Reviews (21)

The first and the best of Hammer's erotic vampire films
"The Vampire Lovers," directed by Roy Ward Baker in 1970, is the first in the Karnstein trilogy of Hammer films, all based quite loosely on Joseph Sheridan LeFanu's story "Carmilla." The Karnsteins are a clan of vampires, represented in this version by a bunch of scantily clad women. Ingrid Pitt stars as Carmilla, who also goes under the anagram names of Mircalla and Marcilla at various points in the story (yes, there is a story). The last of her clan, Carmilla is trying to rebuild, turning first to Laura (Pippa Steele), the daughter of General Spielsdorf (Peter Cushing) and then Emma (Madeleine Smith), the daughter of Roger Morton (George Cole). Along the way she turns Mademoiselle Perrodon (Kate O'Mara) into a sexual slave. In the great tradition of Dracula and most other vampire films, Laura dies before anyone recognizes the marks of the vampire and then the goal is to save poor Emma from the same fate.

There is a lot in "The Vampire Lovers" that never makes much sense. Who is the countess (Dawn Addams) who travels with Mircalla? What is up with the black-clad vampire (John Forbes Robertson) who keeps hanging around? Supposedly Mircalla is the last of her clan, but maybe not. Mircalla keeps saying she loves her victims, but they all end up dead, which certainly does not help out her clan much. In the end it is clear that Hammer, aided and abetted by American International in this instance, was making a flat-out lesbian vampire film. As such, I can honestly say that you are not going to find a better one out there. Ironically, "The Vampire Lovers" ends up being more erotic than the vast majority of films featuring heterosexual relationships between the undead and their victims.

ARE YOU A VAMPIRE LOVER?
Indeed, many fantasy mavens are vampire lovers themselves, and a lot of them got that way by being "bitten" by Hammer Studios' great vampire classics of the late 50s and early 60s, as exemplified by "Horror of Dracula" and "Brides of Dracula." Sexier and a little bloodier than previous Dracula films, Hammer's productions took the vampire movie to the next level. Unfortunately, the law of diminishing returns forced Hammer's competitors to up the ante themselves to compete, and Hammer recognized that if they wanted to keep their exalted place in horror's hierarchy they would have to raise the bar once more.

The result was "The Vampire Lovers," derived from J. Sheridan LeFanu's immortal short novel entitled "Carmilla." Actually preceding "Dracula" in the annals of vampire literature and even more respected by some, LeFanu's story seemed the perfect choice for Hammer to batten upon. The picturesque Styrian setting, the gothic trappings, and the tale's natural sexual subtext all seemed custom made for a splendid Hammer adaptation.

Unfortunately, Hammer's adaptation leaves much to be desired. Many love this movie because it so seamlessly blends vampirism and sex, but in fact there is nothing to the film at all besides nudity and bloodletting. The elegant narrative of LeFanu's original is reduced to a rather childish softcore exhibition of skin and blood. Granted, it seems rather tame compared to "From Dusk Til Dawn," but given its pedigree "The Vampire Lovers" should have been a classic on par with "Horror of Dracula," not the rather sorry T&A flick that is.

More's the pity because of an excellent cast, one of the best 70s Hammer would ever boast. Ingrid Pitt is an intelligent, alluring vampire seductress, albeit little resembling LeFanu's languid, frail Carmilla; Jon Finch (before his excellent performance in Roman Polanski's "Macbeth") is a rather vapid
stalwart hero; Pippa Steele is an attractive, innocent victim; and the great Peter Cushing shows up at the end as a vengeful General who could have been another Van Helsing but is never given a chance to do much of anything. These performers could have worked wonders with better action and dialogue; as it is, their considerable talents are virtually wasted (especially Cushing).

Sadly, "The Vampire Lovers" is a contribution of little value to vampire cinema. True, it made sure future vampire films would have an excuse to indulge in more and more sex and nudity, but that's hardly anything to brag about. Moreover, despite all the sexual shenanigans, the plot drags terribly and there's little real action or drama. The most exciting sequence comes at the very beginning and nothing else matches it the rest of the way. To top things off the script makes little sense, with several characters who seem to be of some importance just popping in and out a few times to no dramatic end whatsoever.

While "The Vampire Lovers" has its fans, its no classic and certainly not as good as some of its Hammer predecessors. It was a trendsetter--but in all the wrong ways.

Lavish, Beautifully Filmed Vampire Story From Hammer Studios
"The Vampire Lovers", one of the later Vampire efforts filmed by the famed Hammer Studios has always received its share of controversy from the fact that for once a female Vampire is prominently featured and the displays of nudity combined with its lesbian theme have not been to all viewers tastes. Directed with gusto by Roy Ward Baker, I believe it is an excellent effort full of lavish production values, rich colour and an exciting story that for once is not tied in with the Dracula Legend. It is obvious that a lot of care and attention was poured into this story and it is definately one of the finest of the later Hammer efforts.

Hammer Studios, long the reigning masters of the horror genre definately took a new updated tone with this production and allowed nudity and the previously not mentioned theme of lesbianism to be featured prominently. First and foremost it gave a classic role to Polish actress Ingrid Pitt who went on to appear in a number of other Hammer and Amicus productions. "The Vampire Lovers", is based on J S LeFanu's novel "Carmilla" and was the first of the "Karnstein Trilogy" which Hammer made and included "Lust for The Vampire " and the excellent "Twins Of Evil". "The Vampire Lovers",tells the story of vampire seductress Marcilla/Carmilla the last of her blood thirsty clan who at the beginning of the story is left by her "mother" the Countess (Dawn Addams) in the care of General von Spielsdorf (Peter Cushing in another of his dignified horror performances) after she is supposedly called away to the bedside of a dying friend. Soon after her stay begins with the General his daughter Laura begins to suffer from terrible nightmares which involve a monsterous cat that seemingly molests her. Suffering from a strange anemic condition Laura eventually dies after which Marcilla mysteriously disappears and moves on to the home of Laura's friend Emma Morton where a similiar situation is played out with the vampire having herself invited to stay at the home of Emma's father Sir Roger Morton. Once in residence "Carmilla" as she is now called sets her sights on the lovely young Emma and proceeds to begin to drain the blood and life out of the girl. Emma's governess Madame Peridot (Kate O'Mara in a very effective performance) is also put under Carmilla's spell with the use of a charmed brooch. Emma's friend Carl (Jon Finch) starts to suspect Carmilla of something devious and rides to the house to save Emma becoming involved in a deadly battle with Carmilla who after killing Madame Peridot retreats to her old former home, the ruined Castle Karnstein. Discovering that Carmilla is the last member of the vampiric Karnstein family General von Spielsdorf And Sir Roger pursue her to the Castle and she is eventually dispatched by the traditional means of a sharp stake driven through the heart. Her family portrait then ages before their eyes to indicate that she is now truly dead and her curse is now lifted.

Ingrid Pitt is superb as the totally evil Marcilla/Carmilla . She possesses the appropiate beauty and sense of mystery which is vital in portraying the seductive and evil villianess. Pitt went on to portray other similiar characters in the rarely seen "Countess Dracula", and the classic "The House That Dripped Blood". Her place as one of Hammer's most prominent female performers was sealed after this effort. Peter Cushing a long term performer in Hammer productions is his usual convincing self as the ardent General bent on revenge for the cold blooded murder of his daughter. No matter what the part Cushing always lent great value to any production he performed in. The cast in "The Vampire Lovers" is uniformily fine and the two young actresses who play Carmilla's main victims, Madeline Smith as Emma and Pippa Steel as Laura have the just right innocent qualities which make them believable as the victims. Hammer really spent big on this production and the film boasts beautiful on location photography, magical indoor settings, lavish costumes and tight editing.

To watch "The Vampire Lovers", is to see how far cinema had come since the time of Hammer's first vampire effort in the late 1950's the classic "Horror of Dracula", in so far as adult themes are now openly explored in this effort. The film indeed is a feast for the eyes and succeeds in never losing touch with the imporatant elements in any Vampire story, those being an exciting story, air of mystery and terror and performers who take their parts in it very seriously. I strongly recommend Hammer Studios "The Vampire Lovers", starring Ingrid Pitt and Peter Cushing to all horror buffs and lovers of intriguing vampire stories. Enjoy!

boring
I rented this because of the positive reviews, boy, was I disapointed! This film was boring, tedious, and did not make much sense. I found the female vampire to be unconvincing as a vampire and not suited to the role. Skip this film, there are better 1960's horror movies out there.

