and Andrews at Russell's uncle's (Hogey Carmichael) tavern. Having celebrated a bit too much, Loy and Wright load March and Andrews into their car to take them home. They drop Andrews off at his wife's apartment building, but he doesn't have a key to get in, and in a drunken stupor collapses outside its entrance. Loy and Wright proceed to load Andrews back in the car and take him in for the night. The relationships between all the main characters reach a level of poignancy without being overly sentimental, which is no easy feat, especially with what must have been tough stuff to watch for an overwhelming majority of the audience when originally released. Russell and O' Donnell's scenes are moving and sensitive, as are Loy and March's. Even though Andrews arrives home physically intact, his lot seems to be the worst of the group. Married to a self-centered-woman who doesn't love him, he longs for a relationship with someone like Peggy Stephenson (Wright). Things get complicated when the feelings are mutual, with Wright beginning to have strong feelings for Andrews. There are many wonderful moments in this film. Roman Bohnen as Andrews's father is terrific as a man who has a tough time expressing his genuine love for his disillusioned son. When he reads the official letter recounting his son's bravery to his wife (Gladys George), it's an incredibly powerful moment. Another wonderful scene is Wright's visit to the store where Andrews works as a salesman at the perfume counter (as well as at the soda fountain). The good-natured flirting between them seems both honest and real in the hands of these two pros. One could go on and on about the wonderful score, the great Gregg Toland cinematography--from the opening shots from the transport plane to the aircraft "graveyard,"--but this is one wonderful whole that is equal to the sum of its parts; everything falls together seamlessly. Top talent at their peak; run don't walk to get a copy of this classic Best Picture winner (1946).

An Amazing Film.
I was fortunate enough to see this movie on TV a few nights ago, and I must say that it is one of the best films I've seen for YEARS. It's hard to believe that I've never heard of this movie. Even though I was born more than 30 years after this movie's release, it melted my heart unlike any film I've seen. I was very surprised by some of the material in the movie. It seemed way ahead of its time, with topics like alcohol addictions, the questionable results of WWII, etc. It's definately a movie that I'll be adding to my DVD collection.

Superb (and Still Relevant)
I'm usually reluctant to watch old movies no matter how good they're supposed to be. I'm thankful that for some reason I decided to at least watch the beginning and see if it held my attention. This movie will break your heart, all of the characters are sympathetic, and although it is almost 60 years old it is extremely relevant right now, since the US is now in the middle of a war and a new generation of veterans is coming home. It is moving, touching, disturbing, thought-provoking, and inspiring, and for someone too young to have known any family members who remembered WWII or post-war America, highly informative. I suspect, from the number of awards this movie won in the 1940s, that it was well-received, but if this movie were released today it would be denounced as anti-American and unpatriotic.

Correction to Jeff Shannon's Review
The Best Years of Our Lives may have perhaps drawn from some things in a Life Magazine article on returning vets, but the plot is really based on MacKinlay Kantor's 1945 novel Glory for Me, which follows a similar trio of returning GIs. ... Read more

Amazon.com

Director Henry Hathaway never hesitated to return to a picturesque location that had served him well. There's no more striking example than his sequel-in-spirit to the enchanting early-Technicolor Trail of the Lonesome Pine (1936). This time, the enchantment is darker, just as Charles Lang Jr.'s stunning cinematography represents a quantum leap in sophistication over Trail's pleasant pictorialism. The long-running Appalachian feud of the earlier film is replaced by a spooky familial curse that has almost literally poisoned one Ozark household and could perpetuate a tragic cycle of violence and vengeance in another.

