Reviews (27)

Best of the Titanic movies!
I don't remember when I saw this the first time,But I much prefer it to its highly hyped 1997 successor. I rented the video the other night and still sniffled at the end. I would imagine most viewers don't know that it won an Oscar.(For best screenplay,I think.) My mother was just thrilled with the very young Robert Wagner. Does anyone know what happened to Audrey Dalton??? One of the best "minor" characters had to be Richard Basehart as the defrocked priest. and wasn't that Edmund Purdom(uncredited) as "Mr Lightoller? Barabara Stanwyck and Clifton Webb were excellent too. Characters much more clearly drawn than in the 1997 version. Class distinction is not as hokey as Jack and Rose. Was Thelma Ritter supposed to be "Molly Brown"? I think the effect of the film in black and white works very well(NO COLORIZATION PLEASE!)

OSCAR should have been aboard THIS ship......
One of my all-time 10 favorite movies (along with ALL ABOUT EVE, GONE WITH THE WIND, AUNTIE MAME, Jane Wyman's THE BLUE VEIL, Garland's A STAR IS BORN, CABARET, Lana Turner's career highlight in MADAME X, 1939's THE WOMEN, and 1953's SO BIG) THIS is the only version of TITANIC anyone should want to keep in their collection of classics. This is the one that should have been an Academy Award champion.....and it is a sin that Clifton Webb and Barbara Stanwyck not only didn't win 1953 Oscars, but were not even nominated. Ditto the wonderful performance of the greatest supporting actress in movie history, Thelma Ritter, as the indomitable Unsinkable Molly Brown. I will never forget the hysteria in Barbara Stanwyck's voice as she screamed "Norman! Norman!" when she realized her young son had slipped out of their life-boat to remain with his dad as the ship sank.....nor the tears in Clifton Webb's eyes when he told the boy what pride he felt for him as the end drew near. Please, don't anyone tell me there was an ounce of reality in the blockbuster, phony '97 version.....This simple black & white movie told the REAL story of the very rich and the very poor suddenly equalized in the face of disaster. And I dare you not to smile as millionaire John Jacob Astor reassures his young, pregnant, second wife with the immortal words "My dear, God himself could not sink THIS ship"......and I defy you not to cry when old Mrs. Strauss refuses to board a life-boat, saying "I've been with Mr. Strauss for more than fifty years....I don't intend to leave him now." This is a classic. This is THE classic. And these people, brilliantly portrayed by brilliant actors, become the ones who were really aboard the TITANIC in 1912.

Literary License Keeps Movie Afloat
We know the ship is going to sink, and we can read the committee reports, history books, and other sources to find out the details of what happened in 1912. This movie presents an innovative plot line that keeps our attention. Importantly, the film also preserves the essential truth of the Titanic disaster: 1,500 people died needlessly on account of arrogance and overconfidence.

THe Best Titanic Film Ever
Aside from the great acting, the special effects, music and staging are supurb. It is much more believable than the most famous Titanic movie and will be remembered long after any others. Buy it and Enjoy

Titanic with heart
I remember crying over this film as a kid, and sitting absolutely unmoved during James Cameron's feelingless epic. True, "A Night To Remember" is more accurate, but if you're one of those people who want to count the windows on the promenade deck, buy a documentary. Unlike some reviewers who can't possibly understand the character's actions during the sinking, it is about dignity and courage, something missing from other depictions of the story. The cast are flawless, and the story of a shallow family's realization of meaning brought about through tragedy is age-old and timeless. ... Read more

Reviews (27)

Best of the Titanic movies!
I don't remember when I saw this the first time,But I much prefer it to its highly hyped 1997 successor. I rented the video the other night and still sniffled at the end. I would imagine most viewers don't know that it won an Oscar.(For best screenplay,I think.) My mother was just thrilled with the very young Robert Wagner. Does anyone know what happened to Audrey Dalton??? One of the best "minor" characters had to be Richard Basehart as the defrocked priest. and wasn't that Edmund Purdom(uncredited) as "Mr Lightoller? Barabara Stanwyck and Clifton Webb were excellent too. Characters much more clearly drawn than in the 1997 version. Class distinction is not as hokey as Jack and Rose. Was Thelma Ritter supposed to be "Molly Brown"? I think the effect of the film in black and white works very well(NO COLORIZATION PLEASE!)