Scary!!!
They just don't make'em like this anymore! Forget the holes in the storyline that make bits and pieces of this film somewhat senseless. Just relish the overall beauty of the production, the lush musical score, and the wonderful and attractive group of actors that combine to make The Vampire Lovers one of the best of the Hammer flicks and vampire films in general. Quality of the print is excellent also. This review is based on the MGM VHS version. ... Read more

Amazon.com essential video

More famous as a controversy than a movie, The Moon Is Blue (1953) marked a turning point in the history of frankness in American film. Because producer-director Otto Preminger owned the rights to the hit Broadway play, he stubbornly refused to change the racy dialogue in the script. The offending words included such end-of-western-civilization-as-we-know-it terms as "virgin" and "pregnant." The Production Code withheld its seal, the Catholic Legion of Decency condemned it, and the picture made a bundle. Its subject matter is antiquated now, but the movie remains a cute and well-played example of pre-Neil Simon stage comedy. William Holden and the virgin Maggie McNamara meet atop the Empire State Building, later joining middle-aged roue David Niven for martinis and steaks in Holden's hep bachelor bad. Preminger's gift wasn't necessarily for comedy, but he steers things with his usual calm style, and lets Niven make the most of a tailor-made role. --Robert Horton ... Read more

Reviews (8)

classic sleeper
One of my all time favorites. You forget that it was made in 1953. Very frank dialogue for an early 50's movie. Great acting with many laughs and a little suspense. CAN THEY MAKE IT INTO A DVD PLEASE!!

Maggie McNamara
This movie shows a promising actress Maggie McNamara. She got nominated for best actress and remains a mark as the only person in that category whose career didn't go anywhere. "The Moon is Blue" was put down by the Catholic Legion of Decency because it said the word virgin. Frankly screwball comedies of the 40's were just as suggestive so I don't get the deal.
The connection between this movie destroyed Maggie, right at her career's beginning. It's a shame because Maggie is very cute in this. Afterwards she went on to star in the boring, "Three Coins in the Fountain" and the cheesy "Cardinal." Her stint in Hollywood was then done and she worked as a secretary for the rest of her life. While the movie comes across as stagey, it's worth seeing it just for her.

A CLASSIC LOVE STORY!!
This is a good romantic comedy which features on two characters who meet on top of the empire state building and end up falling in love during the coarse of the night. This film is a bit talkative because it was adapted from the stage play, but it's funny, warm, and romantic because of William Holden, David Niven, and Maggie McNamara.
3 ACADEMY AWARD NOMINATIONS-[1953]
BEST ACTRESS-MAGGIE McNAMARA
Best Film Editing
Best Song-"The moon is blue"

A ONCE CONTROVERSIAL FILM.
A fairly amusing sex farce from nearly half a century ago features the unusual, now-forgotton (and ultimately tragic -- a suicide victim) Maggie McNamara, who is courted, swooned and wooed by both David Niven and Bill Holden. David Niven's career at the time this film was made was in serious jeopardy; he had a contract break-up with the legendary Samuel Goldwyn which was anything but cordial and his pictures prior to this weren't much of any consequence (a good example is a silly, inane "comedy" entitled THE LADY SAYS NO, 1951). The notoriously tyrannical Otto Preminger suddenly came to Niven's rescue ( it was rather like being snatched from drowning by King Kong!). The director was noted for enjoying the experience of striking terror into the hearts of his cast members and technicians alike. Niven emerged unscathed, however, and was ultimately deeply grateful to Preminger for casting him as the middle aged playboy. Niven does a commendable job and there is a certain chemistry between the three leads. THE MOON IS BLUE outraged many in its day by using such words as "virgin" and "seduce". In light of what's allowed in films today, this is hilarious. In 1953, however, it was condemned by the Catholic Church and banned by the censor. Aided by distributors, United Artists and director Otto Preminger defied the ban and released the film -- the first time the American censor had been so defied.

The film about the virgin that was denied a Code seal
Well, if you watched the episode of "M*A*S*H" where the gang tries to get to watch "The Moon Is Blue," you know that this infamous 1953 film directed by Otto Preminger is a moral tale of Patty O'Neill (Maggie McNamara), a young lady who intends to be a virgin when she gets married. Patty fends off guys by asking them if they would try to seduce her or if they have mistresses. Censorship boards went crazy because the film talked about virginity and the Motion Picture Production Code denied the film a Code seal. The result, since there was nothing truly objectionable in the film, all that really happened was Preminger's film got a million dollars worth of free publicity. William Holden as Donald Gresham and David Niven as David Slater who both joust with Patty. Just to make things a bit more interesting, Cynthia Slater (Dawn Addams), is not only the daughter of the aforementioned David, but is ticked at Donald because he was too much of a gentleman on their last date. Based on F. Hugh Herbert's play, today the film is an interesting curiosity and you have to laugh at the idea of people actually being upset by this film. "The Moon Is Blue" received three Oscar nominations, including a Best Actress nod for Maggie McNamara. Niven does a nice job with his role of the aging wolf on the prowl, but Holden seems quite uncomfortable as the unsuccessful seducer. ... Read more

Reviews (54)

The Story of God's Love
The Robe

An epic in its time due its being the first motion picture in Cinemascope, it remains a great testimony to the values and morals of its producers and director. I remember watching this movie as adolescent. Victor Mature, as Demetrius a Greek slave, stood out for me in this movie and in other movies (Demetrius and the Gladiators, Samson and Deliah) as the epitome of Christian virtue. Ironically, however the story plot was not about him, but he did play a very important supporting role, his story is in the sequel Demetrius and the Gladiators. Given that this film was an epic in its time 1953; it still has not lost the inspiration and awe of the strength of the test of faith, at least for me, that it inspired when I first saw it.

This epic film was directed by Henry Koster, a German who also is known by the name Herman Kosterlitz. His works include A man called Peter (1955), Harvey (1950), and The bishop's Wife (1947). I believe that major premise that Koster was portraying to the public was that faith in Christ is worth both searching and dying for. No matter who you are there is hope for you in finding the Jesus of the Cross.
The Robe is based on a fiction novel by Lloyd C. Douglas. The story is full of life's major issues that most of us have to work through jealousy, anger, betrayal, forgiveness, reconciliation, and the progression of and test of personal faith.

While titled the Robe, the story really evolves around Marcellus (Richard Burton) a tribune in the service of Rome. He was ordered to crucify Jesus. He wins the robe while gambling at the foot of the cross, but when he touches it he becomes tortured in his mind. When overcome, he cries out "Where you there.?" Ironically the best that anyone can do for him is to send him on a quest to find the robe and destroy it, thinking that will bring his mind to rights. When he finds the Robe he finds peace of mind, through reconciliation to God through belief in the Christ who wore the Robe. Instead of destroying the Robe he instead joins the Christians in declaring God's love for humankind. The ending of the movie is magnificent! When brought to trial by Caligula (Jay Robinson) Marcellus is ordered to pledge allegiance to Rome and renounce his faith in Christ on the penalty of death. He does renew his pledge to Rome but refuses to renounce his faith in Christ. He is sentenced to death for his faith.

The beginning of this story starts before Marcellus has to crucify Jesus, yet the cross, signified by the Robe itself is central to the story. Without it there would be no new life and faith in Christ to die for. Some have called it another story of the Crucifixion, yet I would say no. It is the continuation of the reality of the meaning of the crucifixion... i.e. the Love of God for humankind.

Wide Screen Classic
The first film to be released in the CinemaScope process, The Robe is a fairly interesting fictionalization of Roman life after the death of Christ. Richard Burton stars as Marcellus, the centurion in charge of the crucifixion. Marcellus's life is never the same after he wins Christ's robe in a gambling game. Consumed with guilt and the haunting belief that Jesus was perhaps the Son of God, Marcellus almost goes mad. With the help of some Palestinian Christians, he gets his sanity back and charts a new and dangerous course that puts him at odds with the Roman emperor. A beautiful production featuring an all-star cast including the beautiful Jean Simmons, Victor Mature, and Michael Rennie, The Robe is still enjoyable entertainment some 50 years later. The DVD quality is good and if you have a home theater, the surround sound is quite impressive. Too bad they didn't add any extras, like a commentary by Jean Simmons (the only major star still living). You would think a documentary on the development of CinemaScope would have a least been in order. After CinemaScope, all major studio productions were produced for the wide screen, and The Robe's success helped pave the way for this new process.