John Wayne would win an Oscar under Hathaway's direction three decades later (for True Grit), so it's all the more noteworthy that his performance in this singular yet neglected film--as a son sworn to kill the father he has never met--was his most complex to date. Perhaps Wayne was challenged by the company he was keeping, including New York stage veterans Betty Field (as his tomboy love), James Barton, and Marc Lawrence (cast against type as the mute, lightning-struck cousin who dotes on Wayne's every move). Or maybe it was the prospect of sharing the screen with that old lion and premier Western role model, Harry Carey. There's also powerful work by Beulah Bondi, who as a matriarch from hell all but gives off sulfur fumes, and by the amazing Marjorie Main, playing a blind woman who sees for the first time on a mountaintop above the clouds. Get ahold of this movie, and it will get a hold on you. --Richard T. Jameson ... Read more

Reviews (1)

An Interesting and Unusual Film
Shepherd of the Hills is a fine film with wonderful colour photography of stunning mountain locations. There is a real sense of remoteness about the places filmed, which is vital for the story, for the people living in the hills have had little contact with the outside world and are thus unaware of things like personal cheques and telephones. Their lives are governed by such things as superstitions, curses and long-running feuds and they try to keep the outside world out. Thus they resent excise men, intruders and any strangers.

The story of the film revolves around the appearance of one such stranger, Harry Carey. John Wayne may be the nominal star of the film, but the larger and more important role is Carey's. Carey was once a major silent Western star, but his more familiar roles to modern viewers are smaller parts in such films as Mr Smith Goes to Washington, and later Wayne Classics The Angel and the Badman and Red River. It is a great pleasure to see him in a major part for his acting is subtle, quiet and undemonstrative. Wayne admired and learned a lot from Carey, their scenes together are some of the highlights of the film. The acting of the whole cast is in fact one of the main reasons to watch this film. There are many familiar faces giving fine performances, including Marjorie Main, as an old blind woman who regains her sight, Beulah Bondi as a vicious matriarch and Ward Bond, who sometimes seems to be in every other film made during this period. Also worthy of special mention is the beautiful Betty Field who is adorable as Wayne's girlfriend trying desperately to tame his wildness.

Shepherd of the Hills can be described as a sort of Western. It has many typical Western features, fistfights, shootouts, but it also has many elements which are unusual and surprising. This film is really worth getting for John Wayne fans and it is surprising that it is not better known, for it includes one of his best performances. ... Read more

Reviews (59)

A big Western with a stupendous music score.
I loved this movie as a kid when I saw it in the theatre back in 1958 or 1959 and I still love it. The movie score by Jerome Morass is absolutely magnificent. Gregory Peck plays a pacifist Easterner who's trying to avoid getting caught up in the land dispute his fiance's (Carol Baker) family is having with a local clan. His shallow fiance and her father (Charles Bickford) interpret his unwillingness to fight as a sign of weakness. Charlton Heston and the beautiful Jean Simmons are fine in their roles. Burl Ives won an Oscar for his portrayal of Rufus Hennesey, the leader of a very large extended family. Last, but not least, Chuck Connors (of the Rifleman TV series) turns in his finest film performance. A big movie with big stars made by a big-time director (William Wyler who won best director Oscars for Ben-Hur and The Best Years of Our Lives). A fine film with a good message about the futility of fighting in order to resolve conflicts.

Good performances in a beautiful Hollywood Western
THE BIG COUNTRY is a very good Hollywood Western, with all the strengths and weaknesses that implies: a first-rate cast and fine production values, but a less-than-imaginative script written by a studio committee. The story is a variation on the tried-and-true "Eastern Dude Tames Wild West" theme. Co-produced by director William Wyler and star Gregory Peck, it strives a bit self-consciously for epic grandeur, and lacks the comparatively gritty realism of John Ford's thematically related THE MAN WHO SHOT LIBERTY VALANCE.

As the transplanted Easterner, Peck's understated performance is a pleasure to watch. Jean Simmons is fine as the schoolmarm, and the two Chucks (Conners and Heston) are equally good in their roles. A supporting actor Oscar went to Burl Ives, but the standout performance belongs to Carroll Baker as Peck's spoiled fiance. Franz Planer's cinematography is quite good, too, but like the script, performances, and pacing, it's just a little bit too self-conscious. The picture feels more like OKLAHOMA! than like THE SEARCHERS--altogether too theatrical to sustain the suspension of disbelief.

