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The ethics of the press are roundly slapped around in an entertaining if not always believable drama from director Sydney Pollack. Sally Field is the Miami reporter who is set up to leak information on a dead-end murder investigation. A sneaky government official (a marvelous, rubber-band-spinningBob Balaban) provides the information that implies liquor distributor Paul Newman is under investigation. When the story runs, it uncorks a legal quagmire that puts the spotlight on presumably innocent lives. As the lawyers explain, the paper's story is accurate, even though it may be untrue. The details of the story are sharply drawn by first-time screenwriter and former reporter Kurt Luedtke (who later went on to win an Oscar scripting Pollack's Out of Africa); the film could be used in a Media Ethics 101 class. Newman secretly counterattacks in a clever plot to derail the process that quickly encompasses his jittery friend (Oscar nominee Melinda Dillon). Field's continuing ethical gaps--including falling in love with her subject--stretch the film's credibility. Then again, who wouldn't fall for Paul Newman in the Florida sun? --Doug Thomas ... Read more

Reviews (12)

Terrific acting and issues which remain relevant today
Sally Field is an earnest but ambitious newspaper reporter who skirts the boundaries of journalism ethics - a term not yet regarded as an oxymoron when this movie came out in the early 80s - and Paul Newman is the unfairly indicted son of a south Florida mobster. Field chases her story with unintended tragic consequences and sparks fly between her and Newman, in more ways than one.

The real strength of the movie is in the fine acting. Newman and Field are in top form but it is the supporting roles which catch your attention. The then little known character actor Wilford Brimley shows up in the third reel as a down-home U.S. prosecutor and walks off with the movie. "At the end of today two things are gonna be true that ain't true now. One is we're going to know what in the good Christ has been going on down here, and two is I'm going to have somebody's ass in my briefcase." "Wonderful thing, subpeenees." Bob Balaban is also vivid as an overzealous prosecutor whose ruse sets the plot in motion.

If you like this one, you may also like "Independence Day." Not the recent studio blockbuster starring Will Smith but a "small" movie from the early 80s featuring tight writing and a terrific ensemble cast, with Kathleen Quinlan and David Keith in the leading parts and Dianne Wiest in an unforgettable supporting role.

Good performances...ethics be damned
The issue of leaking information to the press has been around for years, and this film does its best to illustrate how badly it can backfire when the sources aren't properly checked and re-checked.

Having said that, and being a journalist myself, I just want to shoot Sally Field for her gross violations of journalist ethics. Getting involved with the subject? No how, no way. It just isn't done. If you can accept this HUGE leap of journalistic and editorial faith, then the rest of the movie is a breeze.

Aside from Newman, I think the best performance in the movie is one of the briefest...Wilford Brimley as the U.S. Attorney who gets to the bottom of the mess. It's just a pleasure to watch him go through the paces of tearing Bob Balaban's little vendetta all to pieces, and to experience his grudging approval to let Newman walk.

"You got your selves."
Elliott Rosen is an obsessive prosecutor who is desperate to get some inside info on the "mob." He steps in to a moral grey area in his pursuit. Knowing that Michael Colin Gallagher (Paul Newman) is innocent of any crime he plans to push him into finding out who did it. The plan is simple he will leak the false fact out, through reporter Megan Carter (Sally Field), that Gallagher is being investigated. This information has a negative impact on Gallagher's business. Further pursuit leads to a death of the innocent. Naturally the paper that prints this has no intention of retracting. Gallagher finds a unique solution. See if you can spot it.

This movie does not make an immediate impact on you with the exception of Brimley's final confrontation speech. However repeated viewing brings out the subtleties that will make this one of your favorite movies for years to come.

The dangers of the public spotlight
Not quite a star-studded flick, but chock full of subtly forceful personalities. Paul Newman plays Gallagher, a crusty but otherwise legit Florida-based liquor wholesaler whose life is turned upside-down when the Miami Standard fingers him as a possible material witness. Under current laws regarding libel, Newman can always sue the paper for libel. However, the law sets a higher standard of wrongdoing to be proven when the victim is a public-figure. (The distinction was meant to prevent public officials from using libel laws to block any criticism of their actions - most notably in the case of southern police officials during the early civil-rights years; unfortunately for Gallagher, the laws have been expanded to cover any figure in the public eye, whether he's there by choice or despite it.) Because the Standard acts without malice, and only reports what's been leaked to it by a shifty DoJ official (Bob Balaban), the fact that the story itself is actually incorrect is irrelevant. While DoJ hopes to pressure Gallagher to turn state's evidence, or somehow lead them to somebody who can, the newspaper hopes Gallagher will come forward and give his own spin. (Exaggeration is an often-used media tactic - one hoped to pressure a story's subject to reflexively come forward and give a story that, while less spectacular, is nonetheless worse off now that it's been confirmed.) While Gallagher comes forward, and hooks up with Sally Field as the Standard's ace reporter, he soon finds another way to wreak havoc - by turning his enemies against each other.

There's something satisfying about the deceptive ease with which Gallagher turns the media against itself, but the resolution is unsatisfying. Wilford Brimley plays the Assistant Attorney General who gets everybody honest by threatening to make people talk under oath. (We get the point, people have no problem saying anything as long as they don't have to stand by it.) The last scene is essentially Brimley's one-man show, one that upstages Sally Fields's character's turn-about: rather than disclose Gallagher as the source of her latest story, she's willing to take the fall for him. Her logic is impeccable - somebody is going to take the blame and the fall no matter what. Why not her? If anything, the film disappoints in underplaying the attraction between the two, which only makes you wonder whether her denouement is one of journalistic integrity or love. Instead, we cheer that Brimley will get to tell the media what he thinks (and nobody in this room is going to like what I have to say, he warns) and the way he exacts retribution (you're no White House appointee, he tells Balaban's character. "The one who hired you, is me." Start packing).

REVENGE WITHOUT BULLETS
When you watch the theatrical trailer of ABSENCE OF MALICE, you are lead to think that this movie describes Paul Newman's revenge and will contain a lot of violent scenes. This is not true. In fact, has a trailer ever described accurately a movie ?

ABSENCE OF MALICE is, in the first place, an "actor" movie, with two stars of 1981 : Paul Newman and Sally Field. The secondary roles are also well written and interesting. The movie belongs to the category of moral movies and tries to defend these two ideas :

- Things and people are not always what or who they seem to be.

- The newspapers should have the duty to verify their sources before printing anything.

The treatment of the subject is well done, the screenplay being sometimes too weak. But Sydney Pollack, with this material, was able to present a conventional but still watchable movie.

A DVD zone moral education ... Read more

Reviews (12)

Captures the spirit that founded Israel
Reviewers need to be aware that films of history the sooner they are filmed to the event can often catch the mood/look of the time period better than today with our myriad of special effects but no heart. "Cast a Giant Shadow" does this.

A great war film that shows how technotactically the "edge" on the battlefield goes to those who can get the best mechanical advantage---the Israelis need a main supply route open to feed Jerusalem (I have actually walked these steep defiles) and tries to armor plate trucks and this doesn't work against ambushers waiting for them. This serves as a warning that the U.S. Army cannot make the same mistake of basing itself on restricted to roads, vulnerable heavy armored cars as some seem lusting for these days. David Ben-Gurion, Israeli Prime Minister knows the "center of gravity" is holding Jerusalem (same is true today) in order to have a rallying point for the new nation. He compels Marcus to find a way to win.