Jesus Christ Never Existed.
'The Robe' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

"as for me, I have found another king"
A marvelous epic melodrama, with portions that are emotionally stirring, and with two exceedingly attractive stars, this film ranks high in the "sword and sandals" genre.
This is prime-time Richard Burton, at age 27, heavenly to look at and even better to listen to; his crisp enunciation makes the English language shine, and though some of his scenes are a little "over the top", he carries them off with charismatic presence. Jean Simmons is exquisite as Diana, the woman who has loved Marcellus (Burton) since childhood, and their screen romance has a rare depth and spark.
Other notable performances come from Victor Mature as Demetrius the slave, with a mute but moving scene at Christ's crucifixion, and Michael Rennie is grand as Peter. Jay Robinson is wonderfully rotten as the vicious Caligula.

I always like a good fight sequence, and there is a brilliantly choreographed one between Marcellus and a centurion. It is the kind of swordplay great Shakespearean actors have perfected, and it is a delight to watch.
Directed by Henry Koster, it has an exceptional score by Alfred Newman, and vibrant Technicolor cinematography by Leon Shamroy. I like the way the night scenes have a deep blue glow to them, and the costumes are wonderful. Oscars went to Best Art Direction/Set Design (color) and Best Costume design (color). It was also nominated for Best Picture, Best Actor, and Best Cinematography (color), and was the first film to be released in CinemaScope.
I saw this film many years ago, and had thought it a little silly, but we have both aged well; I can now watch it repeatedly, and appreciate the depictions of courage, and the beauty and humanity of it. Total running time is 2 hours and 13 minutes.

Great Cinemascope Epic
Richard Burton gives a good performance as his soul contorts his mind after being given divine inspiration. The story and photography are well done. The finale is very moving. Great score by Newman. ... Read more

Amazon.com

Spencer Tracy and Gene Tierney star in this Hollywood realization of life aboard the Mayflower on her most historic journey. In one of his meanest roles since Dr. Jekyll & Mr. Hyde, Tracy is at his gruffest and bitterest as the disagreeable, tempestuous Captain Jones, master of the famous vessel that carried the Pilgrims to the New World. Tierney in Technicolor is as beautiful as ever, despite being cast as a somber Pilgrim. Leo Genn's portrayal of Pilgrim leader William Bradford is memorable, while Lloyd Bridges, Van Johnson, and John Dehner round out the excellent cast. The depiction of the hardships faced by the passengers and crew on the voyage are fairly accurate, despite any minor liberties taken with historical facts. The film won a 1953 Oscar for special effects, and the storm sequence alone is still worth the price of admission today. --Mark Savary ... Read more

Reviews (5)

Something Is Missing But Still Worth Viewing
I enjoyed "Plymouth Adventure" very much although it is a flawed film. Something is missing. We learn very little about the persecution of the Pilgrims and their beliefs except that they pray "standing upwards" and are very clean. They even wash with the ship's limited drinking water which causes consternation among crew members. It was especially difficult for me to believe that the wife (Gene Tierney) of Pilgrim leader, William Bradford (Leo Genn) would prefer the ship's bloated, craggy, bitter, and alcoholic captain (Spencer Tracy) over her good-looking and articulate husband. The urbane and darkly handsome Leo Genn became well-known as a fine British film and stage actor with the "black velvet voice" and had already received critical acclaim for his excellent acting (and wit) in "Quo Vadis" (1951) and "Henry V" (1944). Bradford is portrayed as a responsible man who is indifferent to his wife and her beauty but not so oblivious to his wife's longing glances at the captain. I doubt that audiences of 1952 would be so critical; this film still holds up well and the special effects are good. It is interesting that Gene Tierney and Leo Genn would go on to star as a married couple in the British film "A Personal Affair" (1953). Final note: Why is this video so expensive?!!

Pity that Hollywood has done so little with the Pilgrims
"Plymouth Adventure" is just about the only Pilgrim movie I can think of (I'm not counting the various "Scarlet Letter"s and Salem Witch movies--those are about Puritans already settled in the New Land, not the Pilgrims just coming over). It's not really a bad movie, but it's not really a good one either. Stellar cast: Spencer Tracy as Capt Jones, not really into the Pilgrims' scene, but just doing his job; Leo Genn as William Bradford, intent on leading his followers to religious freedom; Gene Tierney as his wife, devoted to her husband but feeling stirrings for Jones. Van Johnson's on board too as "Speak for Yourself John" Alden. Sad ending actually a slight twist on real life fate of one of the principals. Perhaps a good starting point for a history lesson with the children on Thanksgiving Day.

Romantic complications on the Mayflower's voyage to America
"The Plymouth Adventure" tells the story of the Mayflower's voyage to the New World. Spencer Tracy plays Captain Christopher Jones, an unsavory man but a skilled seaman who wants to seduce Dorothy Bradford (Gene Tierney), the wife of William Bradford (Leo Genn), the leader of the Calvinist half of the ship's passengers. Dorothy resists Jones' advances, but then tragedy happens. It is hard to think of the Pilgrims as being involved in this kind of love story, but you have to admit that otherwise there is nothing all that exciting about a ship crammed full of people sailing across the Atlantic. I also wonder on what the Pilgrims would think about Captain Smith's fate in the afterlife. Spencer Tracy just never seems all that believable to me as a bad guy. The cast features Lloyd Bridges as Coppin, Van Johnson as John Alden, Dawn Addams as Priscilla Mullins, and Noel Drayton as Miles Standish. This 1952 film was directed by Clarence Brown ("National Velvet") and won the Oscar for Best Special Effects.

NOT 1952'S BEST PICTURE
With all respect to the other reviewer, this movie did not win the Oscar for Best Picture of 1952. (I believe it was "The Greatest Show on Earth"). Unfortunately "Plymouth Adventure" is one of those movies that has a talented cast which just can't overcome a mediocre script. Spencer Tracy and Van Johnson's half-hearted attempts at English accents are laughable at times. But, on the positive side, any movie with Gene Tierney in it is bound to be nice to look at (though being a Puritan her attire is appropriately modest). And the Mayflower itself looks good. But the film really has no depth. It's a shame the actors, particularly Tracy, weren't better served.

Costumes, adventure and drama -- this movie has it all!
This is a great movie! It has the drama of an important historical event, with shades of an illicite affair between the captian of the Mayflower and the wife of a Pilgrim leader. However, it is all done with subtle glances. The storm scene is also very exciting. The signing of the Mayflower Compact is utterly dramatic! There are a few historical liberties, but over all, it is a good movie! In fact, it won Best Picture for 1952. ... Read more

Reviews (4)

good, but not a BB-vehicle
This well-made movie has one flaw: it's a little unconvincing, for it does not suit the talents of Brigitte Bardot. Renowned for light comedies, playing a crime plot just isn't Brigitte's trade. I think her style too light, too gay for acting out the necessary mystery, horror and suspense.
In spite of that 'Voulez-vous danser avec moi?' still makes good watching. It provides good quality-acting, and its well-built story claims the viewer's interest from beginning to end. It also seriously deals with homosexuality, which is pretty groundbreaking for 1959. For this reason I guess Paris was the only location possible.

fun, colorful comedy
Bardot is Virginie Dandieu, the young wife of Herve Dandieu, a dentist (who looks like an apprentice butcher) who is involved in the murder of Anita Flores, a blackmailing dance teacher. Out to prove his innocence, Virginie poses as Frederique, a dance instructor and investigates the crime where it took place: in the studio. Silly, light hearted and sweet, this movie is visually appealing and entertaining.

beautiful Brigitte
Not her best movie but if you love BB you won't be dissapointed.
Lovely ,sexy she shows us what she got.

retro fun!
The storyline almost does not matter: it is all a pretext to showcase Brigitte Bardot's (stunning) curves. She can't act, but she is so cute! And she is also surrounded by a wonderful cast of character actors well known to the French cinema afficionado of the 50s: Dario Moreno as an overwhelmed mambo instructor, Noel Roquevert as the Forever Furious Father , Georges Descrieres as the suave but morally bankrupt playboy, Serge Gainsbourg -very young- as a loathsome creep...it's all good fun, and the visual quality of this DVD is also fabulous (hey, this is not "Death in Venice", but it is certainly colorful!). I recommend the movie as a very entertaining piece of kitsch, for kitsch and Bardot lovers alike. ... Read more

Reviews (6)

The 1,000 Eyes of Dr. Mabuse - DVD MAJOR GLITCHES
There are two major glitches in this DVD. At the end of chapter 8 and again in chapter 25 at the 2:30 mark, two different video sequences cut in: One is a color soccer instructional, and the other a Japanese (I think) dubbed B&W film. How could such a thing get past the mastering phase??