Yet this is a very entertaining movie--at least for those who value character, conflict, and beautiful imagery over car chases, explosions, and other special effects. And fans of Westerns in particular should appreciate the many virtues of this near-Classic. Four solid stars.

Atticus Finch goes West
This is a sprawling, glorious saga that will be appreciated by people who don't even like the Western genre. With fabulous cinematography, an excellent script, and two of my favorite actors, it's a film I never tire of watching.
Gregory Peck is the sea captain with principles who goes west to meet his future bride, only to find feuds and fighting, and some lawless varmints who need his "non violent" ways of resolving territorial issues. He is terrific as James McKay, who is sort of an Atticus Finch in boots, and looks mighty fine as well.
Charlton Heston has the smaller part as Leech, a foreman who is seething with jealousy and obeys the orders of his unscrupulous boss (rancher Terrill, played with subtle menace by Charles Bickford) as he yearns for his daughter. Heston is brilliant as this rather complex character, and would a year later star in director William Wyler's next epic, "Ben Hur", which is perhaps my all-time most viewed and enjoyed film.

Both female leads are wonderful, and are portrayed with enormous strength; Jean Simmons, with her luminous eyes is the schoolteacher, and Carroll Baker is the tough daughter of rancher Bickford, and is too much like her daddy to make a suitable bride for Peck.
Among the many strong performances in the supporting parts are Burl Ives, and received a Best Supporting Actor Oscar for his gnarly old Rufus, Chuck Connors is his bad to the bone son, and Alfonso Bedoya, is a delight as Ramon, who along with a horse named "Old Thunder", provides some of the humor in the film.
The score by Jerome Moross is lovely (and received an Oscar nomination) and the cinematography by Franz Planner spectacular. The film was shot in the Yuba and San Joaquin Counties in California, as well as canyon country in Chinly, Arizona, and it is breathtakingly beautiful.

If you like a good screen fight like I do, this has a great one, "mano a mano" between Peck and Heston; it initially has no music, just the pounding of the fists and the men gasping for breath, and is very effective.
Romance, drama, and lots of action make this a film that appeals to many, and is suitable for the whole family. Total running time is 165 minutes.

A good Western movie

Director: William Wyler
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: May 2, 2000

Cast:

Gregory Peck ... James McKay
Jean Simmons ... Julie Maragon
Carroll Baker ... Patricia Terrill
Charlton Heston ... Steve Leech
Burl Ives ... Rufus Hannassey
Charles Bickford ... Major Henry Terrill
Alfonso Bedoya ... Ramon Guiteras
Chuck Connors ... Buck Hannassey
Chuck Hayward ... Rafe Hannassey
Buff Brady ... Dude Hannassey
Jim Burk ... Blackie/Cracker Hannassey
Dorothy Adams ... Hannassey Woman
Chuck Roberson ... Terrill Cowboy
Bob Morgan ... Terrill Cowboy
John McKee ... Terrill Cowboy
Slim Talbot ... Terrill Cowboy
Donald Kerr ... Liveryman
Carey Paul Peck ... Boy
Jonathan Peck ... Boy
Stephen Peck ... Boy
Ralph Sanford ... Party Guest
Richard Alexander ... Party Guest, (Oceans)
Harry Cheshire ... Party Guest

It is said that Gregory Peck and William Wyler, erstwhile friends who had previously worked together successfully had a falling out over this film and never spoke for years afterward. Both were co-producers, and Peck became agitated over the fact that Wylie was working too slowly and the film was going 'way over budget. Wylie resented anyone else telling him how to make a movie. It also appears that three of Peck's children had children's parts in the film.

The fight seen between Peck and Heston is one of the high points of the film that has caused much comment, as it was filmed from a great distance, rather than close-uo.