OSCAR should have been aboard THIS ship......
One of my all-time 10 favorite movies (along with ALL ABOUT EVE, GONE WITH THE WIND, AUNTIE MAME, Jane Wyman's THE BLUE VEIL, Garland's A STAR IS BORN, CABARET, Lana Turner's career highlight in MADAME X, 1939's THE WOMEN, and 1953's SO BIG) THIS is the only version of TITANIC anyone should want to keep in their collection of classics. This is the one that should have been an Academy Award champion.....and it is a sin that Clifton Webb and Barbara Stanwyck not only didn't win 1953 Oscars, but were not even nominated. Ditto the wonderful performance of the greatest supporting actress in movie history, Thelma Ritter, as the indomitable Unsinkable Molly Brown. I will never forget the hysteria in Barbara Stanwyck's voice as she screamed "Norman! Norman!" when she realized her young son had slipped out of their life-boat to remain with his dad as the ship sank.....nor the tears in Clifton Webb's eyes when he told the boy what pride he felt for him as the end drew near. Please, don't anyone tell me there was an ounce of reality in the blockbuster, phony '97 version.....This simple black & white movie told the REAL story of the very rich and the very poor suddenly equalized in the face of disaster. And I dare you not to smile as millionaire John Jacob Astor reassures his young, pregnant, second wife with the immortal words "My dear, God himself could not sink THIS ship"......and I defy you not to cry when old Mrs. Strauss refuses to board a life-boat, saying "I've been with Mr. Strauss for more than fifty years....I don't intend to leave him now." This is a classic. This is THE classic. And these people, brilliantly portrayed by brilliant actors, become the ones who were really aboard the TITANIC in 1912.

Literary License Keeps Movie Afloat
We know the ship is going to sink, and we can read the committee reports, history books, and other sources to find out the details of what happened in 1912. This movie presents an innovative plot line that keeps our attention. Importantly, the film also preserves the essential truth of the Titanic disaster: 1,500 people died needlessly on account of arrogance and overconfidence.

THe Best Titanic Film Ever
Aside from the great acting, the special effects, music and staging are supurb. It is much more believable than the most famous Titanic movie and will be remembered long after any others. Buy it and Enjoy

Titanic with heart
I remember crying over this film as a kid, and sitting absolutely unmoved during James Cameron's feelingless epic. True, "A Night To Remember" is more accurate, but if you're one of those people who want to count the windows on the promenade deck, buy a documentary. Unlike some reviewers who can't possibly understand the character's actions during the sinking, it is about dignity and courage, something missing from other depictions of the story. The cast are flawless, and the story of a shallow family's realization of meaning brought about through tragedy is age-old and timeless. ... Read more

Reviews (2)

The 2nd remake (3rd version)
Wayne Shorter has been talking about this film on stage recently. He plays something from its soundtrack. Great tune.

Fantastic!
Miss MacDonald is superb as always,but one cannot help but hear as she sings,a trace of genuine sadness.Her voice has never been equaled,an angel on earth.The setting as well as her costume(s) are absolutly stunning,only adding,if possible to her natural beauty.Talent,grace & charm such as this is never forgotten.A must see classic for anyone who loves beauty,music,human life drama----& Jeanette.Only I feel her leading co-star(Gene Raymond) was not quite equel to her incredible talent.Otherwise--it's defenitly a five star.If you love a true-to-life-warm-your-heart-make-you-cry movie......see this. ... Read more

Reviews (1)

Domestic comedy
This Hayworth's movie is a domestic comedy, but a vey charming one. The performance of Brian Aherne is excelent and Rita looks like a future movie star. ... Read more

Reviews (11)