Otherwise, this is a great film, wonderfully presented with all the extras listed in these other reviews. But these glitches make it unacceptable. I hope the same problems don't pop up in Vol. 2 of the series!

Last Fritz Lang "Mabuse" film is a Treasure!
This disk is one of my favorites. Although not quite up to the standards of it's two predecessors, the Third Dr. Mabuse film (and the last directed by Lang himself) is wonderful and more than worth the purchase price.

David Kalat's extraordinary commentary is easily THE BEST I have ever heard (and I've heard quite a few.) He strikes the perfect balance between knowledge and wit - the narration is informative without being dry or condescending and, indeed, is quite lively at times. His delivery style is remarkably excellent throughout and is a major reason I consider the disk to be one of my most valued.

Two tiny quibbles, stuff so small as to bother only me: The English Language captioning, written for the German audio track, is a little disorienting when viewed in connection with the English language track. Most of this has to do with the demands of lip-synchronization between two languages. Still, and despite the additional cost it might have created, two independent sets of captions would have been appreciated - one for each of the different languages. This would be a welcome addition for a hearing impared viewer.

The other minor quibble is that the documentary really needed captioning, much more so than the feature owing to the heavy accented speech.

All told, though, this is absolutely a remarkable film and a remarkable, and very treasured disk. AllDay Entertainment is releasing some extraordinary stuff, and deserve kudos and, above all, purchases!

One of a kind movie
A truly unique movie that was way ahead of its time in exploring the theme of the loss of privacy in the modern world. The kind of movie that shows you don't need a big budget or amazing special effects to create a truly outstanding sci-fi film.

THE LAST PICTURE SHOW
Last movie of german-american director Fritz Lang, 1000 EYES OF DR MABUSE must not be neglected even if one can prefer M, FURY or MOONFLEET in the royal filmography of this Master. Personally, I confess that I'm very fond of this movie, maybe not for the right reasons. 1000 EYES OF DR MABUSE is one of these movies I've discovered a sunday afternoon on TV when I was twelve or thirteen years old. And even now, I can remember the nightmares generated by the blind medium or the multiple hidden rooms of The Luxor Hotel. To be short, I've bought the DVD right after its release.

As bonus features, you will have the choice between the subtitled german version or an english dubbed version, a very interesting commentary of the producer of the DVD who is a Dr Mabuse specialist (12 Dr Mabuse movies have been produced until now !). And last but not least, you will discover a featurette presenting interviews of Fritz Lang's specialists including Forrest Ackerman.

Naturally, there are a lot of other good reasons to put this DVD on the shelves of your library but, if you have stopped at this peculiar page of Amazon, you surely already know that Fritz Lang's 1000 EYES OF DR MABUSE is a valuable addition to any movie lover's collection. So, have fun with the mad doc.

A DVD for the child in you.

a nightmarish alegory of the modern society; a masterpiece
The Mabuse films by Fritz Lang are not just "cop-and-thieves" thrillers: of course they are quite enjoyable as a thriller-suspence crime movies, but for those with the eyes to see, Mabuse is really a metaphore of power and its functions in a modern society. Already in 1922, when Lang made the first Mabuse films (DOCTOR MABUSE in two parts; a new restored DVD of this film is now in preparation), he foresaw not only the rise of Hitler and the Nazis, but also a society under control (or hypnosis) by the medias and informations sirculating on them. Lang's last entry to the series, THE 1000 EYES OF DR.MABUSE, is a nightmarish alegory of the post-war modern society. The Luxor Hotel where the story mainly takes place is a buiding made by the Nazis and has a secret camera system ovserving every single thing that happens in it. The idea that we are all observed by those who are in power has now, as you see around yourself, became our own reality. Many contemporary filmmakers, such as Wim Wenders with his END OF THE VIOLENCE, try to portray the same idea, but none of them are as efficient as Lang, inspite of the low budget Lang was allowed to spend, and the classic cliche framework (involving a psychic clairvoyant and an American millionaire hero). It's a masterpiece, in the sense that it is really an oeuvre of the master. The new digital transfer from original 35mm elements is almost flawless and displays Langs lucid vision of the world in a stunning manner. In the bonus featurettes, people who knew Lang in his last years talks about him, and is also quite interesting. One problem, though: the featurette tells us the name of those people but most of them we don't know who they are. I am also looking forward for the release of THE TESTAMENT OF DR.MABUSE (the 1932 original) on a DVD that looks as good as this one. ... Read more

Amazon.com

Terence Fisher's take on the oft-filmed Robert Louis Stevenson tale offers a clever switch in a handsome, suave, charming Hyde, like Christopher Lee's Dracula as a seductive figure of evil. Paul Massie plays Dr. Jekyll as a distracted intellectual under a (rather phony) beard whose personality-changing drug unleashes his repressed desires and reveals a different side not just of himself, but of his hypocritical best friend. Paul (Christopher Lee) is a smiling viper who leeches off of Jekyll while carrying on an affair with his wife, and soon becomes the smooth-faced Hyde's partner in debauchery through the nightclub underworld of Victorian England. Hyde's violent streak emerges when he targets those who have wronged his weak alter ego (including a truly brutal attack upon his wife) and in his passionate affair with the exotic snake charmer he soon makes his sexual slave. Massie is neither the intense, menacing Hyde nor the tortured Jekyll the part demands; the sides of his personality are better expressed through costars Lee as Hyde's gleefully hedonistic buddy and David Kossoff as Jekyll's conservative and caring friend. Fisher revels in the debauchery of his characters (the Jekyll story often feels like an afterthought), creating an atmosphere of decadence by suggestion and flourish, but his Hyde is a cruel, cold-blooded character, a true Hammer Studios monster behind a friendly face. --Sean Axmaker ... Read more

Reviews (4)

One of the more intelligent adaptations of Stevenson.
I must say that I enjoyed this film more than the other customers. The conception of evil as a suave, debauched charmer rather than a gnarled, perverted monster is an ingenious variation on the doppelganger theme, and its implications and the character relationships/dichotomies are carried through with great intelligence. This film is more of a lurid drama rather than a full-blown horror film, maybe that is why many fans are left disappointed. There are two problems with the film: Massie in the lead is not particularly impressive; and the film taken as a whole lacks a dynamic force that distinguishes most if not all of Fisher's best films--although there are two or three powerful sequences...

Weak Horror Movie
Weak entry in the Hammer Horror film series finds Christopher Lee playing the evil alter-ego of Dr. Jekel in this somewhat over-acted, weakly plotted film. The ending is predictable with the Good Doctor meeting a terrible ending. And terrible is something this movie was.

Good try, fair results
I had waited for a long time to finally see this films and I would say some of my expectaions were met and some were not. The film begins with Dr. Jekyll speaking of his theory that each person has an inner self that could be set free. He then proceeds to inject himself with a concoction that transforms him into the suave, but evil Hyde. Hyde then goes off trying everything Jekyll would not and he tries to come between the affair his wife is having with his best friend. Eventually Hyde gets more daring and Jekyll and Hyde have the unavoidable battle for the same body. I give credit to Hammer foa different approach, but it never really covers any different ground that is explored in any other Jekyll-Hyde movie. There are no new revelations or solutions just a different kind of Hyde with the same results. He may be more dangerous than the typical beastly Hyde because he is much more cunning, but we never really get any sense of that by the film's end. Usually Jekyll is a brilliant scientist who goes step too far with his curiosity, but this Jekyll seems like a dull and lonely man who is just unhappy with his life and he would never have the stregnth of character to win out over a dark half. The film does hit more than it misses, but I think it could have been a bit stronger in the story department. Paul Masse is hot and cold, he handles the Hyde part fairly well, but Jekyll seems fairly unbelievable and the transforamtions are just fair. Christopher Lee contributes one of the best roles he ever had for Hammer, it is a shame he didn't get more of the sharp dialogue he recieved here, he handles it beautifully. Dawn Addams is fairly good as Jekyll's wife, I always thought Hammer's leading ladies in the late 50's and very early 60's were worlds above most of the actresses they used later on. The source print used here looks washed out, it is faded in the bright parts and too dark in other places. This is a shame because I am sure this film once had the same vibrant color of other Hammer made at the same time. Still this film is worth seeing.