Such details aside, the story depicts a sea-captain, James McKay (Peck) coming West to marry Patricia Terrill (Carol Baker). He walks straight into a personal vendetta between Major Henry Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives) over an old grudge, and the usual battle over water rights typical in many Western stories. McKay is a peaceful man who tends to avoid resorting to violence, causing his would-be bride to accuse him of cowardice.

Buck Hannassey (Chuck Connors) and Steve Leech (Charlton Heston) play supporting roles, each of whom has designs on the leading women in the story, leading to antagonisms. Ramon (Alphonso Bedoya) plays his part well, as a Mexican ranch employee. He was better in the Treasure of the Sierra Madre, I think, but he always turns in a good performance.

This is a good Western, with the usual scenery typical of the West. The plot is somewhat hackneyed, but is well-played and comes off well, thanks to the staff.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

The only Western that I highly recommend watching
Although my tastes in film are very broad, I am not fond of Westerns. However, "The Big Country" is an excellent film. It is a Western, but in many ways it doesn't FEEL like a Western. The film's intelligence, strong characters, and reliance on humanity provide a superior storyline to the traditional shoot-'em-up mentality so common in Westerns.

The basic premise concerns retired sea captain James McKay (Peck), who travels West to marry his fiancé Pat Terrill (Baker), whom he met while she was visiting Baltimore. He is quickly thrown in the middle of a huge family feud between the wealthy Terrills and the struggling Hannasseys, presumably over water rights at the Big Muddy, a dormant ranch owned by the lovely schoolteacher Julie (Simmons). However, McKay, the intelligent outsider, sees through the feuding patriarchs (Bickford and Ives). What follows is, in my opinion, one of the most effective showdowns in Western cinema (forget "High Noon").

The characterization in this film is particularly strong. Gregory Peck is very good, as always, even though his McKay character has a level of integrity that may be just a BIT hard to swallow. Carroll Baker's role as the spoiled only child is sickeningly good. Jean Simmons is sweet and demure, but strong and self-sufficient, a perfect contrast to her friend, Pat. Charles Bickford's egotistical role as Major Henry Terrill is great, and his questionable relationship with his daughter raised my eyebrows. Charlton Heston's role is relatively small, but he provides the necessary tension and jealousy between himself, Baker, and Peck. In addition, his character's loyalty to Terrill, although misplaced, is touching. Chuck Connors' character as Buck Hannassey is vile, trashy, and degrading, but his performance is one of the most credible in the film. And, saving the best for last, Burl Ives is absolutely superb in the role of Rufus Hannassey, the overweight, bullying patriarch who simultaneously loves and hates his son Buck. He deserved the Best Supporting Actor Oscar that he won for this role.

There is one flaw to this film that stands out, and another reviewer mentioned it below: watch the canyon barricade scene near the end. The Terrill bunch HAD to see that coming, yet they acted surprised. Wyler missed it there, I think, but overall the film is a beautiful piece of cinema.

One last praise: the score. From the opening credits, this beautifully motivating music resounds throughout the film and is one of my favorites. Just beautiful. ... Read more

Description

Carrie's dreams of adventure in the big city are quickly squashed as she discovers all that awaits her there is a bleak life of grueling and poorly-paid factory work. That is, until a traveling salesman named Drouet steps into her life and changes her outlook. Breaking all the rules of morality at the time, Carrie moves in with him and at first she's content, but when Drouet introduces her to the wealthy and married Hurstwood, who manages a restaurant, Carrie instantly sizes up the difference between the two men and discovers she's falling for him. ... Read more

Reviews (9)

Interesting adaptation
I notice many of the other reviewers lamenting that this film adaptation of Dreiser's novel is not as good as the book itself. Of course it isn't, but that doesn't mean there isn't considerable merit in this film. Naturally there are considerable differences between the book and the movie, but that is inevitable in any screen translation.