Col Marcus played by Kirk Douglas displays the dogged determination "if you first don't succeed, try, try again" so lacking in today's generation. He reminds the Israelites not to wallow in self-pity over their plight BUT TO DO SOMETHING to make things better. He tries to infantry attack Latrun without tracked armored vehicle fire support and fails to take the walled post (now the IDF tank museum) to bust open the road to Jerusalem. He does succeed in mobile warfare against Egyptian tanks using anti-tank guns mounted on jeeps. Eventually, Marcus finds a way----

I think the women in the film are sexy; Dickinson and Berger and add to the film in that they love their man, Marcus but fear for his safety as he does what has to be done because humanity insists it be done. The film reminds us that the true feelings many people have towards Israeli people would be exctinction as Marcus discovers at the death camps in Germany as a U.S. Army Paratroop officer. This prejudice is depicted well in the film and reminds us that freedom is not a "free" lunch. Someone has to pay for it, and that usually means our men in uniform. It also means helping them do their jobs as the film shows that getting support from your own people is not automatic. Marcus earns the respect of his Army but at a lot of struggle; what if today there are no men of vision willing to go this far to defend freedom?

Cast a Giant CAST
First off, this film contains a rousing score by Elmer Bernstein. It is brilliant. Melville Shavelson wrote and directed this sprawling biographical action picture about (Colonel) "Mickey" Marcus (Kirk Douglas), a West Point graduate and an adviser to President Roosevelt during W.W.II, who, at the request of the Israelis, went to there in the late 40s to re-organize their army. In this account, based on a book by Ted Berkman, Mickey Marcus is the master strategist who leads the Israelis to victory in the war with the Arabs. Melville Shavelson admires him, making him the cool but enigmatic leader. Shavelson is very eager to please the audience enough to throw in numerous guest stars, such as Frank Sinatra and Yul Brynner, and agonizes over Mickey's moral conflict between Angie Dickinson, the wife he leaves at home in the U.S., and Senta Berger, the female warrior he takes up with. Even those willing to accept the hours of incoherence and banality may recoil at the obscenity of being asked to experience the horrors of Dachau as reflected in John Wayne's bleary eyes. It also features Topol, James Donald, Stathis Giallelis, Ruth White, Gordon Jackson, Luther Adler, Gary Merrill, and Jeremy Kemp. Get the soundtrack.

UTTER RUBBISH
I GIVE THIS MOVIE MINUS 5 STARS.
Why do we watch movies? Sometimes its because we like fantasy, or action, or romance, OR THE TELLING OF A TRUE STORY. I guess the idea with cast a giant shadow was to tell the true story of how a group terrorists [Jews] with great might and courage created an independent state of Israel- which of course is all false and utter rubbish. The film is light years away from the telling of a true story. The Jews were not mighty nor courageous, nor passionate. The truth is they were terrorists and with America's help defeated the Arabs. What ever the film potrays of the Jews was wrong and highly inaccurate. There was also some inaccuracies in the portrayl of the Arabs, but not on a grand scale as the Jews. Steven Speilberg wanted to do a movie very close to the truth about the same war, but when zionists saw the script they pressured Steven to drop the idea. Cast a Giant shadow underated the amreican involvement which was the only reason why Israel won that war. If you like a war movie there are plenty that are much better than this. If you are pro-israeli I think you will like it, but remember 80% of it is inccurate. Many people watch and then review a movie at amazon if it is a good ONE. On the basis of that, cast A Giant shadow has only 11 reviews, indicating what utter rubbish of a movie it is.

White-Washed View of Arab-Israli War
The problem with a film like this today is that it will evoke passionate responses from both Arabs and Jews. I think a non-semetic person is needed to provide an honest assessment. As an American I have no great feelings for either Isreal or the varied Arab States. I think both sides have little to recommend them even to this day. This film portrays the creation of the modern Isreali army from a bunch of feuding militias. Kirk Douglas plays his usual out-spoken leader part which comes over ok. John Wayne as a WW2 general and State Department official is almost amusing, but does convey how the US government probably felt toward events in the Middle East at this time.

I was surprised at the reasonable portrayal of the British in this film, as they are usually vilified by pro-Isreali elments most times. It shows how the British vainly tried to keep both sides apart, and explains a little of their own position for a change. It was a thankless task for them. The almost saintly portrayal of the Isrealis does give one the impression that this film was funded by the Jewish Defense League in the US! They are always seen as long suffering as they prod along singing and dancing to their dour and flat music! The Arabs don't get much better treatment either, and little individual attention at all, excepet for one dissident chieftain who seems to throw his lot in with the Jews. His portrayal is a bit standard, but is amusing and not that inaccurate for the time.

What the movie does show well is the chaotic nature of the fighting in 1948 with the first Arab-Isreali War. We see Jewish columes being attacked from the mountains and bloody sacrefices being made. The Arab forces are shown a bit better armed than I think they actually were, but there can be no doubt that they had some initial advantages against the nascent state of Isreal which they threw away. 1947-48 was the only chance the Arab World would get to crush Isreal, and they have only themselves to blame for not doing it. The Isrealis once again proved the superiority of Western forces against Eastern ones. Even with the chaotic nature of the fighting, and their poor strategic situation, they were able to hang on and prevail through sheer grit and determination. Kirk Douglas represents the many mercinaries and outside supporters who were vital in giving the Isrealis the technical expertise, help and leadership that they so badly needed. Without them Isreal no doubt would have been crushed.

This movie is a bit sentimental and heavy-handed at times, but it probably conveys a general impression of the times better than any Hollywood production could today. Frank Sinitra flying around in his little plane has got to be funniest thing in this entire opus! Yul Brenner is pretty good also as a downcast Isreali leader. The women in the movie are probably the most compelling aspect. Kirk Douglas's wife and the Isreali girl are both lovely and compelling. Their pull on him has symbolic meaning in the story. There is some good dialouge in this movie, some of it with decent historical references. Viewers should try not to get too involved with the plot and characters, and just try to see it as a grand rolling epic with some scant relation to history! I guess it would help if you are not pro-Isreali or Arab as well. Just sit back, have a few chuckles and gain an appreciation for the complexity of the events which are conveyed in this epic. You can at least begin to understand the current mess in the Middle East today by viewing it. They don't make movies like this anymore.

10% good 90 % bad
Okay, we wanted a movie to enjoy about the Land of Israel and it's struggles. Old style movie making was enjoyable, as was the usual depiction of the Jewish courage and struggle along with a similar type people giving American support. HOWEVER, from the get-go the main actor was cheating on his wife, and every time John Wayne got a chance to say "damn" he sure did. It's like they realized at this point in movie making they could get away with saying "damn" on screen more than in the work place or schools, or any other place of decency, and so they went ALL OUT. Like little kids getting away with something for the first time, if it's all the sudden allowed for some reason, they display it with exhuberance! So bad language, a love affair during marriage (actually celebrated by two married couples' cheating spouses) is toyed with and starts to come to full fruition (whatever THAT means anymore). Movie went in the garbage, we are sad we bought it. There was NO need for profanity, nor a need for such sensuousness on a topic about heroic bravery and humand struggles to live together in peace ON A BATTLEFIELD. The Jews are dipicted as passionate and courageous (usual depiction) but not very smart w/ politics and rough relationships (usual depiction). We aren't Jewish, but we say...don't buy! ... Read more

Reviews (1)

Astonishing Rita and DVD; silly movie
Rita Hayworth was never more captivatingly beautiful and sensuous than in "The Loves of Carmen". Fortunately, this lushly restored digital transfer is breathtaking in color and clarity and a fitting medium for Rita's screen presence and the film's fantastic cinematography.

The movie, however, is beyond melodramatic and turgid. The dialogue is often hysterical. While Rita (a Latina whose real name was Cansino) is actually pretty impressive as the gypsy Carmen, the otherwise reliable Glenn Ford is hopelessly miscast as the naive Spanish don who falls under her spell.

But if you love simply to behold Rita (and I do!), this is the ultimate feast for you. She is beyond stunning in this film. ... Read more

Reviews (17)

English actor, James Mason, makes a great Rommel.
Originally copyright by 20th Century Fox Film Corporation, in 1951, only six years after the end of World War Two, this black and white film gives a shallow overview of the last years of German Field Marshal Erwin Rommel: the Desert Fox.