A must-see for anyone wanting to understand Mexican History
Every time I view this beautifully done movie, "Juarez" I find something different and more tragically romantic about this period of Mexican History. The cast represents a true Pantheon of Hollywood stars of the time, Claude Raines, Betty Davis, Paul Muni and John Garfield just to mention a few. All the power of fiction couldn't dream up such a tale of the poor Indian boy Benito Juarez becoming El Presidente, fighting for all the good things Mexico needed only to be foiled by deception in his own camp. If that isn't drama enough, his opposition, Maximillian, the Hapsburg Prince duped by Louis Napoleon III of France into believing the Mexican populace wanted him to be the Mexican Emperor is portrayed as a caring individual rather than an arrogant crowned-airhead. He is deeply in love with his wife Charlotta and even opts to adopt a young Mexican boy to succeed him as Emperor when he finds that his beloved Charlotta is unable to have a child of their own. Much of the intrique and action is portrayed against the back drop of beautiful Mexican music, mainly the haunting melody-"La Paloma." Alas, as history bears out Juarez is only partially successful and Max and Charlotta meet with different fates. If you're sick of horror flicks and other thin story lines now masqerading as movies perhaps, this movie, old though it is with its great music, real acting and a genuine, exciting story is just what the doctor ordered.

Hollywood's version of the fight for Mexican independence
This historical drama, directed in 1939 by William Dieterle, tells the tale of Mexican Independence in terms of a political soap opera. Napoleon III (Claude Rains) appoints Maximilian von Habburg (Brian Ahenre) to be Emperor of Mexico. However, Maximilian and his wife Carlotta (Bette Davis) discover they face bitter opposition from the Mexican people, who obviously want the democratic government their President, Benito Juarez (Paul Muni) has been trying to establish. Maximilian is sympathetic, but the day he and his wife adopt a Mexican child as a sign of their good faith, the exiled Juarez has a French munitions supply destroyed. In response, the Emperor signs a decree that allows the government to execute anyone committing acts of agression against the French authority. When President Lincoln lends money to the Juarez cause and asks Napoleon to withdraw French troops with Mexico, Maximilian realizes he is just a political pawn in a tragedy that has to be played out.

"Juarez" is a pretentious film, weighed down by all the history it is trying to impact, that does have several good moments in terms of the performances, most notably when Carlotta begs Napoleon for aid and then descends into madness. Davis provides a nice understated performance, while Muni is excellent and always and Aherne turns in a credible performance as the doomed Emperor. The end result is quite reminiscent of "Nicholas and Alexandra," the tragic tale of a somewhat enlightened monarch caught up in historical forces moving much too fast. John Garfield, Donald Grips, Gilbert Roland, Louis Calhern and Gale Sondergaard round out the excellent ensemble. "Juarez" was based in part on the play "Juarez and Maximilian" by Franz Werfel and Bertita Harding's book "The Phantom Crown."

A Great Film
This hollywood classic stays pretty close to the history for a change. In clear B&W this film has all the little touches of 1930s productions, but considering its time period it is pretty heavy as far as the history is concerned. This is no light weight "Gone With the Wind" set in Mexico. Betty Davis as Carlotta, who was actually a Belgium princess married to Maximillian, is great. This is a real substantial, historical role for her to play for a change. The way she lets lose at the end at Napolean III, played brilliantly by Claude Reines is classic. Her dovation to her doomed husband is accurately played, showing the mental unbalance that later overcame Carlotta at the end.

Louis Napolean's adventure in Mexico was typical of the politics of the parveneau emperor. With all the show, but none of the talents of his great grandfather, Louis Napolean soon embroiled France in a conflict that resembled the Iberian Peninsular of 1808. Another debacle where the French had to contned with a People's Movement. Marshall Achille Bezaine, shown briefly in the film, could never completely conquer the Juaristas. There were some famous actions in this conflict, including the celebrated stand by a handful of French Foreign Legion against three thousand Mexicans at Camerone. But such heroics were not enough to win the land for an imported Hapsburg monarch via France. Paul Muni plays a grim and determined Juarez. His portrayal is not that far off from the truth. For a big budget Hollywood epic this movie gets itself into some pretty weighty issues, such as the inner Mexican conflicts between natives and those of imported Spanish blood, and the loyalties of some of Maximillan's officers, including the native born Tomas, who all came to grief in the end.