The performances are uniformly good. Jennifer Jones was hardly considered an outstanding actress, but she's well cast here in the role of a passive, timid and one-dimensional Carrie. The ambitious side of Carrie in the novel is muted a bit for the screen. Olivier is exceptional in the lead character and his disintegration from rich restaurant manager to skid row bum is masterful. Perhaps the most overlooked performance is that of Eddie Albert, cast as Carrie's first lover. Albert is exceptional and most resembles the original character in Dreiser's book.

The ending will have you reaching for your handkerchief's, so be forewarned. For anyone who has not read Dreiser's novel, you will be prompted to lay hands on the book as soon as this film is concluded. Recommended viewing.

Good, But Could Have Been Better
If you are a fan of Laurence Olivier, then you should definitely see this movie. The beautiful Jennifer Jones is an adequate, if uninspired, Carrie--hampered partly by production codes that took too much bite out of the character and her overriding drive for happiness. The excellent novel by Theodore Dreiser definitely deserves another shot by Hollywood, but not if it involves the previous reviewer's suggestion of the title character being portrayed by Jennifer Jason Leigh. Miss Leigh has very little talent and plays every one of her characters as if she's on the brink of committing suicide. She ruined the remake of "Washington Square" with her talentless performance, so if "Sister Carrie" is remade, please, Hollywood, don't let Miss Leigh get her hands on this fascinating character from another American Classic!

Attention Hollywood! Please remake this movie!
Fortunately, Theodore Dreiser was long dead before the release of this bland travesty of his masterpiece "Sister Carrie", so he didn't have to suffer the misery of seeing it. Although plans for the movie had been floating around while he was alive (with Irene Dunne slated to play Carrie and Charles Laughton to play her married lover), due to the themes of the novel (young girl moves in with travelling salesman, then marries bigamist), the Hayes Office kept it off the screen for years. When it finally emerged, Jennifer Jones starred as Carrie, and Lawrence Olivier played her married lover, with Edward Albert as the travelling salesman.

In the novel, Carrie is a plucky, ambitious and often ruthless girl set loose in the cruel world of Chicago around the turn of the century, who survives by her wits and triumphs against all odds. In the film, as played by Jennifer Jones, she is a bland, wimpy, completely guileless and innocent girl who is taken in by the cruelty of men, and simply plods her way along from bad situation to worse situation (with Ms. Jones all the while widening her eyes for sympathy). The movie robs the audience of one of the greatest literary heroines since Becky Sharp. Most of the fault lies in the watered down screenplay, but I also must lie blame on Ms. Jones. One wonders what Vivien Leigh could have done with the role. I'm wondering what Jennifer Jason Leigh could do with it now, if some enterprising producer would read one of the greatest classics of American literature.

Advice? Skip this and pray for a decent remake.

The Descent of Hurstwood
Bleak and poignant adaptation based on one of Theodore Dreiser's masterpieces. Brunette beauty Jennifer Jones is touching as Carrie, the unsophisticated, naive teenager from hicksville who moves to the big city in search of glamour and a better life. Interesting to watch is her transformation from simple small-town girl to a reluctant, disillusioned "scarlet woman," to a famous stage actress and wise woman who truly loves and then loses her man--for good. Laurence Olivier is riveting and heartrending as her lover and "husband" George Hurstwood, an upper-class middle-aged man in a desperately unhappy marriage whose utter lack of romantic happiness and love leads him to abandon everything--his wealthy wife, adoring children, a grand house complete with servants, a good job and a comfortable existence--when he develops a grand obsession with Carrie that sends him on a downward spiral from which there is no return. Also excellent is Edward Arnold who steals some of the show as the brash and smooth-talking George Drouet, a commitment-averse young man who takes the innocent Carrie as his live-in lover; and Miriam Hopkins is her quintessentially witchy self as George's cold and scheming wife. The beautiful moving score serves as a perfect accompaniment to chronicle the trials and travails of Carrie and George. This film did poorly when released; perhaps because unlike other early 50's movies derived from great literary works such as Steinbeck's "East of Eden" and another of Dreiser's novels "An American Tragedy" (made into "A Place in the Sun"), "Carrie" as a film veered off concerning the heroine by portraying her as a warm and depthful "good" girl instead of the materialistic and selfish person as shown for the most part in the book, and thus did not pack as much force as it might have otherwise. Yet a solid enough version that left me only slightly disappointed after reading the book, and will probably be more than satisfactory if you haven't due to the sensitive, genuine performances of the leads.