Once you get past the opening rather stagey scenes, of British commandos raiding a German headquarters building in north Africa, hoping to kill the Desert Fox in his lair, the rest of the film is carried along guite well, by the great performance of James Mason, as Rommel. This performance is the only reason I rated this film as four stars, without Mason I would have been disapointed.

Other members of the cast do fine jobs too, notably Cedric Hardwicke and Leo G. Carroll. One can find good entertainment based on real events.

D-Day: the invasion of Normandy, is a highlight of this film. There are several minutes of what appears to be genuine newsreel footage of the storming of the beaches: the ships off shore, the guns, the planes, brave men falling. It's all very real at this point.

"The Desert Fox" was made in an era when the directors, producers, and the Hollywood Establishment in general, were less preachy, and less likely to distort the truth in order to promote a social agenda. That is a big plus for this film.

On the down side: the film starts off with several undisclosed advertisements for other videos, of like kind, by Fox. This is borderline dishonest, as consumers have paid for entertainment and expect it to be commercial free. At the very least, the ads should be disclosed, before anyone makes a purchaseing decision.

All in all, "The Desert Fox" is good entertainment and deserves a look.

A Proper Tribute To The Desert Fox
Henry Hathaway's 1951 film on Erwin Rommel, NAZI Germany's most brilliant tactician whose indirect involvement in a failed plot to assassinate Hitler resulted in his untimely death.

The film is a character study and focuses more on Rommel's relationship with Hitler and the German High Command as opposed to his achievements as a military tactician. Because the nature of his death wasn't very well known at that time, the film focuses on Rommel's deteriorating relationship with Hitler and his eventual participation in the assassination plot. This is normal since, with the film being made only 6 years after the end of WWII, audiences would have been quite unreceptive to a film glorifying a German general's military exploits against allied forces.

All in all, James Mason delivers a brilliant performance as a man who is struggling with his conscience. Is his duty as a general to just obey Hitler or to protect Germany from destruction? What should he do when Hitler's megalomania is a greater threat to Germany than the Allies themselves? How can he be a good soldier and live with himself by committing treason: even if treason is the only logical alternative? Although the film isn't entirely accurate in its history, it succeeds in capturing all of the internal conflicts Rommel must have suffered in deciding what to do. The film is also accurate in portraying the impossible dilemma faced by Von Runstedt and others in the German High Command with Hitler's incessant meddling in military planning and execution. As the movie shows, by 1944 Hitler assumed direct control of virtually all military operations in the major theaters with disastrous results (i.e. insisting that most heavy guns and panzer divisions remain in Calais even when the D-Day invasion was well underway). This dilemma was dealt with humor in the movie when Von Runsted sarcastically tells Rommel about how corporals (i.e. Hitler) are such brilliant strategists and tacticians who clearly know far more about waging war than your run-of-the-mill Field Marshalls: "You know how rigid those corporals can be."

Altogether a great film that sheds light on the character of one of the greatest military tacticians of the 20th Century. A film not to be missed.

Not enough action
This movie is misleadingly named. Although Rommel was indeed the commander of Germany's Afrika Corp in World War II, and there earned a reputation as a master tactician, that is not what this movie is about. Two-thirds of this movie's 88 minute length focuses on Rommel's minor role in a conspiracy to kill Hitler. The conspiracy failed, and Rommel eventually paid with his life for his involvement. (In truth, Rommel was lucky. The other conspirators were hanged on piano wire and died a painful death. Because he had been built up into a national hero, Rommel was given the opportunity to take poison, and the public was told he died of war wounds.

I'm afraid most viewers, jaded by modern F/X and action laden efforts like Saving Private Ryan, will be disappointed with this rather inexpensively made effort from 1951. There is very little action other than a commando raid during the first five minutes of the movie. The little remaining action is actual stock footage of the war, skillfully cut into the film. The movie is very talky, focusing on Rommel's relationship with his wife and son, Field Marshal Von Rundstedt, and Adolph Hitler.

I have to admit that when I watched an early scene that showed Rommel in North Africa, wearing a long black leather overcoat consulting with his officers, I said to myself "pure Hollywood! there is no way he would have been wearing that in the hot desert." Then I went to my library and consulted a book on Rommel, lavishly illustrated with photographs. Not only was Rommel wearing the black leather overcoat, he was dressed precisely as depicted in the movie. There is also a remarkable resemblance between Rommel and James Mason, who does an outstanding job portraying Rommel in the movie. The moviemakers got it right, and I was wrong.

The Desert Fox and The Desert Rats - really a set!
Both these movies have James Mason playing the part of General Erwin Rommell. The Desert Rats is the story of Australian Infantry under the command of a British Officer (Richard Burton)who although out numbered and out gunned delay the advance of Rommell's Afrika Corps outside of Tobruk until the British Relief Column arrives. Almost like a sequel to The Desert Rats is the story of The Desert Fox. This story is told through the eyes of an ex-British Officer who after the war tries to find out exactly how and why Rommell died under the Nazi Regime. The story reveals how an unwell Rommell, recently returned from the middle east campaign is invited to join the plot to kill Hitler. It shows Rommell's battle of conscience over his loyalty to an insane leader and his knowledge of the plot for that leader's assassination. Although he will not support the plot to kill Hitler, Rommell will not turn the conspirators in either - a decision that would cost him his life.

I strongly recommend the purchase of both these movies.

Decent Semi-Biographical Film
In between stock footage and some odd chase scenes, this is a pretty good film about Erwin von Rommel.

Rommel has always been my hero, and James Mason gives a fine performance as "the Desert Fox." OK, so maybe he doesn't look like Rommel, but he plays him well and his looks aren't as off as some other atrocious role choices have been. John Wayne as Ghengis Khan comes to mind.

Rommel is pretty well realized, although I would have also liked to have seen his earlier life shown as well. I understand that probably wasn't the intention of the film makers, and as showing Rommel in his WWII life, this film succeeds. ... Read more

Reviews (9)

An old sea yarn
This tale is narrated from the perspective of the first mate of "The Red Witch" when the incidents at the beginning of the film occur. Of all the characters in this tale, the narrator seems to have the most dignity. None of the characters are lacking in pride, and all but the women are greedy.

For a sea yarn set in the late 1800s, the sea captain has to be a bit of a rogue and a rascal, but still possess heart. This is difficult, in my opinion, for John Wayne. I have seen him in too many movies where he is the gallant working to save the day here. In this movie, he is trying to play a conniving sea captain, and I can't get past my image of him. This will make it difficult to understand his character.

To look at the story, the box is a little off. It places the focus where the movie does not focus its attention. The attention is on the relationship between Captain Ralls (Wayne) and Sidneye (Adler). Both are greedy, but have to have the other to give life some meaning. Parts of the story seem add a love story to bring in a wider audience, but it really doesn't flow, nor does it fit the story.

I would not go out of my way to see this movie, but if it happened to be on, I would give it a view.

Widescreen????
People are wondering why this movie is presented in Full-Screen format. The answer is simple...Widescreen movies weren't made until 1953. This movie was made in 1949. All movies made until 1953 were filmed in the 4:3 ratio. When TV came along, and used the same ratio for picture tubes, the movie execs came up with a wide format to lure back moviegoers.

So, if you see a movie release on DVD, and it was made before 1953, don't look for it in wide screen...

Good Duke, good DVD, but are we missing wider format?
Here's a Duke movie to like. This DVD, which has been previoulsy released, is full screen. Whether or not widescreen was in regular use, it seens obvious to me there's more information on the sides. I saw a wider version on, I think, TCM, also colorized. I don't think it's just a matter of chopping the top and bottom off the full screen version and making it look wider. I think there is more information out there. So given the excellent movie at its heart, it would be nice to have whatever extra picture there is. This is a story that can take advantage of wideness. Apart from that, it's a Duke DVD for every collection, a good story, nice effects and the video transfer and sound are very good. You'll like it. But watch for the wider, colorized version to be broadcast and tape it.