While some events may be condensed to fit a 2 hr movie, this production gets high marks for being as truthful as possible. This is no boring historical epic, the action is pretty non-stop. The character of Maximillan himself is brilliantly played. A decent man who got himself mixed up in bad politics. Even to this day Mexicans may hate the circumstances that brought him to their country, but they remain sympathetic to the man himself. Those wanting a big budget classic from the 1930s, with some fine acting and good historical content should find a happy marriage between all three here.

A Great film! Bette Davis viva!!
Juarez features Bette Davis as the Empress Carlotta, who, with her husband, Maximillian, assume monarchial status in Mexico and incur the wrath of Juarez, who has Maximilian killed. Bette tries to save her husband by going to the King of France and this portion of the film is not to be misssed. She storms Claude Rains as the King, and she withers him with her words, and then goes mad, and with such conviuction. The images of Davis careening down corridors of blackness screaming are not to be forgotten. Never mind the camp of Paul Muni as JUarez, it's all Bette Davis, and there are a thousand lessons in screen acting here.

Buy this video now.

Typically bizarre Hollywood history
This movie really should have been called CARLOTTA AND MAXIMILIAN, because the doomy erstwhile emperor and empress get far more screentime than Juarez in this insane Hollywood concoction. Puppet emperors always make for interesting film stories (as in Bertolucci's THE LAST EMPEROR), but the Manichaean demands of classic Hollywood made Warner Brothers realize that no matter how much screen time they'd give to Bette Davis and Brian Aherne as the Hapsburg couple they could never sell them as heroes. So, they recruited Paul Muni, the studio's favorite portrayer of noble biopic subjects, as the glum President Beinto Juarez, and two of Hollwyood's most recognizable essayers of villainous roles, Claude Rains and Gale Sondergaard, to wear the black hats as Napoleon III and his empress Eugenie (Sondergaard is so archly evil she may as well be preparing to play the Spider Woman).

Muni doesn't make much of an impression plodding around impassively as Juarez, and with his stony facial expression the screenwriters and director clearly decided they'd better do **something** to remind the audience he was playing the good guy. So, Muni is always photographed in front of pictures of Abraham Lincoln (to remind viewers he's the republican). Aherne and Davis fare much better as the tragic Hapsburgs, and the film does have one great scene when Davis has to go to France to plead Naopeon and Eugenie for support and goes mad before their very eyes. Though you'd never guess it from the film's general free-and-easy approach to history, this scene actually happened in real life, and the dialogue in the scene pretty much follows the historical record--and there's a great visual touch when Davis, convinced the Bonapartes are trying to poison her, runs out of into the Tuileries gardens as if possessed into the night, her beautiful silver silk traveling dress billowing like a cloud around her as she shrinks into the blackness of the night (and her madness). But this, and the film's lovely use of "La Paloma" as a recurrent musical theme, are hardly enough to sustain you through the longeurs of Muni stalking around like a zombie. ... Read more

Reviews (24)

ideal for study of the feminine mystique
The first five minutes alone of this movie provide fodder for discussion of historical attitudes toward women. Hope Lang arrives at an office building clutching a job listing for a secretary with the heading above "Help Wanted--Female". She discovers that all the women in the office are engaged, and the office supervisor herself is only working to save up for her wedding dress. Joan Crawford plays a bitter spinster who has chosen a career over marriage and now is having an unhappy affair with a married man, and taking out her resentment of her situation on the secretaries who work for her. Lang's roommates are coworkers who are also seeking love and aspire to little else, as their fates in the film reveal. The rest of the film is filled with male characters who regularly lecture women on the perils of careers, as well as the women's shortcomings as women. One editor at the office pinches and generally preys on all the young secretaries (we don't find out he's married until an offhand remark in the last reel), and the women's reaction to this then accepted form of sexual harassment is to laugh it off or put up with it as a normal working hazard. I recommend the film for anyone who wants to see the feminine mystique of the 1950s and 60s firsthand.