Even Olivier misses his mark here
in this disappointing screen adaptation of Theodore Dreiser's powerful study of social darwinism, "Sister Carrie". That novel is one of the most riveting I've ever read, and I was looking forward to see this film. Yet Olivier played the Hurstwood character all wrong; he lacked the smooth bravura of the man who originally seduced away the Jennifer Jones character from her earlier lover played by Eddie Albert. Eddie Albert's performance, incidentally, is the only one that comes close to what Dreiser wrote. And Jennifer Jones gives us a Carrie who is sympathetic and nice, and Dreiser's Carrie is neither. This is one of those occasions where you wonder why they bothered to acquire the rights to the novel if they had no intention of realizing it accurately as a movie. Take my advice, and read the book. ... Read more

Description

Sheep rancher, determined to move his herds into cattle country, meets opposition from wealthy ranchers. ... Read more

Reviews (2)

Solid Western from Flynn
The year was 1950 and Warner Bros. was looking to recapture their glory days into the foray of very big Westerns the studio produced during the 40s. MONTANA was one of Errol Flynn's last Hollywood films. He would make his last Western for Warner Bros. that same year ROCKY MOUNTAIN, based on a little known Civil War incident and one of my favorite Flynn films. In MONTANA Flynn is a sheepman who invades cattle country in Montana controlled by cattle ranchers Alexis Smith and Douglas Kennedy. Under Ray Enright's direction and under James R. Webb, Borden Chase and Charles O'Neal's scripting it has a feel of the empire building era that was prevalent in numerous Westerns. Flynn is smooth as usual but the film's greatest asset is the colour Cinematography by Karl Freund (Academy Award Winner for THE GOOD EARTH). Composer David Buttolph (THE HORSE SOLDIERS) provided the score.

Montana with Errol Flynn
Flynn is good as sheepherder in confrontation with cattle ranchers in the old West. Alexis Smith co-stars. ... Read more

Reviews (59)

A big Western with a stupendous music score.
I loved this movie as a kid when I saw it in the theatre back in 1958 or 1959 and I still love it. The movie score by Jerome Morass is absolutely magnificent. Gregory Peck plays a pacifist Easterner who's trying to avoid getting caught up in the land dispute his fiance's (Carol Baker) family is having with a local clan. His shallow fiance and her father (Charles Bickford) interpret his unwillingness to fight as a sign of weakness. Charlton Heston and the beautiful Jean Simmons are fine in their roles. Burl Ives won an Oscar for his portrayal of Rufus Hennesey, the leader of a very large extended family. Last, but not least, Chuck Connors (of the Rifleman TV series) turns in his finest film performance. A big movie with big stars made by a big-time director (William Wyler who won best director Oscars for Ben-Hur and The Best Years of Our Lives). A fine film with a good message about the futility of fighting in order to resolve conflicts.

Good performances in a beautiful Hollywood Western
THE BIG COUNTRY is a very good Hollywood Western, with all the strengths and weaknesses that implies: a first-rate cast and fine production values, but a less-than-imaginative script written by a studio committee. The story is a variation on the tried-and-true "Eastern Dude Tames Wild West" theme. Co-produced by director William Wyler and star Gregory Peck, it strives a bit self-consciously for epic grandeur, and lacks the comparatively gritty realism of John Ford's thematically related THE MAN WHO SHOT LIBERTY VALANCE.