Good John Wayne
It's in full screen instead of widescreen. As a result this good, fun movie loses some of its visual spendor. Also, it's the original BW version. Still, right now it's the only version available. The picture and sound are fine on DVD but look elsewhere for the widescreen and the computer colorized version, which shows up on satellite TV now and then.

The DUKE and Gail, together again!
After the classic "Angel and the Badman", DUKE and Gail Russell paired again for this effort, "Wake of the Red Witch".

A tale of the effects revenge, greed, and bittnerness can have on people, the story traces the duel of words and intrigue between two men; Captain Ralls (The DUKE), and shipping magnate Mayrant Sidneye.

DUKE skippers Sidneye's prize ship, the Red Witch, and purposely wrecks her in a plan to cheat Sidneye out of a cargo of gold. Turns out that Sidneye had plotted to steal away DUKE's girl, Angelique Desaix (played by the lovely and angelic Gail Russell).

Tricking DUKE into a fatal confrontation with the girl's father, Sidneye is able to marry Angelique before The DUKE can set things right. This leads to her unhappiness, and The DUKE takes revenge on Sidneye by wrecking the Red Witch.

A wonderful study of greed, revenge, and redmption, we see the tale through the eyes of a young seaman (Gig Young), who Ralls sees as his younger self.

Familiar faces in the cast include Paul Fix, Henry Daniell, Jeff Corey, Erskine Sanford, and Grant Withers.

Gail is gorgeous, as usual. ... Read more

Reviews (17)

English actor, James Mason, makes a great Rommel.
Originally copyright by 20th Century Fox Film Corporation, in 1951, only six years after the end of World War Two, this black and white film gives a shallow overview of the last years of German Field Marshal Erwin Rommel: the Desert Fox.

Once you get past the opening rather stagey scenes, of British commandos raiding a German headquarters building in north Africa, hoping to kill the Desert Fox in his lair, the rest of the film is carried along guite well, by the great performance of James Mason, as Rommel. This performance is the only reason I rated this film as four stars, without Mason I would have been disapointed.

Other members of the cast do fine jobs too, notably Cedric Hardwicke and Leo G. Carroll. One can find good entertainment based on real events.

D-Day: the invasion of Normandy, is a highlight of this film. There are several minutes of what appears to be genuine newsreel footage of the storming of the beaches: the ships off shore, the guns, the planes, brave men falling. It's all very real at this point.

"The Desert Fox" was made in an era when the directors, producers, and the Hollywood Establishment in general, were less preachy, and less likely to distort the truth in order to promote a social agenda. That is a big plus for this film.

On the down side: the film starts off with several undisclosed advertisements for other videos, of like kind, by Fox. This is borderline dishonest, as consumers have paid for entertainment and expect it to be commercial free. At the very least, the ads should be disclosed, before anyone makes a purchaseing decision.

All in all, "The Desert Fox" is good entertainment and deserves a look.

A Proper Tribute To The Desert Fox
Henry Hathaway's 1951 film on Erwin Rommel, NAZI Germany's most brilliant tactician whose indirect involvement in a failed plot to assassinate Hitler resulted in his untimely death.

The film is a character study and focuses more on Rommel's relationship with Hitler and the German High Command as opposed to his achievements as a military tactician. Because the nature of his death wasn't very well known at that time, the film focuses on Rommel's deteriorating relationship with Hitler and his eventual participation in the assassination plot. This is normal since, with the film being made only 6 years after the end of WWII, audiences would have been quite unreceptive to a film glorifying a German general's military exploits against allied forces.

All in all, James Mason delivers a brilliant performance as a man who is struggling with his conscience. Is his duty as a general to just obey Hitler or to protect Germany from destruction? What should he do when Hitler's megalomania is a greater threat to Germany than the Allies themselves? How can he be a good soldier and live with himself by committing treason: even if treason is the only logical alternative? Although the film isn't entirely accurate in its history, it succeeds in capturing all of the internal conflicts Rommel must have suffered in deciding what to do. The film is also accurate in portraying the impossible dilemma faced by Von Runstedt and others in the German High Command with Hitler's incessant meddling in military planning and execution. As the movie shows, by 1944 Hitler assumed direct control of virtually all military operations in the major theaters with disastrous results (i.e. insisting that most heavy guns and panzer divisions remain in Calais even when the D-Day invasion was well underway). This dilemma was dealt with humor in the movie when Von Runsted sarcastically tells Rommel about how corporals (i.e. Hitler) are such brilliant strategists and tacticians who clearly know far more about waging war than your run-of-the-mill Field Marshalls: "You know how rigid those corporals can be."

Altogether a great film that sheds light on the character of one of the greatest military tacticians of the 20th Century. A film not to be missed.

Not enough action
This movie is misleadingly named. Although Rommel was indeed the commander of Germany's Afrika Corp in World War II, and there earned a reputation as a master tactician, that is not what this movie is about. Two-thirds of this movie's 88 minute length focuses on Rommel's minor role in a conspiracy to kill Hitler. The conspiracy failed, and Rommel eventually paid with his life for his involvement. (In truth, Rommel was lucky. The other conspirators were hanged on piano wire and died a painful death. Because he had been built up into a national hero, Rommel was given the opportunity to take poison, and the public was told he died of war wounds.

I'm afraid most viewers, jaded by modern F/X and action laden efforts like Saving Private Ryan, will be disappointed with this rather inexpensively made effort from 1951. There is very little action other than a commando raid during the first five minutes of the movie. The little remaining action is actual stock footage of the war, skillfully cut into the film. The movie is very talky, focusing on Rommel's relationship with his wife and son, Field Marshal Von Rundstedt, and Adolph Hitler.

I have to admit that when I watched an early scene that showed Rommel in North Africa, wearing a long black leather overcoat consulting with his officers, I said to myself "pure Hollywood! there is no way he would have been wearing that in the hot desert." Then I went to my library and consulted a book on Rommel, lavishly illustrated with photographs. Not only was Rommel wearing the black leather overcoat, he was dressed precisely as depicted in the movie. There is also a remarkable resemblance between Rommel and James Mason, who does an outstanding job portraying Rommel in the movie. The moviemakers got it right, and I was wrong.

The Desert Fox and The Desert Rats - really a set!
Both these movies have James Mason playing the part of General Erwin Rommell. The Desert Rats is the story of Australian Infantry under the command of a British Officer (Richard Burton)who although out numbered and out gunned delay the advance of Rommell's Afrika Corps outside of Tobruk until the British Relief Column arrives. Almost like a sequel to The Desert Rats is the story of The Desert Fox. This story is told through the eyes of an ex-British Officer who after the war tries to find out exactly how and why Rommell died under the Nazi Regime. The story reveals how an unwell Rommell, recently returned from the middle east campaign is invited to join the plot to kill Hitler. It shows Rommell's battle of conscience over his loyalty to an insane leader and his knowledge of the plot for that leader's assassination. Although he will not support the plot to kill Hitler, Rommell will not turn the conspirators in either - a decision that would cost him his life.

I strongly recommend the purchase of both these movies.

Decent Semi-Biographical Film
In between stock footage and some odd chase scenes, this is a pretty good film about Erwin von Rommel.

Rommel has always been my hero, and James Mason gives a fine performance as "the Desert Fox." OK, so maybe he doesn't look like Rommel, but he plays him well and his looks aren't as off as some other atrocious role choices have been. John Wayne as Ghengis Khan comes to mind.