TRULY The Best of Everything!
This is one of the best soap-opera-type films in history. It brings us back to a time when women went on job interviews wearing little hats and white gloves--before the Equal Rights Ammendment and sexual harrassment lawsuits in the workplace.

The cast is phenomenal: Joan Crawford as the bitter career executive who missed out on a personal life; Stephen Boyd as the jaded, cynical, alcoholic editor geared to the "younger generation"; Robert Evans (in one of his few serious screen roles) as the sociopathic, rich playboy--and many others, all perfectly cast.

This is a fabulous movie about corporate 1950s New York City and one you'll want to watch over and over.

See Vanity Fair Magazine, March, 2004
All of the reviews submitted here really explore the main points of this excellent film. For a behind-the-scenes article on the making of the film, plus lots of juicy tidbits of life on the (freezing) set with Joan, you must read this article. Some interesting bits: As depicted in the book, there were originally five girls and their boyfriends. But when the film previewed before test audiences, many people did not care for two of the girls. So, most of their footage ended up on the cutting room floor. The bosses at Twentieth Century Fox knew Joan wouldn't accept a co-starring role, but producer, Jerry Wald, worked on her vanity and she agreed. But then... Lots of photos and a very well-written article. It begins on page 402.

The Best of Everything
Most of you hit the nail on the head with your reviews. It is a wonderful movie about "those" days back then. For those of you who thought otherwise, keep it in perspective. They don't make movies like this anymore. Too bad. My goodness, when I was in high school, I read the book and daydreamed constantly about what it would be like to work in the "big city". I wanted to be Caroline Bender (I guess I didn't know any better in 1959). The scenery, the clothing, the cars (that's what grabbed my brother-in-law) was (is) wonderful. I have read and re-read the book zillions of times, bought the VHS and can't wait for the DVD to come out (if it every does). The only part of the movie that I was disappointed in was the part that Martha Hyer had. In the book, there was much more of her character and "Sidney" and we got to know her better.

Subservient? Joan Crawford????
Okay, yes - women, both in and out of the workplace, were treated quite differently in 1959. But I hardly think anyone could categorize Amanda Farrow (Joan's character) as subservient. In fact, Amanda is pretty much a direct clone of the large-and-in-charge Joan who told the Pepsico board members "Don't f--k with me, fellas!" right around the time this film was shot.
This is a great period piece to watch today. I love the IBM blue that is omnipresent in the offices, the primitive electric typewriters, the office gossip, the "girls" with curlers in their hair, the look of NYC at that time - and let's not even start on the women's clothes (one word - gloves)!!
If only to honor the very recent passing of the ultra-glamorous Suzy Parker, this film needs to be released on DVD without delay!
Oh, just one other little thing - another reviewer claims that Shirley Jones has a small part in this picture. Sorry, but tain't so, kids. I can only think the reviewer has mistaken Martha Hyer, who plays Mrs. Lamont, for Ms. Jones (they do have a lot in common physically). ... Read more

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Cartoonist Hal Foster's medieval hero, the Scandinavian Prince Valiant, comes to the screen in all his Dutch-bob-haircut glory in this 1954 film directed by Henry Hathaway (Kiss of Death). Robert Wagner plays the title role and does a bang-up job of it, convincingly portraying the heroic prince as he enters the court of King Arthur (Brian Aherne) in England and becomes (with some tutelage from Sir Gawain, played by Sterling Hayden) a Knight of the Round Table. Determined to restore his dethroned family to their proper seat back home, Valiant takes on the Black Knight (James Mason), who plans to do away with Arthur and then finish his misdeeds back in Scandia. Under such pressure, the prince, quite understandably, falls in love with Princess Aleta (Janet Leigh). Hathaway proves to be the perfect director for this material, as his fluid skill, moderate forcefulness, and adaptability to genre necessities keep the film from teetering too far in the direction of pulp--or self-seriousness. --Tom Keogh ... Read more

Reviews (13)