A disappointing Hammer Film
I had read some good things about this early Hammer Film, but I was ultimately disappointed by it. There isn't much in the way of menace, and the story of an ugly, but good Dr. Jekyll turning into a handsome, but violent Mr. Hyde never really takes off. Most of the plot is taken up with a rather unbelievable affair between Dr. Jekyll's wife and his best friend (played by Christopher Lee). There are far better Hammer Films available. Even from the same year as this film 1960, both "The Brides of Dracula" and "The Curse of the Werewolf" are sure to strike your fancy. ... Read more

Reviews (21)

The first and the best of Hammer's erotic vampire films
"The Vampire Lovers," directed by Roy Ward Baker in 1970, is the first in the Karnstein trilogy of Hammer films, all based quite loosely on Joseph Sheridan LeFanu's story "Carmilla." The Karnsteins are a clan of vampires, represented in this version by a bunch of scantily clad women. Ingrid Pitt stars as Carmilla, who also goes under the anagram names of Mircalla and Marcilla at various points in the story (yes, there is a story). The last of her clan, Carmilla is trying to rebuild, turning first to Laura (Pippa Steele), the daughter of General Spielsdorf (Peter Cushing) and then Emma (Madeleine Smith), the daughter of Roger Morton (George Cole). Along the way she turns Mademoiselle Perrodon (Kate O'Mara) into a sexual slave. In the great tradition of Dracula and most other vampire films, Laura dies before anyone recognizes the marks of the vampire and then the goal is to save poor Emma from the same fate.

There is a lot in "The Vampire Lovers" that never makes much sense. Who is the countess (Dawn Addams) who travels with Mircalla? What is up with the black-clad vampire (John Forbes Robertson) who keeps hanging around? Supposedly Mircalla is the last of her clan, but maybe not. Mircalla keeps saying she loves her victims, but they all end up dead, which certainly does not help out her clan much. In the end it is clear that Hammer, aided and abetted by American International in this instance, was making a flat-out lesbian vampire film. As such, I can honestly say that you are not going to find a better one out there. Ironically, "The Vampire Lovers" ends up being more erotic than the vast majority of films featuring heterosexual relationships between the undead and their victims.

ARE YOU A VAMPIRE LOVER?
Indeed, many fantasy mavens are vampire lovers themselves, and a lot of them got that way by being "bitten" by Hammer Studios' great vampire classics of the late 50s and early 60s, as exemplified by "Horror of Dracula" and "Brides of Dracula." Sexier and a little bloodier than previous Dracula films, Hammer's productions took the vampire movie to the next level. Unfortunately, the law of diminishing returns forced Hammer's competitors to up the ante themselves to compete, and Hammer recognized that if they wanted to keep their exalted place in horror's hierarchy they would have to raise the bar once more.

The result was "The Vampire Lovers," derived from J. Sheridan LeFanu's immortal short novel entitled "Carmilla." Actually preceding "Dracula" in the annals of vampire literature and even more respected by some, LeFanu's story seemed the perfect choice for Hammer to batten upon. The picturesque Styrian setting, the gothic trappings, and the tale's natural sexual subtext all seemed custom made for a splendid Hammer adaptation.

Unfortunately, Hammer's adaptation leaves much to be desired. Many love this movie because it so seamlessly blends vampirism and sex, but in fact there is nothing to the film at all besides nudity and bloodletting. The elegant narrative of LeFanu's original is reduced to a rather childish softcore exhibition of skin and blood. Granted, it seems rather tame compared to "From Dusk Til Dawn," but given its pedigree "The Vampire Lovers" should have been a classic on par with "Horror of Dracula," not the rather sorry T&A flick that is.

More's the pity because of an excellent cast, one of the best 70s Hammer would ever boast. Ingrid Pitt is an intelligent, alluring vampire seductress, albeit little resembling LeFanu's languid, frail Carmilla; Jon Finch (before his excellent performance in Roman Polanski's "Macbeth") is a rather vapid
stalwart hero; Pippa Steele is an attractive, innocent victim; and the great Peter Cushing shows up at the end as a vengeful General who could have been another Van Helsing but is never given a chance to do much of anything. These performers could have worked wonders with better action and dialogue; as it is, their considerable talents are virtually wasted (especially Cushing).

Sadly, "The Vampire Lovers" is a contribution of little value to vampire cinema. True, it made sure future vampire films would have an excuse to indulge in more and more sex and nudity, but that's hardly anything to brag about. Moreover, despite all the sexual shenanigans, the plot drags terribly and there's little real action or drama. The most exciting sequence comes at the very beginning and nothing else matches it the rest of the way. To top things off the script makes little sense, with several characters who seem to be of some importance just popping in and out a few times to no dramatic end whatsoever.

While "The Vampire Lovers" has its fans, its no classic and certainly not as good as some of its Hammer predecessors. It was a trendsetter--but in all the wrong ways.

Lavish, Beautifully Filmed Vampire Story From Hammer Studios
"The Vampire Lovers", one of the later Vampire efforts filmed by the famed Hammer Studios has always received its share of controversy from the fact that for once a female Vampire is prominently featured and the displays of nudity combined with its lesbian theme have not been to all viewers tastes. Directed with gusto by Roy Ward Baker, I believe it is an excellent effort full of lavish production values, rich colour and an exciting story that for once is not tied in with the Dracula Legend. It is obvious that a lot of care and attention was poured into this story and it is definately one of the finest of the later Hammer efforts.

Hammer Studios, long the reigning masters of the horror genre definately took a new updated tone with this production and allowed nudity and the previously not mentioned theme of lesbianism to be featured prominently. First and foremost it gave a classic role to Polish actress Ingrid Pitt who went on to appear in a number of other Hammer and Amicus productions. "The Vampire Lovers", is based on J S LeFanu's novel "Carmilla" and was the first of the "Karnstein Trilogy" which Hammer made and included "Lust for The Vampire " and the excellent "Twins Of Evil". "The Vampire Lovers",tells the story of vampire seductress Marcilla/Carmilla the last of her blood thirsty clan who at the beginning of the story is left by her "mother" the Countess (Dawn Addams) in the care of General von Spielsdorf (Peter Cushing in another of his dignified horror performances) after she is supposedly called away to the bedside of a dying friend. Soon after her stay begins with the General his daughter Laura begins to suffer from terrible nightmares which involve a monsterous cat that seemingly molests her. Suffering from a strange anemic condition Laura eventually dies after which Marcilla mysteriously disappears and moves on to the home of Laura's friend Emma Morton where a similiar situation is played out with the vampire having herself invited to stay at the home of Emma's father Sir Roger Morton. Once in residence "Carmilla" as she is now called sets her sights on the lovely young Emma and proceeds to begin to drain the blood and life out of the girl. Emma's governess Madame Peridot (Kate O'Mara in a very effective performance) is also put under Carmilla's spell with the use of a charmed brooch. Emma's friend Carl (Jon Finch) starts to suspect Carmilla of something devious and rides to the house to save Emma becoming involved in a deadly battle with Carmilla who after killing Madame Peridot retreats to her old former home, the ruined Castle Karnstein. Discovering that Carmilla is the last member of the vampiric Karnstein family General von Spielsdorf And Sir Roger pursue her to the Castle and she is eventually dispatched by the traditional means of a sharp stake driven through the heart. Her family portrait then ages before their eyes to indicate that she is now truly dead and her curse is now lifted.