Rommel is pretty well realized, although I would have also liked to have seen his earlier life shown as well. I understand that probably wasn't the intention of the film makers, and as showing Rommel in his WWII life, this film succeeds. ... Read more

Reviews (3)

The Three Sisters
You don't see acting like this any more these days. Kim Stanley gives a brillant performance as does Geraldine Page, Sandy Dennis and Shelley Winters. Highly recommend this if you appreciate acting as an art form.

amazing performances by amazing actresses
It's a faithful stage to screen translation. You have three of the greatest actresses of the 20th century: Sandy Dennis, Shelly Winters, Geraldine Page. What more could you ask for?

Great version of Chekhov's classic!
This is a rarely seen videotape recording of the 1965 Broaway presentation of Anton Chekhov's classic play "The Three Sisters". Geraldine Page, Kim Stanley, and Sandy Dennis are sensational in the title roles: three equally unhappy women who believe their dreary lives will improve if they can just return to their childhood home in Moscow. Shelley Winters co-stars as their nagging, irritating sister-in-law who doesn't do much to make their lives easier. All in all, this is a faithful rendition of the Chekhov play, but the all-star cast is what makes the film so enjoyable. ... Read more

Reviews (15)

A great exhibit for the Film Noir Museum
It's a clever idea, really -- a man who sets out to solve his own murder before he dies. A businessman in San Francisco for a good time is given a poison for which there is no treatment. He has only a day or two to live. Driven by the need to know who did this and why, he uncovers a convoluted plot involving stolen iridium, false identities, and a cast of colorful characters whose motives I had trouble following. The protaganist's character is a bit fuzzy (the exaggerated portrayal of his compulsive girlwatching is just silly), and the dialog between him and his secretary/girlfriend is sometimes downright weird. What's really interesting about this movie is seeing how much certain styles -- at least as portrayed on screen -- have changed in just a generation. All the men wear suits and ties all the time, even while enjoying that crazy "jive" music in a wild jazz club. Edmond O'Brien is an out-of-shape, middle-aged chain smoker with a puffy face and a Ricky Ricardo hairdo, but several attractive women find him irresistable. The women, then as now, are thin and pretty, but hampered by elaborate hair, stiff clothes, and very strange hats. By today's standards, everybody looks old. And the police are polite to everyone!

An unusually cynnical film noir
The concept of a murder victim who functions as his own detective, gives to D.O.A. a unique point of view and also gives it a major status.
The inspiration for D.O.A. comes from a 1931 german film entitled Der mann, der seinen morder sucht, directed by Robert Siodmak (The dark mirror).
People manipulated by forces they are unable to control and comprenhend; that's a another important component of the film noir's profile.
This film, altogether with Kiss me deadly (Robert Aldrich, 1955) are the best exponents in remarking this point, because also establish a crossroad about the unknown consequences derivated from the technology.
Don't miss this weird story; an unvaluable gem and also well done film of Rudolf Mate.
Edmond O' Brien is top-notch.

based in false facts but superb
This movie is a clear demonstration of how it's possible to make excellent cinema based on premises frontally opposite to the movies of today. We will see the protagonist to react as a madman when he finds out that someone has poisoned him with an terrible, fluorescent, imaginary toxin. Also I doubt very much that can be real the attitude of the physicians dealing with such a case in saying crudely to the patient that he has only a few hours of life, and I don't dare to enter in ethical considerations. This movie doesn't admit microscopic vision.
And nevertheless and against all these, the spectator follows this unreal plot and remains magnetized by the movie. How is this possible? The response only can be one: an enormous amount of talent. Let's rest in peace the unfortunate DOA, he has deserved it after 90 minutes of a nightmare that we do not understand but fascinates us. Today, with all the special effects and computers of the world the same results aren't reached.

Forces Beyond Our Control.
A man named Frank Bigelow (Edmund O'Brian) shows up at Los Angeles police station to report a murder: his own. Frank is dying of luminous toxin poisoning. He recounts to police the incredible story that brought him to be at the brink of death in this police station in a strange city. Just a few days ago, he was a small business owner in a little town called Banning. He had an adoring girlfriend, Paula Gibson (Pamela Britton), who was also his personal secretary. But Frank had cold feet about marrying Paula and decided to take a little vacation to San Francisco to give himself some air. Paula called to tell him that a man named Phillips was desperately trying to reach him, but the name didn't ring a bell. The next day, Frank found out that he had been fatally and irreversibly poisoned. Frank's increasingly frantic search for the identity and motivation of his murderer takes him to two cities, into the criminal underworld, and onto the wrong end of several pistols before all is done.

Rudolph Mate's "D.O.A." is a film noir classic. And it takes the cynical view typical of the genre. Frank is a man whose fate is entirely beyond his control. As the audience roots for Frank to solve the mystery and find his murderer, fate unabashedly mocks his efforts. Frank is a dying man; what earthly difference will it make if he finds his killer? Whatever Frank does, the result will be the same. And it's all because he notarized a bill of sale...one out of hundreds of bills of sales. Who knew what being a notary could lead to? But for a movie with such a cynical story to tell, "D.O.A." has always been immensely popular. I think that's because Frank Bigelow is an "everyman" who rises to the occasion when difficult circumstances require it. He's not too smart and not too dumb. He has a nice girlfriend...to whom he isn't entirely faithful. He's basically a good guy, works hard, but imperfect. And when fate deals him a bad deal, he finds within him a strength and determination that even he may not have known he had. He's going to solve the mystery if it's the last thing he does. Even though it will be the last thing he does. Edmund O'Brian does an admirable job of conveying Frank's imperfection, his initial incredulity at his predicament, and then his determination when he stares reality in the face and decides to take matters into his own hands, to the extent that he can. The opening scene in which Frank enters the police station to report his own murder is a stroke of genius. What a way to hook an audience! The only fault that I find with the film are the ridiculous noises that we hear every time Frank spies an attractive woman. Their tone is completely inappropriate to the film, and they are a real blot on Dimitri Tiomkin's otherwise excellent score.

The DVD (This refers to the Roan Group DVD only): This film looks too contrasty and lacking in subtle tonality to me. Not having seen the film on the silver screen, I don't know if it was originally like that, if there was a problem with the print, or if it's a bad transfer. But the film stocks available in 1950 were technologically much better than this DVD would lead you to believe. The main menu on the disc doesn't show up before the movie. The disc starts to play as soon as it is inserted into the player, so you have to either hit the menu button on your remote or get yourself onto your couch quickly. There are two bonus features: An interview with actress Beverly Campbell (now Beverly Garland) in which she describes her experience being blacklisted by the Hollywood studios for several years following her appearance in "D.O.A." And there are a few pages of text that you can read about film noir in general and "D.O.A." in particular. Beverly Garland's story is interesting, but the DVD seems to be put together in a slipshod manner.

A film noire classic in every sense of the word
1950's D.O.A. is classic film noire, one of the true classics of the genre. The characters are intense, everyone is up to something, and the clock is ticking for one Frank Bigelow (Edmond O'Brien), who must attempt to find his own murderer before his last grain of sand trickles to the bottom of the hourglass. Bigelow is an accountant who up and takes a week off to visit San Francisco, ostensibly to get away from his secretary and incredibly needy, codependent, marathon-talking girlfriend Paula (Pamela Britton). Once he arrives at the hotel, he's like an elephant in a peanut factory, trying to go every direction at once in order to have a good time with every woman he sees. While the neurotic Paula broods, Bigelow goes out to paint the town red with a gang of his hotel neighbors, only to wake up the next morning feeling less than healthy. A trip to the doctor's office instantly changes his entire perspective on life, for he finds out that he has been poisoned with a luminous toxin, for which there is no cure whatsoever. With anywhere from a day to two weeks to live, he starts off on a relentless quest to discover his murderer. The plot takes a number of twists and turns, and it can get a little confusing at times because of all the characters and all the shenanigans each of them are pulling. Bigelow has nothing to lose, though, and he refuses to give up as long as he has a breath in his body.