Grand old-fashioned Cinemascope entertainment
20th Century Fox Home Entertainment released this DVD on May 11, 2004. For anyone who's a fan of the Cinemascope era of the studio, this DVD is a must have. The movie itself is a silly contrivence of the time, based on a popular comic strip, as the illustrations during the main titles show, but it's all well-mounted with excellent photography and a Franz Waxman score that's a prime example of how a composer can really elevate the atmosphere and pace of a movie. The depiction of the era of the story is cardboard, with everyone and nearly everything looking too pretty and well-manicured -- no grubby surfs are anywhere to be seen, and even the comicbook Vikings are too clean -- but it's fun at its own level, even if today the movie's pace is a bit slow. My only complaint is that top-billed star James Mason isn't in more of it. The actor and his character are far more interesting to watch than the story's protagonist and the stiff, young Robert Wagner sporting a silly wig!

Fox has done a decent job of restoration on this 1954 Technicolor film. While the look is dated and the film stock is more grainy than we're used to today, the majority of it looks remarkably good. I suspect much of it was newly struck from the black and white color separation masters, but the frequent lap desolves have the second generation look of excessive grain and poorer color fidelity. There's one bad anomaly in the transfer at 24min.15sec., a 15 second shot that looks to be third generation. It's soft, grainy and blocked-up. Except for a couple rear projection shots elsewhere in the movie, nothing else in the transfer looks this bad. Otherwise this is a fine looking 16X9 anamorphic DVD of a vintage Cinemascope film.

Originally this movie was presented in some theatres in 1954 in 4-track magnetic stereo. Here, what survives of the stereo tracks is presented in Dolby Digital 2.0 (not 5.1 as stated in another review here). I'd have preferred if Fox had gone to the efforts of doing a proper 4.0 transfer, but the stereo still sounds good, with the directional dialogue of the era intact, though it can be a bit distracting when left and right speakers are too far from the screen (in theatres the speakers would of course be behind the screen). I found I had to raise the dB level of my rear surrounds to +10 in order to bring out the ambient sound of the film, mostly reserved to the music, but at 1:27min.21sec., when pig fat is used to light fires during the siege of the castle, the mono surround did come alive with fire noise and that was fun.

I'm only giving this DVD three stars because Fox didn't have enough faith (and they may be right) in this library title's marketability to include a commentary track by star Wagner, or a least some feature on the film's production history, and because the sound wasn't remixed for 4.0, but if you're a fan of such films I highly recommend this DVD.

A Viking prince joins the Knights of the Round Table
The Sunday comic strip character gets the CinemaScope treatment and is an entertaining film with plenty of marquee names to attract more than passing interest. The movie holds up quite well 50 years after its release and tells the story of a Viking prince who seeks to overthrow an imposter who has seized the throne of Scandia from his father and return it to King Aguar. Robert Wagner is perfect as the determined and resourceful "Val", as the smitten Aleta [Janet Leigh] calls him, Sterling Hayden is fine as Sir Gawain, the stern but dedicated mentor to the "Viking knave", and the excellent James Mason's suave, polished and calculating Sir Brack has dark, sinister shadings. The film has plenty of action and derring-do, romance, jousting matches at a tournament, palace intrigue, a large-scale battle at the castle in Scandia and an excellent fight with broadswords between Valiant and the Black Knight at the end of the movie. Excellent color photography, realistic sets, beautiful scenery and Franz Waxman's brooding score round out a first-rate film production.

Fun Americanized Arthuruan Adventure!
"Prince Valiant" is a fun, colorful adventure yarn from 1950's Hollywood. It isn't very faithful to the tone or style of Hal Foster's groundbreaking and beautiful comic strip but is far above the average swords'n'armor pic of the era.

Lacking the style of Curtiz's swashbucklers, the solid scripting of Thorpe's "Ivanhoe" or the visual panache of his stunning tribute to the Brandywine illustrators, "Knights of the Roundtable", "Prince Valiant" packs in lots of well executed, wide-screen action, terrific set pieces, wonderful costumes and attractive landscapes.

Done with a straight American accent (apart from James Mason's stage-villain turn as the traitorous Sir Brock) it often reminds one of George Lucas's "Star Wars".