Ingrid Pitt is superb as the totally evil Marcilla/Carmilla . She possesses the appropiate beauty and sense of mystery which is vital in portraying the seductive and evil villianess. Pitt went on to portray other similiar characters in the rarely seen "Countess Dracula", and the classic "The House That Dripped Blood". Her place as one of Hammer's most prominent female performers was sealed after this effort. Peter Cushing a long term performer in Hammer productions is his usual convincing self as the ardent General bent on revenge for the cold blooded murder of his daughter. No matter what the part Cushing always lent great value to any production he performed in. The cast in "The Vampire Lovers" is uniformily fine and the two young actresses who play Carmilla's main victims, Madeline Smith as Emma and Pippa Steel as Laura have the just right innocent qualities which make them believable as the victims. Hammer really spent big on this production and the film boasts beautiful on location photography, magical indoor settings, lavish costumes and tight editing.

To watch "The Vampire Lovers", is to see how far cinema had come since the time of Hammer's first vampire effort in the late 1950's the classic "Horror of Dracula", in so far as adult themes are now openly explored in this effort. The film indeed is a feast for the eyes and succeeds in never losing touch with the imporatant elements in any Vampire story, those being an exciting story, air of mystery and terror and performers who take their parts in it very seriously. I strongly recommend Hammer Studios "The Vampire Lovers", starring Ingrid Pitt and Peter Cushing to all horror buffs and lovers of intriguing vampire stories. Enjoy!

boring
I rented this because of the positive reviews, boy, was I disapointed! This film was boring, tedious, and did not make much sense. I found the female vampire to be unconvincing as a vampire and not suited to the role. Skip this film, there are better 1960's horror movies out there.

Scary!!!
They just don't make'em like this anymore! Forget the holes in the storyline that make bits and pieces of this film somewhat senseless. Just relish the overall beauty of the production, the lush musical score, and the wonderful and attractive group of actors that combine to make The Vampire Lovers one of the best of the Hammer flicks and vampire films in general. Quality of the print is excellent also. This review is based on the MGM VHS version. ... Read more

Reviews (54)

The Story of God's Love
The Robe

An epic in its time due its being the first motion picture in Cinemascope, it remains a great testimony to the values and morals of its producers and director. I remember watching this movie as adolescent. Victor Mature, as Demetrius a Greek slave, stood out for me in this movie and in other movies (Demetrius and the Gladiators, Samson and Deliah) as the epitome of Christian virtue. Ironically, however the story plot was not about him, but he did play a very important supporting role, his story is in the sequel Demetrius and the Gladiators. Given that this film was an epic in its time 1953; it still has not lost the inspiration and awe of the strength of the test of faith, at least for me, that it inspired when I first saw it.

This epic film was directed by Henry Koster, a German who also is known by the name Herman Kosterlitz. His works include A man called Peter (1955), Harvey (1950), and The bishop's Wife (1947). I believe that major premise that Koster was portraying to the public was that faith in Christ is worth both searching and dying for. No matter who you are there is hope for you in finding the Jesus of the Cross.
The Robe is based on a fiction novel by Lloyd C. Douglas. The story is full of life's major issues that most of us have to work through jealousy, anger, betrayal, forgiveness, reconciliation, and the progression of and test of personal faith.

While titled the Robe, the story really evolves around Marcellus (Richard Burton) a tribune in the service of Rome. He was ordered to crucify Jesus. He wins the robe while gambling at the foot of the cross, but when he touches it he becomes tortured in his mind. When overcome, he cries out "Where you there.?" Ironically the best that anyone can do for him is to send him on a quest to find the robe and destroy it, thinking that will bring his mind to rights. When he finds the Robe he finds peace of mind, through reconciliation to God through belief in the Christ who wore the Robe. Instead of destroying the Robe he instead joins the Christians in declaring God's love for humankind. The ending of the movie is magnificent! When brought to trial by Caligula (Jay Robinson) Marcellus is ordered to pledge allegiance to Rome and renounce his faith in Christ on the penalty of death. He does renew his pledge to Rome but refuses to renounce his faith in Christ. He is sentenced to death for his faith.

The beginning of this story starts before Marcellus has to crucify Jesus, yet the cross, signified by the Robe itself is central to the story. Without it there would be no new life and faith in Christ to die for. Some have called it another story of the Crucifixion, yet I would say no. It is the continuation of the reality of the meaning of the crucifixion... i.e. the Love of God for humankind.

Wide Screen Classic
The first film to be released in the CinemaScope process, The Robe is a fairly interesting fictionalization of Roman life after the death of Christ. Richard Burton stars as Marcellus, the centurion in charge of the crucifixion. Marcellus's life is never the same after he wins Christ's robe in a gambling game. Consumed with guilt and the haunting belief that Jesus was perhaps the Son of God, Marcellus almost goes mad. With the help of some Palestinian Christians, he gets his sanity back and charts a new and dangerous course that puts him at odds with the Roman emperor. A beautiful production featuring an all-star cast including the beautiful Jean Simmons, Victor Mature, and Michael Rennie, The Robe is still enjoyable entertainment some 50 years later. The DVD quality is good and if you have a home theater, the surround sound is quite impressive. Too bad they didn't add any extras, like a commentary by Jean Simmons (the only major star still living). You would think a documentary on the development of CinemaScope would have a least been in order. After CinemaScope, all major studio productions were produced for the wide screen, and The Robe's success helped pave the way for this new process.

Jesus Christ Never Existed.
'The Robe' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

"as for me, I have found another king"
A marvelous epic melodrama, with portions that are emotionally stirring, and with two exceedingly attractive stars, this film ranks high in the "sword and sandals" genre.
This is prime-time Richard Burton, at age 27, heavenly to look at and even better to listen to; his crisp enunciation makes the English language shine, and though some of his scenes are a little "over the top", he carries them off with charismatic presence. Jean Simmons is exquisite as Diana, the woman who has loved Marcellus (Burton) since childhood, and their screen romance has a rare depth and spark.
Other notable performances come from Victor Mature as Demetrius the slave, with a mute but moving scene at Christ's crucifixion, and Michael Rennie is grand as Peter. Jay Robinson is wonderfully rotten as the vicious Caligula.

I always like a good fight sequence, and there is a brilliantly choreographed one between Marcellus and a centurion. It is the kind of swordplay great Shakespearean actors have perfected, and it is a delight to watch.
Directed by Henry Koster, it has an exceptional score by Alfred Newman, and vibrant Technicolor cinematography by Leon Shamroy. I like the way the night scenes have a deep blue glow to them, and the costumes are wonderful. Oscars went to Best Art Direction/Set Design (color) and Best Costume design (color). It was also nominated for Best Picture, Best Actor, and Best Cinematography (color), and was the first film to be released in CinemaScope.
I saw this film many years ago, and had thought it a little silly, but we have both aged well; I can now watch it repeatedly, and appreciate the depictions of courage, and the beauty and humanity of it. Total running time is 2 hours and 13 minutes.

Great Cinemascope Epic
Richard Burton gives a good performance as his soul contorts his mind after being given divine inspiration. The story and photography are well done. The finale is very moving. Great score by Newman. ... Read more

Amazon.com

When Roman tribune Marcellus Gallio (Richard Burton) is sent to Jerusalem, one of his assignments is the crucifixion of Jesus Christ. Marcellus, a cynical and hardened man, wins the robe Jesus wore to the crucifixion while gambling with other Roman soldiers underneath the dying savior. He later becomes convinced that his hallucinations and violent outbursts are the result of a curse received from the robe, which is now in the possession of his escaped slave, Demetrius (Victor Mature), somewhere in the Middle East. He sets out to find Demetrius in order to destroy the robe and the curse and finds faith instead, converting to Christianity. This was the first movie to be filmed in CinemaScope, and won Oscars in 1953 for costume design, art direction, and set decoration. The visual aspects of the film are stunning, and it may be worth viewing for that alone; however, the script and acting leave much to be desired, and you won't find inspiration in these areas if that's what interests you. If, however, you are more interested in this film for its religious matter, the story of the conversion of the hardened Marcellus is inspiring. --James McGrath ... Read more

Reviews (54)

The Story of God's Love
The Robe

An epic in its time due its being the first motion picture in Cinemascope, it remains a great testimony to the values and morals of its producers and director. I remember watching this movie as adolescent. Victor Mature, as Demetrius a Greek slave, stood out for me in this movie and in other movies (Demetrius and the Gladiators, Samson and Deliah) as the epitome of Christian virtue. Ironically, however the story plot was not about him, but he did play a very important supporting role, his story is in the sequel Demetrius and the Gladiators. Given that this film was an epic in its time 1953; it still has not lost the inspiration and awe of the strength of the test of faith, at least for me, that it inspired when I first saw it.