D.O.A. starts off a little slow, and the fact that a silly musical wolf call greeted the appearance of any woman early on had me doubting the merits of this film, but when things really get going, they really get going. The action and suspense build inexorably with each passing minute of the film, and the background music only reinforces the gripping effect upon the viewer. The camera work is also quite effective, strongly conveying the increasing alienation Bigelow is faced with as the Grim Reaper makes plans to pay him an imminent visit. It is easy to become mesmerized by all of the story's twists and turns, as on top of the great atmosphere, you have to think about each new clue and surprise that Bigelow encounters on his mission. You have to admire Bigelow's relentless determination and quick-thinking mind, and he quickly transforms himself from a character of dubious merit and possibly ignoble feelings into a tragic hero/victim of classic proportions. If the whole luminous poisoning thing doesn't make you sympathize with the character, the neurotically suffocating burden of love he has to deal with continuously from Paula will. Other films have taken this idea of a poisoned man hunting down his murderer in his dying days and hours, but none has produced such a gritty tale that drips with realism and builds to the type of crescendo found in this remarkable film noire classic. ... Read more

Reviews (5)

All Star Cast Pulls It Off
The tremendous cast drives this fact-based story of a ship of over nine-hundred Jewish refugees allowed to leave Germany not long before the start of WWII to settle in Cuba. The Germans had no intention of letting the ship dock in Cuba, but it was a propoganda ploy. As the title of the film indicates, there is a feeling of doom permeating the whole story.

Max Von Sydow does an excellent job portraying the compassionate captain trying to find some way of saving his passengers despite the personal risk to himself and his family back in Germany. An all-star cast populates the passengers with strong performances coming from Faye Dunaway, Oskar Werner, Wendy Hiller, Maria Schell, as well as Sam Wanamaker and Lee Grant who both get a memorable scene of hysteria each.

The attempts on land to solve the problem of the ship make up the other part of the film. Most of these cameos are brief, although Ben Gazzara and especially Katherine Ross standout.

The direction isn't particularly inspired, and if it weren't for the compelling story and cast, the film would have been far less effective. It is darkly photographed, which adds to the atmosphere of the story and sets and costumes are all authentic and well done.

Voyage of the Damned isn't a great film, but the plight of its characters and the fact that it really happened will keep viewers watching until the end.

a great little flick !
I rented this movie one night because the title caught my eye as did the list of the stars.This movie is very long but extremly well scripted,casted,acted and edited.Story a german cruise ship the St.Loise(mispelled)filled with 937 Jewish refugees. The ship is enroute to Havana but the Nazi government made a deal with some Havana officials not to allow them to dock or let anyone off.The best performances are Lee Grant(oscar nomination and Golden Globe nomination),Osker Warner,Malcom Mcdowell,Katharine Ross(Winner of the Golden Globe best supporting actress),Faye Dunaway,Orsonne wells,Julie Harris, Jonathan Pryce the list goes on and on please rent this great movie!1!!!!

Voyage of the Damned
The true story of the SS St. Louis at the start of WWII with Jewish refugees endevaoring to escape Nazi Holocaust, being sent from port to port in search of a haven to survive. As usual, petty politics complicated their lives and in the end they were forced to sail back to Europe where most of them perished at the hands of Nazis and their Europen sympathisers. It is a (possibly forgotten) lesson in priorities...One that still has not been learned by today's democracies.

JUDEN IST VERBOTEN..!!
The ill fated voyage of the SS.St Louis has long passed into folk lore as one of the nazi propaganda machines more devious creations. All courtesy of Dr Joseph Goebbels. Briefly the idea was to allow a specially selected group of some 900 jewish refugees to leave Germany ostensibly to Cuba and then wait for the fallout when their visas were refused entry first by Cuba then the US, Canada and other so-called 'democratic' countries. The reasons given for refusal were couched in political jargon but the underlying translation was, 'sorry but we dont want to be overrun by thousands of jewish migrants, take your problems elsewhere'. Juden ist verboten !. The nazis would chomp with glee at these actions which would of course support their aryan theories that the jews were a race apart, and that the policies of other nations were indeed no different from Hitlers germany. Sad to say the plan worked all too successfully.

The star studded cast here give mixed portrayals of a cross section of the ships passengers. They are led by Oskar Werner and Faye Dunaway as Egon & Denise Kreisler. Max von Sydow gives an understated performance as the beleaguered ships captain, determined to stay neutral and non-political despite being caught in the middle of some diplomatic pointscoring. After the war his courage and bravery is honoured by world jewish congress. Lee Grant tends to overact her role but unforgettable is James Mason as Remos, the incorruptible foreign minister determined to save two young girls following a personal appeal by their father to a certain influential high class prostitute. Played superbly by Katherine Ross her parents are also on the ship and their is a brief but tearful reunion scene as the mother realises her daughters true profession. But this is just one story of many. No doubt the story is full of historical inaccuracies and the purists will howl at this but for all that it is still a watchable film re-enacting one of the more shameful episodes of WWII not entirely of the nazis own making.

Excellently acted true story of Jews during WW2.
All-star cast (Faye Dunaway, Oskar Werner, Sam Wanamaker, Maria Schell, Julie Harris, Max von Sydow, Wendy Hiller, etc.) recreate the true and gripping story of a shipload of Jews seeking to emigrate from Germany during the Second World War. They have been granted passage on a German ship but then cannot find a country that will take them in.

Beautifully executed from start to finish, this movie is based on the book of the same title. It has great acting, interesting characters and a poignant story. The action of the movie has an upbeat ending, but the final frames of the movie inform us of the ultimate fate of each passenger. ... Read more

Reviews (3)

"Criminal Masterpiece"
They just dont make them like this anymore! I would love to see Alpha Video put this masterpiece out on DVD. Very tough crime flick from the 50's, one of the greatest!

Reworking the Familiar
A curiously compelling little movie, Crashout is a throwback to the tough prison-escape movies of the 30's. Fortunately, the producers had the good sense to hire an expert cast of B-movie veterans to enliven an otherwise shopworn plot. Writer-producer Hal Chester and director-writer Lewis Foster provide each convict with a distinct personality that holds viewer interest as tensions mount, while the audience anticipates how each character will be brought to justice. Standouts in the cast are the always subtle Arthur Kennedy, an engagingly ambivalent Marshall Thompson, and William Tallman doing his scary psycho bit, this time as a knife-throwing religious fanatic. And in a poignant bit part, cult favorite Gloria Talbott as the prospect of a normal life for the ill-fated Thompson. Though you've seen it all before, there are many nice touches that lift this otherwise generous slice of thick-ear beyond the merely routine.

Crashout: top notch prison breakout film!
Sure, we've seen the escaped convicts formula before, but this one hits home. Here is a real diversity of the six characters; each one as convincing as the next. William Bendix is his usual great gruff self, playing the heartless, cold-blooded mastermind. My personal favorite, film veteran Arthur Kennedy, excels as the counterpoint to Bendix: he excels as the white collar criminal with a brain, and ultimately, a heart. Fine dialogue, plenty of action, and even a little romance thrown in. A winner! ... Read more

Reviews (5)

Cagney is bad to the bone!
I've always loved watching film noirs & of course I'm a huge James Cagney fan. I must confess that when I bought this the other day I'd never even heard of it. Along with White Heat, Cagney proved he was truly a screen villian to be feared. He had already established his reputation with his great gangster roles of the 30's, but never did he play a more evil character than in Kiss Tomorrow Goodbye. A comparison to Al Pacino's "Tony Montana" character in Scarface is not far off, believe me! Other reviewers have gone over the plot, so I won't waste your time. Without a doubt this is one of Cagney's finest performances, & no Cagney fan should be without this classic or White Heat, his only other film noir role.