I've shown this to alot of kids & they all love it. Presented in its original 2.35.1 aspect ratio from a really clean print, it looks remarkably good considering it's a B-picture from half a century ago.

Oh, it also stars the wonderful Donald Crisp ("National Velvet", "How Green Was My Valley"). Overall, a steal for the sell-through price. Enjoy!

I'm eleven again
As soon as I began this DVD, I found myself setting in the massive RKO Keith's theater in Downtown Dayton, Ohio. The reason I purchased the disk was for that reason. I am 100% satisfied for in that department.

The film score by Franz Waxman is perfection. It is dramatic and fun. As an adult, I wish that the transfer had been in Dolby 5.1.

The performances are appropriate for this film except for Mr. Mason who does no wrong.

I would like to add that the sword fight at the end of the film is of equal to the excitement found in the final duel in Scaramouche.

SWORDS AND SASHES - AND LOVE THAT HAIR CUT!
Director, Henry Hathaway's film version of cartoonist, Hal Foster's Scandinavian hero, "Prince Valiant" is one of those over-blown, wacky-tacky epics that is impossible to take seriously, but so much fun to watch. Robert Wagner is the rather effeminate looking title character who takes Camelot by storm. Determined to regain his own throne, Valiant uncovers the treachery of the Black Knight (James Mason, in a toss away role) and challenges him. Of course, there's also time for love with bombshell, Princess Aleta (Janet Leigh - who quite often found herself squeezed into a corset during her 1950s film tenure.) The film veers between comic book pulp and self-conscious seriousness, but Hathaway's direction ensures that neither become the vice to sink his epic. Brian Aherne (as a credible King Arthur)and Sterling Hayden (a not so credible, Sir Gawain) costar.
THE TRANSFER: Pretty good. Colors are generally bold, vibrant and well balanced. Flesh tones seem a bit pasty but that's in keeping with early Cinemascope/Eastman color dye transfers. Shadow, contrast and black levels are generally solid. Rear projection photography is more obvious than it should be. Pixelization and edge enhancement are present but do not terribly distract. The audio is 5.1, delivering a nice spread in the music tracks. Dialogue is not natural sounding, but again, this was usually to be expected for the vintage of the film.
EXTRAS: Sorry. Nothing but the film.
BOTTOM LINE: This prince is worth a second glance, but its not quite as glamorous as, say "Scaramouche" so much as it belongs as the bottom half of a double bill at your old-time drive in. ... Read more

Reviews (17)

A Charming Movie
When I first glimpsed the title of this movie, I thought it would be a fairy tale, but that is not true. The situations and realities of this movie are those that one might expect to have been played out in real life. Grace Kelly shines as the "ice princess." She perfectly characterizes Princess Alexandra. However, the real praise should go to Louis Jourdan, who I thought played the part of the lovestruck professor brilliantly. This is a movie for anyone who loves Grace Kelly, Louis Jourdan, or love stories in general.

A lovely movie!
I absolutely adore The Swan. Why? Because it's a classic love story. Grace Kelly does an outstanding job as the Princess Alexandra. Alec Guiness is wonderful as Prince Albert. Loise Jordan is amazing as the love struck professer(with the looks to go with it! ) His acting is great and the way he looks at her you know that he is in love with her and her with him. But alas! Duty calls. Forced by both rank and position they must bid farewell to each other with only a kiss to console them. A great show! With wonderful humor and shot at the fashionable Biltmore Estate. Go see it!

Wonderful Movie
A bittersweet romance with a pinch of humor. I love it! The acting is amazing. The story is classic and believable. Grace Kelly shines in her role. I entirely recommend this movie!

Great film!
Grace Kelly has never looked lovlier then in this film. She is positivly radient. Such a princess. The gowns and other costumes are lovely. It's a bitter-sweet tale, of a young woman who sadly, is told she must marry a prince, her cousin, instead of the tutor who teaches her young brothers, whom she really loves.
The colors for scenery and costumes are really lovely. It's an entertaining romantic and at times funny. It's a must see for anyone one any age.