This epic film was directed by Henry Koster, a German who also is known by the name Herman Kosterlitz. His works include A man called Peter (1955), Harvey (1950), and The bishop's Wife (1947). I believe that major premise that Koster was portraying to the public was that faith in Christ is worth both searching and dying for. No matter who you are there is hope for you in finding the Jesus of the Cross.
The Robe is based on a fiction novel by Lloyd C. Douglas. The story is full of life's major issues that most of us have to work through jealousy, anger, betrayal, forgiveness, reconciliation, and the progression of and test of personal faith.

While titled the Robe, the story really evolves around Marcellus (Richard Burton) a tribune in the service of Rome. He was ordered to crucify Jesus. He wins the robe while gambling at the foot of the cross, but when he touches it he becomes tortured in his mind. When overcome, he cries out "Where you there.?" Ironically the best that anyone can do for him is to send him on a quest to find the robe and destroy it, thinking that will bring his mind to rights. When he finds the Robe he finds peace of mind, through reconciliation to God through belief in the Christ who wore the Robe. Instead of destroying the Robe he instead joins the Christians in declaring God's love for humankind. The ending of the movie is magnificent! When brought to trial by Caligula (Jay Robinson) Marcellus is ordered to pledge allegiance to Rome and renounce his faith in Christ on the penalty of death. He does renew his pledge to Rome but refuses to renounce his faith in Christ. He is sentenced to death for his faith.

The beginning of this story starts before Marcellus has to crucify Jesus, yet the cross, signified by the Robe itself is central to the story. Without it there would be no new life and faith in Christ to die for. Some have called it another story of the Crucifixion, yet I would say no. It is the continuation of the reality of the meaning of the crucifixion... i.e. the Love of God for humankind.

Wide Screen Classic
The first film to be released in the CinemaScope process, The Robe is a fairly interesting fictionalization of Roman life after the death of Christ. Richard Burton stars as Marcellus, the centurion in charge of the crucifixion. Marcellus's life is never the same after he wins Christ's robe in a gambling game. Consumed with guilt and the haunting belief that Jesus was perhaps the Son of God, Marcellus almost goes mad. With the help of some Palestinian Christians, he gets his sanity back and charts a new and dangerous course that puts him at odds with the Roman emperor. A beautiful production featuring an all-star cast including the beautiful Jean Simmons, Victor Mature, and Michael Rennie, The Robe is still enjoyable entertainment some 50 years later. The DVD quality is good and if you have a home theater, the surround sound is quite impressive. Too bad they didn't add any extras, like a commentary by Jean Simmons (the only major star still living). You would think a documentary on the development of CinemaScope would have a least been in order. After CinemaScope, all major studio productions were produced for the wide screen, and The Robe's success helped pave the way for this new process.

Jesus Christ Never Existed.
'The Robe' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

"as for me, I have found another king"
A marvelous epic melodrama, with portions that are emotionally stirring, and with two exceedingly attractive stars, this film ranks high in the "sword and sandals" genre.
This is prime-time Richard Burton, at age 27, heavenly to look at and even better to listen to; his crisp enunciation makes the English language shine, and though some of his scenes are a little "over the top", he carries them off with charismatic presence. Jean Simmons is exquisite as Diana, the woman who has loved Marcellus (Burton) since childhood, and their screen romance has a rare depth and spark.
Other notable performances come from Victor Mature as Demetrius the slave, with a mute but moving scene at Christ's crucifixion, and Michael Rennie is grand as Peter. Jay Robinson is wonderfully rotten as the vicious Caligula.

I always like a good fight sequence, and there is a brilliantly choreographed one between Marcellus and a centurion. It is the kind of swordplay great Shakespearean actors have perfected, and it is a delight to watch.
Directed by Henry Koster, it has an exceptional score by Alfred Newman, and vibrant Technicolor cinematography by Leon Shamroy. I like the way the night scenes have a deep blue glow to them, and the costumes are wonderful. Oscars went to Best Art Direction/Set Design (color) and Best Costume design (color). It was also nominated for Best Picture, Best Actor, and Best Cinematography (color), and was the first film to be released in CinemaScope.
I saw this film many years ago, and had thought it a little silly, but we have both aged well; I can now watch it repeatedly, and appreciate the depictions of courage, and the beauty and humanity of it. Total running time is 2 hours and 13 minutes.

Great Cinemascope Epic
Richard Burton gives a good performance as his soul contorts his mind after being given divine inspiration. The story and photography are well done. The finale is very moving. Great score by Newman. ... Read more

Reviews (9)

Gorgeous and unforgettable!!!!!!!
Unlike the recent blood-opera "Elizabeth" where the only thing they tried to do was to copy the famous movie on the massacre in Paris 1572 with Adjani this movie is a nice fantasy and gets one interested in Elizabeth. My passion for the Tudors started here. It was kinda sad to discover that the real Tom Seymour had almost nothing in common with the fascinating character Stewart Granger brought to life but at least this movie doesn't pretend to be "real". It's entertainment!

so preposterous, it's laughable
after knowing the history of not only protocol, but of the individual characters through research on Tudor England, this movie is so laughably off the mark with regards to Elizabeth's life.

1. It attempts to put forth the concept that Elizabeth was bold enough to take such a leave of not only herself, but of her place as to throw attitude on her father. Scholarship and historical research has proven that Elizabeth was a daddy's girl--she didn't make the mistake Mary did by, as David Starkey put it "nailing herself to the cross of her mother's memory". There was nothing that would have induced Elizabeth to treat with her father the way Jean Simmons' character did with King Henry in the movie. She lived for his approval and acceptance, and he was sufficiently impressed enough with her that he began her restoration and secured her succession to the throne in his will.

2. It portrayed Elizabeth as being at her father's bedside when he died. That is the furthest thing from the truth. She and Edward were told together a few days later, after Somerset's council coupe had succeeded.

By the age Elizabeth was treating with Seymour, Henry had long ago spent money on dresses for her and her ladies--Mary, too--therefore, she would not have been walking around in Cinderella-like scubbing-maid's clothing. She was wearing a cap style that was still over 40 years away--in the 1540's they were still wearing French hoods.

After viewing this blatant stupidity, I had to turn it off. Jean Simmons was just plain irritating to watch... Everything about this movie is vulgar to historical fact and scholarship. One day, someone will produce a believable movie on Elizabeth Tudor. To date, none has made the mark.

young bess, heart touching and unforgetable.
One of the best Motion Pictures every made on the life and times of an English Monarch. This film will live in our hearts for generations to come. Jean Simmons and Stewart Granger light-up the scene, with love, romance and adventure. Young Bess is a powerful adaptation of the life of one of Englands greatist female rulers and her rise to the throne of England.