Cagney: A Hood Who Rules With Personality Not Logic
When James Cagney was offered the role of criminal Bruce Cutter in KISS TOMORROW GOODBYE, he thought that he had long since finished playing gangsters. He changed his mind though, and his role as the psychopathic killer was the last that he would play. What stamps his performance as the opportunistic killer in this film is that he hearkens back to the sort of prohibition type thugs that he immortalized in the 30's, but unlike those roles in which he combined immorality with a certain likeableness, here he is totally feral. More than a few supporting characters note that he insane with ambition.

KISS TOMORROW GOODBYE is not the kind of crime film in which believability ranks highly. The impetus of audience reaction is carried solely through the kinetic force of Cagney's over the top performance. From the opening scene in which he escapes a prison work farm with the help of girlfriend Holliday (Barbara Payton) to every scene that ought to drown in illogic, the flow of plot runs so smoothly that the audience can't help but overlook the extraordinary concatenation of coincidence. As soon as Cutter rolls into town, no cops recognize him, even when he strolls leisurely into and out of the town's police station. He pulls a stickup and when apprehended by the police, he is let go by a crooked cop (Ward Bond), who promptly implicates himself on a recording device. To further complicate matters, Cutter starts an affair with Margaret (Helena Carter), the daughter of the town's most powerful citizen. Considering that Cagney was 50 years old at the time, the implausibility of a pair of pretty twenty somethings falling for him is breathtaking. Finally, the blatant use of police corruption adds to the feeling that you have seen this movie at least 20 years before. Several critics have pointed to it by paying homage to its origins as a 30's type gangster B movie. This, I think, is being a little too kind. It is no such thing. Instead, it stands as the swan song of a gifted actor who tried once too often to reprise the role of a ruthless thug that made him famous in the first place.

Original Tough Guy
Cagney along with a fine cast of co-stars portrays a mentally disturbed, escaped convict with high aspirations. Betrayal, greed and unrestrained ambition are the key ingredients to this underated film noir masterpiece. The DVD plays clean and clear with good sound quality.

Tough Guy Cagney Does It Again
When socialite Margaret Dobson (Helena Carter)attempts to scare gangster Ralph Cotter ( James Cagney) with a high speed joy ride in her expensive convertible, Cagney's darting eyes and slight smile alerts viewers that this high society mistress has made a grave mistake. No celluloid dame ever put fear into the heart of a James Cagney character, and Cagney as escaped convict Ralph Cotter in Kiss Tomorrow Goodbye doesn't disappoint his male legion of fans. With the speedometer needle already bouncing at the 90 mph. mark, Cotter calmly places his shoe on top of Miss Dobson's foot and mashes the accelerator pedal down even further. In one of the most revealing female/male test of wills ever captured on screen, the two characters battle a mind game that Cotter eventually wins. Just when we thought we have seen every James Cagney gangster persona , scenes such as the convertible ride command our attention once again. Cagney is ruthless in Kiss Tomorrow Goodbye in which he portrays an escaped convict who courts two girlfriends, blackmails two police detectives, robs a supermarket payroll, murders three mob bagmen and pilfers the daily gambling bankroll. Although Cagney wasn't always amused at how studios continually pushed gangster scripts his way, he seems to have had fun in the role of Cotter. Especially when his other girlfriend Holiday (Barbara Payton)throws everything but the kitchen sink at him during an on screen spat. The film does contain flaws which challenge the believability of viewers, such as Cotter's miraculous escape from a chain gang, the use a dictaphone to frame a police inspector, and Cotter not being reckognized as an escaped convict. These shortcomings aside, Kiss Tomorrow Goodbye is watchable because of Cagney's commanding performance. Cagney leads the holdup of Hartford's Supermarket with coolness, his beating and disposal of a garage mechanic is violent, and his towel smacking of girfriend Holiday and her reaction are memorable. The film also boasts fine performances from Luther Adler, who plays shrewd and influential lawyer Cherokee Mandon. Ward Bond who portrays the corrupt police inspector, Weber. Barton Maclane who later gained TV fame as General Peterson on I Dream of Jeannie, also gives a fine supporting role as Weber's sidekick. Overall the film does make a statement about crime and corruption that slowly creeped back into America's consciousness after WWII. With graft, corruption, bribes, and scandals shocking the nation, filmmakers once again drew fine lines between crimminal characters and the characters that represented law and order. For fans of crime, noir, gangster, or just James Cagney, Kiss Tomorrow Goodbye is a great way to spend an hour and fifty minutes.

A misogynistic predator
James Cagney is ruthless as Ralph Cotter, a murderous crazed hood who blackmails cops and everyone else in his path after a break from chain gang.

Made after "White Heat," and while preparing dancing scenes for his next film "West Point Story," Cagney abhorred doing another gangster flick, but you can't tell it here. He throws himself into the role, and does the best with what he has.

Cagney is the whole show, and his evil is more pronounced than ever. Not only is he a murderous thug, but a sexual predator, seducing and coercing women to doing his bidding along the way.

Cagney -- a gentleman in real life -- played a lot of misogynistic characters, and he is no less in this -- savagely beating a moll with a rolled up, wet towel, then seducing her as she falls weeping and hysterical into his arms.

One could say, if you reviewed his gangster flicks as a whole, that Cagney hadn't made a whole lot of cinematic progress from grapefruit squashing and dragging chicks across the floor by the hair (as he did with Mae Clarke in previous films). Seen without that hindsight, he is brutal and effective.

While he played other bad guys in subsequent films, this is the last true gangster that he played, and he was relieved to call it quits.

It was poorly reviewed at the time -- a well made bomb -- but it's worth viewing for Cagney's savagery. You need to suspend belief just a little bit in certain scenes -- not a whole lot of visible planning goes into big stakes heists, so his gangster comes off more ruthless than smart. ... Read more

Reviews (5)

Unto the Next Generation
HOUSE OF STRANGERS is a cautionary film about the dangers of hatred being passed onto the next generation almost as if hatred were an old and unwelcome pair of shoes. Edward G.Robinson is Gino Moretti, a self-made banking magnate who built his fortune as a ruthless moneylender who chose not to observe the usual niceities about observing normal banking regulations concerning records and collateral. In his over the top performance as an Italian who might have been Vito Coreleone had the Don chosen to go straight, Robinson is a totally self-centered egomaniac who comes off more as a smug Biblical patriarch holding court over his captive family than he does the old-world banker who believes that his money gives him rights that transcend filial obligations. It is hard to like him as he rips into his four sons, insulting each of them in ways that undercut whatever sense of independence and goodness that otherwise might have been there. It is only Max (Richard Conte), who can see,if only belatedly, the vision of his father. And even Max learns that he must purge himself of the bitter dregs of poison and animosity that afflict his brothers. Max cannot do this alone; he requires the understanding first of Maria (Debra Paget) then later Helen (Susan Hayward), both of whom act as leavening agents that continually remind him of the goodness that each is sure lies within. Gino Moretti is truly a vicious inverted father figure in whose futile bleatings to his ungrateful sons,"Who do you think I built this bank for?" generates no pity in them but rather a sense of loss in us that he probably heard the same empty words from his father. The difference between the utter tragedy that this film was just a hairsbreath away from and the modest sense of optimism that it does end with is probably no more than what may, in similar real-life situations, have emerged. What goes around truly comes around, and HOUSE OF STRANGERS continually reminds us of the truism of that cliche.

A tedious, heavy misfire from Mankiewicz, Robinson
It's hard to believe that the Joe Mankiewicz of All About Eve and Letter to Three Wives served up this platter of overcooked pasta. The story is like bad Arthur Miller (or just Arthur Miller). Doing a stage Eye-talian (he sounds worse than Chico Marx), Robinson overplays as a mustachioed patriarch who founds a bank for immigrants; when it gets into trouble, his four sons fall upon one another's throats. What elements of noir creep into the plot (along with Susan Hayward) are neutralized by the ethnic stereotyping. Robinson plays ear-splitting opera and his family eats nothing but spaghetti. It's irksome that this "serious" drama -- of no visual interest whatsoever -- made it to video when more unusual and better realized movies (Caged, Desert Fury, 99 River Street) have not.