As the transplanted Easterner, Peck's understated performance is a pleasure to watch. Jean Simmons is fine as the schoolmarm, and the two Chucks (Conners and Heston) are equally good in their roles. A supporting actor Oscar went to Burl Ives, but the standout performance belongs to Carroll Baker as Peck's spoiled fiance. Franz Planer's cinematography is quite good, too, but like the script, performances, and pacing, it's just a little bit too self-conscious. The picture feels more like OKLAHOMA! than like THE SEARCHERS--altogether too theatrical to sustain the suspension of disbelief.

Yet this is a very entertaining movie--at least for those who value character, conflict, and beautiful imagery over car chases, explosions, and other special effects. And fans of Westerns in particular should appreciate the many virtues of this near-Classic. Four solid stars.

Atticus Finch goes West
This is a sprawling, glorious saga that will be appreciated by people who don't even like the Western genre. With fabulous cinematography, an excellent script, and two of my favorite actors, it's a film I never tire of watching.
Gregory Peck is the sea captain with principles who goes west to meet his future bride, only to find feuds and fighting, and some lawless varmints who need his "non violent" ways of resolving territorial issues. He is terrific as James McKay, who is sort of an Atticus Finch in boots, and looks mighty fine as well.
Charlton Heston has the smaller part as Leech, a foreman who is seething with jealousy and obeys the orders of his unscrupulous boss (rancher Terrill, played with subtle menace by Charles Bickford) as he yearns for his daughter. Heston is brilliant as this rather complex character, and would a year later star in director William Wyler's next epic, "Ben Hur", which is perhaps my all-time most viewed and enjoyed film.

Both female leads are wonderful, and are portrayed with enormous strength; Jean Simmons, with her luminous eyes is the schoolteacher, and Carroll Baker is the tough daughter of rancher Bickford, and is too much like her daddy to make a suitable bride for Peck.
Among the many strong performances in the supporting parts are Burl Ives, and received a Best Supporting Actor Oscar for his gnarly old Rufus, Chuck Connors is his bad to the bone son, and Alfonso Bedoya, is a delight as Ramon, who along with a horse named "Old Thunder", provides some of the humor in the film.
The score by Jerome Moross is lovely (and received an Oscar nomination) and the cinematography by Franz Planner spectacular. The film was shot in the Yuba and San Joaquin Counties in California, as well as canyon country in Chinly, Arizona, and it is breathtakingly beautiful.

If you like a good screen fight like I do, this has a great one, "mano a mano" between Peck and Heston; it initially has no music, just the pounding of the fists and the men gasping for breath, and is very effective.
Romance, drama, and lots of action make this a film that appeals to many, and is suitable for the whole family. Total running time is 165 minutes.

A good Western movie

Director: William Wyler
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: May 2, 2000

Cast:

Gregory Peck ... James McKay
Jean Simmons ... Julie Maragon
Carroll Baker ... Patricia Terrill
Charlton Heston ... Steve Leech
Burl Ives ... Rufus Hannassey
Charles Bickford ... Major Henry Terrill
Alfonso Bedoya ... Ramon Guiteras
Chuck Connors ... Buck Hannassey
Chuck Hayward ... Rafe Hannassey
Buff Brady ... Dude Hannassey
Jim Burk ... Blackie/Cracker Hannassey
Dorothy Adams ... Hannassey Woman
Chuck Roberson ... Terrill Cowboy
Bob Morgan ... Terrill Cowboy
John McKee ... Terrill Cowboy
Slim Talbot ... Terrill Cowboy
Donald Kerr ... Liveryman
Carey Paul Peck ... Boy
Jonathan Peck ... Boy
Stephen Peck ... Boy
Ralph Sanford ... Party Guest
Richard Alexander ... Party Guest, (Oceans)
Harry Cheshire ... Party Guest

It is said that Gregory Peck and William Wyler, erstwhile friends who had previously worked together successfully had a falling out over this film and never spoke for years afterward. Both were co-producers, and Peck became agitated over the fact that Wylie was working too slowly and the film was going 'way over budget. Wylie resented anyone else telling him how to make a movie. It also appears that three of Peck's children had children's parts in the film.