A Romantic Vehicle for Simmons and Granger
This film, released the week of the coronation of Queen Elizabeth II in 1953, is a highly fictionalized account of the early life of Elizabeth I.
Jean Simmons and Stewart Granger had been married for three years at the time of this film's release. While their union would only last for seven years afterwards, this film proves that it was a very productive union while it hung together.
It begins on the eve of Elizabeth's ascension to the throne, when her governess, Catherine Ashley, played by a discreet and dignified Kaye Walsh, visits the steward, Mr. Parry, played by a booming-voiced and jovial Cecil Kellaway, to inform him that Elizabeth's half-sister, Mary, is dying, begining a long reminiscence about Mrs. Ashley's adventures in raising a royal heir.
Charles Laughton resumes the role he originally had as Henry VIII 20 years earlier in "The Private Life of Henry VIII" in this film, and he was still very much up to the challenge. He is depicted as taking delight in the birth of his daughter with Anne Boleyn, played by a convivial Elaine Stewart, when in reality, it's a well known fact that his feelings about the birth of another girl were very different.
All too soon, Elizabeth's mother is sent to the block for treason, and the red-haired toddler begins the first of many subsequent journeys to exile at Hatfield House in Hertfordshire in Mrs. Ashley's arms.
At about age six, the pouty girl, now played by Noreen Corchran, is returned to court in what becomes a tragi-comic sequence. We only hear the voice of Henry's German-born fourth wife, Anne of Cleves. Sometime, thereafter, Elizabeth warms to a third step-mother, her cousin, Catherine Howard, played by a charming Dawn Addams. But Catherine's time as Elizabeth's step-mother is severed by an executioner's axe.
In reality, there was only a year's difference between the end of Henry's fith marriage and the beginning of his sixth. But by that time, embittered little Noreen Corchran grows into embittered big Jean Simmons, who initially refuses to set foot outside her room when summoned to court to meet another step-mother.
Luckily, Henry sends Stewart Granger's booming, authoritative-voiced Lord Admiral Thomas Seymour to persuade her to do otherwise.
Deborah Kerr was well-chosen for the part of Catherine Parr, as she resembles a painting of Henry VIII's last Queen. Her sweet motherly mannerisms appeal to Elizabeth, and despite certain naysayings by her impish half brother, Prince Edward, played by a stately but still boyish Rex Thompson, who, like Jean Simmons, might have dyed his hair red for the part for the sake of authenticity, Elizabeth and the Queen become great friends.
On an outing at sea, the scenario that could have gotten Catherine Parr charged with treason is touched upon, and we are introduced to Tom Seymour's brother Ned, played by a petty and conniving Guy Rolf. In his scene, and the next one in which Henry is on his deathbed, Elizabeth asserts herself in ways that take her distant father aback.
With Mrs. Ashley's guidance, the young princess must steer her way through the political intrigues of the day, and deal with her growing feelings for the Admiral. Sadly, she watches as Tom Seymour and Catherine Parr marry, a union in which she is instrumental in helping cement. Ned Seymour's venomous natures grows rapidly after he usurps the role of the Lord Protector, which ultimately leads to his brother's downfall. Stewart Granger is fun to watch in the role of a doting uncle to the little King.
One accuracy of the film is the inclusion of the page, Barnaby Fitzpatrick, to whom Robert Arthur gives a smitten adolescent nature. Barnaby watches as Elizabeth blossoms, especially the night of a ball hosted for a Danish envoy. The Danske dance was especially delightful.
When Tom can no longer contain his feelings for his young ward, Bess is sent away, and Catherine dies sometime afterwards.
While the film is sympathetic to the romance of the Admiral and the future Queen, by today's standards, Tom Seymour might be deemed a pervert who was worthy of the end to which he came.
However, Elizabeth is offered one final moment of gallantry at her trial. One feels such intensity as well as triumph when she horsewhips the Lord Protector. Watch for Kathleen Byron,who in recent years played Private Ryan's wife, as Ann Seymour.
In the grand style of MGM movies of the 50s, viewers are rewarded with marvelous sets and scenes and beautiful, albeit often re-used costumes, which, like some of the sets, can be seen in other MGM films of the era.
Miklos Roska's score is regal and inspiring, and the overall production of this film, dazzling. If one can overlook historical
inaccuries, this film is ultimately a grand piece of cinema that is still highly entertaining.

Great journey into the past
This is an entertaining movie and not a documentary. So, why not show "how it could have happened". This is what makes history interesting and exciting. The story is very well written, the actors are superb. And there is this sparkling chemistry between Jean Simmons, Stewart Granger and Deborah Kerr I miss so badly in modern movies. This is GOOD OLD HOLLYWOOD (even it is mostly british). I hope that in the near future somebody produces a good DVD!! This movie is one of my all time favorites!! ... Read more

Reviews (54)

The Story of God's Love
The Robe

An epic in its time due its being the first motion picture in Cinemascope, it remains a great testimony to the values and morals of its producers and director. I remember watching this movie as adolescent. Victor Mature, as Demetrius a Greek slave, stood out for me in this movie and in other movies (Demetrius and the Gladiators, Samson and Deliah) as the epitome of Christian virtue. Ironically, however the story plot was not about him, but he did play a very important supporting role, his story is in the sequel Demetrius and the Gladiators. Given that this film was an epic in its time 1953; it still has not lost the inspiration and awe of the strength of the test of faith, at least for me, that it inspired when I first saw it.

This epic film was directed by Henry Koster, a German who also is known by the name Herman Kosterlitz. His works include A man called Peter (1955), Harvey (1950), and The bishop's Wife (1947). I believe that major premise that Koster was portraying to the public was that faith in Christ is worth both searching and dying for. No matter who you are there is hope for you in finding the Jesus of the Cross.
The Robe is based on a fiction novel by Lloyd C. Douglas. The story is full of life's major issues that most of us have to work through jealousy, anger, betrayal, forgiveness, reconciliation, and the progression of and test of personal faith.

While titled the Robe, the story really evolves around Marcellus (Richard Burton) a tribune in the service of Rome. He was ordered to crucify Jesus. He wins the robe while gambling at the foot of the cross, but when he touches it he becomes tortured in his mind. When overcome, he cries out "Where you there.?" Ironically the best that anyone can do for him is to send him on a quest to find the robe and destroy it, thinking that will bring his mind to rights. When he finds the Robe he finds peace of mind, through reconciliation to God through belief in the Christ who wore the Robe. Instead of destroying the Robe he instead joins the Christians in declaring God's love for humankind. The ending of the movie is magnificent! When brought to trial by Caligula (Jay Robinson) Marcellus is ordered to pledge allegiance to Rome and renounce his faith in Christ on the penalty of death. He does renew his pledge to Rome but refuses to renounce his faith in Christ. He is sentenced to death for his faith.

The beginning of this story starts before Marcellus has to crucify Jesus, yet the cross, signified by the Robe itself is central to the story. Without it there would be no new life and faith in Christ to die for. Some have called it another story of the Crucifixion, yet I would say no. It is the continuation of the reality of the meaning of the crucifixion... i.e. the Love of God for humankind.

Wide Screen Classic
The first film to be released in the CinemaScope process, The Robe is a fairly interesting fictionalization of Roman life after the death of Christ. Richard Burton stars as Marcellus, the centurion in charge of the crucifixion. Marcellus's life is never the same after he wins Christ's robe in a gambling game. Consumed with guilt and the haunting belief that Jesus was perhaps the Son of God, Marcellus almost goes mad. With the help of some Palestinian Christians, he gets his sanity back and charts a new and dangerous course that puts him at odds with the Roman emperor. A beautiful production featuring an all-star cast including the beautiful Jean Simmons, Victor Mature, and Michael Rennie, The Robe is still enjoyable entertainment some 50 years later. The DVD quality is good and if you have a home theater, the surround sound is quite impressive. Too bad they didn't add any extras, like a commentary by Jean Simmons (the only major star still living). You would think a documentary on the development of CinemaScope would have a least been in order. After CinemaScope, all major studio productions were produced for the wide screen, and The Robe's success helped pave the way for this new process.

Jesus Christ Never Existed.
'The Robe' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

"as for me, I have found another king"
A marvelous epic melodrama, with portions that are emotionally stirring, and with two exceedingly attractive stars, this film ranks high in the "sword and sandals" genre.
This is prime-time Richard Burton, at age 27, heavenly to look at and even better to listen to; his crisp enunciation makes the English language shine, and though some of his scenes are a little "over the top", he carries them off with charismatic presence. Jean Simmons is exquisite as Diana, the woman who has loved Marcellus (Burton) since childhood, and their screen romance has a rare depth and spark.
Other notable performances come from Victor Mature as Demetrius the slave, with a mute but moving scene at Christ's crucifixion, and Michael Rennie is grand as Peter. Jay Robinson is wonderfully rotten as the vicious Caligula.

I always like a good fight sequence, and there is a brilliantly choreographed one between Marcellus and a centurion. It is the kind of swordplay great Shakespearean actors have perfected, and it is a delight to watch.
Directed by Henry Koster, it has an exceptional score by Alfred Newman, and vibrant Technicolor cinematography by Leon Shamroy. I like the way the night scenes have a deep blue glow to them, and the costumes are wonderful. Oscars went to Best Art Direction/Set Design (color) and Best Costume design (color). It was also nominated for Best Picture, Best Actor, and Best Cinematography (color), and was the first film to be released in CinemaScope.
I saw this film many years ago, and had thought it a little silly, but we have both aged well; I can now watch it repeatedly, and appreciate the depictions of courage, and the beauty and humanity of it. Total running time is 2 hours and 13 minutes.

Great Cinemascope Epic
Richard Burton gives a good performance as his soul contorts his mind after being given divine inspiration. The story and photography are well done. The finale is very moving. Great score by Newman. ... Read more