Searing and Evocative
A Great cast delivers in this melodrama whose story has been revisited in other films ( Broken Lance) in later years.

A Chance to see Robinson, who was never better, Conte, Luther Adler, Paul Valentine and a young Efrem Zimbalist as the brothers...Debra Paget and Hope Emerson have memorable moments on screen..and then there is Susan Hayward..who plays it all to the max.

CP

EDWARD G ROBINSON
Great performance. Great film noir. Creating the rules of the genre. The actors and the director made a great team

American dream a nightmare for an Italian family
Success, money, revenge, and jury-tampering:it's not the Corleone family or the Mafia-it's a first-generation Italian-American family of bankers, headed by Edward G. Robinson. This is aninteresting and ironic tale of the American Dream,and what that dream's fulfillment does to a familyin New York's Little Italy.Watch this for another side to the story shown in the Godfather-if Vito Corleone had been a successful banker, and also had 4 sons completely different from each other.Richard Conte stars as the favorite brother, is gorgeous, and has a very modern romance with his feminine equal, rich party girl Susan Hayward. If you loved the GODFATHER, you will love this movie. ... Read more

Reviews (5)

All Star Cast Pulls It Off
The tremendous cast drives this fact-based story of a ship of over nine-hundred Jewish refugees allowed to leave Germany not long before the start of WWII to settle in Cuba. The Germans had no intention of letting the ship dock in Cuba, but it was a propoganda ploy. As the title of the film indicates, there is a feeling of doom permeating the whole story.

Max Von Sydow does an excellent job portraying the compassionate captain trying to find some way of saving his passengers despite the personal risk to himself and his family back in Germany. An all-star cast populates the passengers with strong performances coming from Faye Dunaway, Oskar Werner, Wendy Hiller, Maria Schell, as well as Sam Wanamaker and Lee Grant who both get a memorable scene of hysteria each.

The attempts on land to solve the problem of the ship make up the other part of the film. Most of these cameos are brief, although Ben Gazzara and especially Katherine Ross standout.

The direction isn't particularly inspired, and if it weren't for the compelling story and cast, the film would have been far less effective. It is darkly photographed, which adds to the atmosphere of the story and sets and costumes are all authentic and well done.

Voyage of the Damned isn't a great film, but the plight of its characters and the fact that it really happened will keep viewers watching until the end.

a great little flick !
I rented this movie one night because the title caught my eye as did the list of the stars.This movie is very long but extremly well scripted,casted,acted and edited.Story a german cruise ship the St.Loise(mispelled)filled with 937 Jewish refugees. The ship is enroute to Havana but the Nazi government made a deal with some Havana officials not to allow them to dock or let anyone off.The best performances are Lee Grant(oscar nomination and Golden Globe nomination),Osker Warner,Malcom Mcdowell,Katharine Ross(Winner of the Golden Globe best supporting actress),Faye Dunaway,Orsonne wells,Julie Harris, Jonathan Pryce the list goes on and on please rent this great movie!1!!!!

Voyage of the Damned
The true story of the SS St. Louis at the start of WWII with Jewish refugees endevaoring to escape Nazi Holocaust, being sent from port to port in search of a haven to survive. As usual, petty politics complicated their lives and in the end they were forced to sail back to Europe where most of them perished at the hands of Nazis and their Europen sympathisers. It is a (possibly forgotten) lesson in priorities...One that still has not been learned by today's democracies.

JUDEN IST VERBOTEN..!!
The ill fated voyage of the SS.St Louis has long passed into folk lore as one of the nazi propaganda machines more devious creations. All courtesy of Dr Joseph Goebbels. Briefly the idea was to allow a specially selected group of some 900 jewish refugees to leave Germany ostensibly to Cuba and then wait for the fallout when their visas were refused entry first by Cuba then the US, Canada and other so-called 'democratic' countries. The reasons given for refusal were couched in political jargon but the underlying translation was, 'sorry but we dont want to be overrun by thousands of jewish migrants, take your problems elsewhere'. Juden ist verboten !. The nazis would chomp with glee at these actions which would of course support their aryan theories that the jews were a race apart, and that the policies of other nations were indeed no different from Hitlers germany. Sad to say the plan worked all too successfully.

The star studded cast here give mixed portrayals of a cross section of the ships passengers. They are led by Oskar Werner and Faye Dunaway as Egon & Denise Kreisler. Max von Sydow gives an understated performance as the beleaguered ships captain, determined to stay neutral and non-political despite being caught in the middle of some diplomatic pointscoring. After the war his courage and bravery is honoured by world jewish congress. Lee Grant tends to overact her role but unforgettable is James Mason as Remos, the incorruptible foreign minister determined to save two young girls following a personal appeal by their father to a certain influential high class prostitute. Played superbly by Katherine Ross her parents are also on the ship and their is a brief but tearful reunion scene as the mother realises her daughters true profession. But this is just one story of many. No doubt the story is full of historical inaccuracies and the purists will howl at this but for all that it is still a watchable film re-enacting one of the more shameful episodes of WWII not entirely of the nazis own making.

Excellently acted true story of Jews during WW2.
All-star cast (Faye Dunaway, Oskar Werner, Sam Wanamaker, Maria Schell, Julie Harris, Max von Sydow, Wendy Hiller, etc.) recreate the true and gripping story of a shipload of Jews seeking to emigrate from Germany during the Second World War. They have been granted passage on a German ship but then cannot find a country that will take them in.

Beautifully executed from start to finish, this movie is based on the book of the same title. It has great acting, interesting characters and a poignant story. The action of the movie has an upbeat ending, but the final frames of the movie inform us of the ultimate fate of each passenger. ... Read more

Reviews (9)

An old sea yarn
This tale is narrated from the perspective of the first mate of "The Red Witch" when the incidents at the beginning of the film occur. Of all the characters in this tale, the narrator seems to have the most dignity. None of the characters are lacking in pride, and all but the women are greedy.

For a sea yarn set in the late 1800s, the sea captain has to be a bit of a rogue and a rascal, but still possess heart. This is difficult, in my opinion, for John Wayne. I have seen him in too many movies where he is the gallant working to save the day here. In this movie, he is trying to play a conniving sea captain, and I can't get past my image of him. This will make it difficult to understand his character.

To look at the story, the box is a little off. It places the focus where the movie does not focus its attention. The attention is on the relationship between Captain Ralls (Wayne) and Sidneye (Adler). Both are greedy, but have to have the other to give life some meaning. Parts of the story seem add a love story to bring in a wider audience, but it really doesn't flow, nor does it fit the story.

I would not go out of my way to see this movie, but if it happened to be on, I would give it a view.

Widescreen????
People are wondering why this movie is presented in Full-Screen format. The answer is simple...Widescreen movies weren't made until 1953. This movie was made in 1949. All movies made until 1953 were filmed in the 4:3 ratio. When TV came along, and used the same ratio for picture tubes, the movie execs came up with a wide format to lure back moviegoers.

So, if you see a movie release on DVD, and it was made before 1953, don't look for it in wide screen...

Good Duke, good DVD, but are we missing wider format?
Here's a Duke movie to like. This DVD, which has been previoulsy released, is full screen. Whether or not widescreen was in regular use, it seens obvious to me there's more information on the sides. I saw a wider version on, I think, TCM, also colorized. I don't think it's just a matter of chopping the top and bottom off the full screen version and making it look wider. I think there is more information out there. So given the excellent movie at its heart, it would be nice to have whatever extra picture there is. This is a story that can take advantage of wideness. Apart from that, it's a Duke DVD for every collection, a good story, nice effects and the video transfer and sound are very good. You'll like it. But watch for the wider, colorized version to be broadcast and tape it.

Good John Wayne