The fight seen between Peck and Heston is one of the high points of the film that has caused much comment, as it was filmed from a great distance, rather than close-uo.

Such details aside, the story depicts a sea-captain, James McKay (Peck) coming West to marry Patricia Terrill (Carol Baker). He walks straight into a personal vendetta between Major Henry Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives) over an old grudge, and the usual battle over water rights typical in many Western stories. McKay is a peaceful man who tends to avoid resorting to violence, causing his would-be bride to accuse him of cowardice.

Buck Hannassey (Chuck Connors) and Steve Leech (Charlton Heston) play supporting roles, each of whom has designs on the leading women in the story, leading to antagonisms. Ramon (Alphonso Bedoya) plays his part well, as a Mexican ranch employee. He was better in the Treasure of the Sierra Madre, I think, but he always turns in a good performance.

This is a good Western, with the usual scenery typical of the West. The plot is somewhat hackneyed, but is well-played and comes off well, thanks to the staff.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

The only Western that I highly recommend watching
Although my tastes in film are very broad, I am not fond of Westerns. However, "The Big Country" is an excellent film. It is a Western, but in many ways it doesn't FEEL like a Western. The film's intelligence, strong characters, and reliance on humanity provide a superior storyline to the traditional shoot-'em-up mentality so common in Westerns.

The basic premise concerns retired sea captain James McKay (Peck), who travels West to marry his fiancé Pat Terrill (Baker), whom he met while she was visiting Baltimore. He is quickly thrown in the middle of a huge family feud between the wealthy Terrills and the struggling Hannasseys, presumably over water rights at the Big Muddy, a dormant ranch owned by the lovely schoolteacher Julie (Simmons). However, McKay, the intelligent outsider, sees through the feuding patriarchs (Bickford and Ives). What follows is, in my opinion, one of the most effective showdowns in Western cinema (forget "High Noon").

The characterization in this film is particularly strong. Gregory Peck is very good, as always, even though his McKay character has a level of integrity that may be just a BIT hard to swallow. Carroll Baker's role as the spoiled only child is sickeningly good. Jean Simmons is sweet and demure, but strong and self-sufficient, a perfect contrast to her friend, Pat. Charles Bickford's egotistical role as Major Henry Terrill is great, and his questionable relationship with his daughter raised my eyebrows. Charlton Heston's role is relatively small, but he provides the necessary tension and jealousy between himself, Baker, and Peck. In addition, his character's loyalty to Terrill, although misplaced, is touching. Chuck Connors' character as Buck Hannassey is vile, trashy, and degrading, but his performance is one of the most credible in the film. And, saving the best for last, Burl Ives is absolutely superb in the role of Rufus Hannassey, the overweight, bullying patriarch who simultaneously loves and hates his son Buck. He deserved the Best Supporting Actor Oscar that he won for this role.

There is one flaw to this film that stands out, and another reviewer mentioned it below: watch the canyon barricade scene near the end. The Terrill bunch HAD to see that coming, yet they acted surprised. Wyler missed it there, I think, but overall the film is a beautiful piece of cinema.

One last praise: the score. From the opening credits, this beautifully motivating music resounds throughout the film and is one of my favorites. Just beautiful. ... Read more

Reviews (42)

The penultimate crime caper film
Back in the days when Stanley Kubrick was still a relative unknown, he made this gem of a film which has since earned a reputation for being one of the best crime caper films ever made. The film is tightly structured and well-paced with an eye on increasing the tension until the very end. A wonderful movie, and those who have seen "Reservoir Dogs" will immediately recognize the influence "The Killing" had on the latter film. The plot-line is simple - a band of crooks, each with his own motivation, conceive of a plan to rob a racetrack. The plan works fine...until something goes wrong. Kubrick filmed this classic with a minimal budget, but his genius is evidently on-screen in how he arranges the furniture and lighting and actors to get the most out of his limited funds and to augment the clastrophobic sense of suspense.