A great and colorful film!
I highly recommend this film. Grace Kelly is wonderful in it. It's a colorful film with some lovely costumes and good acting. ... Read more

Reviews (2)

Dietrich makes up for films flaws
This was Dietrich's first Hollywood film without Josef Von Sternberg, so for film buffs, that alone is reason enough to buy the tape. Actually, the movie itself is worthy of a closer look, as Dietrich gives a very good performance in a sometimes slow-moving film.
Playing a peasant girl by the name of Lily, we see Dietrich move to the city upon the death of her father, to stay with her aunt in her aunt's bookstore. One day she meets in the store a young handsome artist(Brian Aherne), who is struggling with a sculptor's form of writer's block. She becomes his inspiration, and they soon fall in love. Eventually, Lily talks of marriage, and the young sculptor chooses a life of art over love, and leaves her. Lily then falls into the hands of the artist's benefactor,(lionel Atwill) who sees only a beautiful young woman he can mold like clay.
After Lily is transformed into a lady of class, the old man then brings the two former lovers back together, in order to laugh at them both. Needless to say, the evening is a disaster, and Lily leaves the house broken and shamed.
Later, we see Lily as she has remerged as a lady of the evening, making her way in life using men as they have used her, unable to feel love again. Then, her artist love finds her, takes her back to his studio, where they first fell in love. After a wrenching recitation of some passages from the song of Solomon from the Bible, Lily then destroys the lovely statue she posed for, which to her represents someone who no longer exists. After this emotional upheaval, the film ends with the promise of Lily and her artist finding true love again.
Dietrich played her scenes surprisingly well, with no Sternberg to guide her, and showed that yes she can act on her own. The other leads in the film, however, seem rather dated now, and the film at times moves with a claustrophobic slowness. However, overall the film is enjoyable, and indeed the director, Roubin Mamoulian, was very proud of it. He showed a copy of it to Greta Garbo to get her interested in working with him on Queen Christina. The film looks very good on video, and is worth a look!

Vintage Dietrich
This slightly creaky pre-code film is elevated immeasurably by the directorial touch of the great Rouben Mamoulian and the presence of the incomparable Marlene Dietrich, starring here in her first American film away from Josef von Sternberg. In her portrayal of the country girl Lili, Dietrich, to her considerable credit, manages to convey the progression from sentimental girlhood to jaded womanhood with complete credibility whilst maintaining an ironic knowingness throughout. Following the travails of Lili as she moves from being sculptor's model to the wife of a depraved baron, and finally, to prostitution, director Mamoulian guides the story with the necessary lightness of touch, moving effortlessly between burlesque and melodrama, all the time focusing every scene around his compelling leading lady. Unfortunately, the supporting performances of Brian Aherne and Lionel Atwill, as the men in Lili's life, have not dated as well. However, any flaws are more than compensated for by the sight of Lili sat atop a table in a decadent nightclub, wearing a low cut dress, singing the more than a little risque "Johnny" with eye-rolling glee. Vintage Dietrich. ... Read more

Reviews (1)

ENJOYABLE VINTAGE CRAWFORD.
Joan plays Kay, a devil-may-care New York debutante who is mired in ennui. She travels to Greece and meets Aherne, a bright archaeologist with naught but disdain for the society crowd. Aherne, however is taken with Kay's flirtatious ways and follows her back to the States where he finds himself totally out of place with the hedonistic circle of friends Crawford introduces him to. However, Kay's grandmother (Jessie Ralph) takes a shine to Aherne, thinking he may be just the ticket to take Crawford out of her dissolute life... The fairly witty script was written by Joseph Mankiewicz and Van Dyke's brisk direction gives the film a snappy pace. Stylish, chic, and often witty, I LIVE MY LIFE is typical of the Crawford pictures of the era as they parade her in several sophisticated outfits, give her some sharp lines to say and let her nibble - not chew - the scenery. ... Read more

Reviews (1)

Beloved Enemy
Beloved Enemy is a fictional story based on when Britian occupied Ireland. It's supposed to be about the Irish
resistance.
Basic storyline:
The British are trying to put an end to the resistance, and
there is a particular Irish leader who they are trying to catch
and they don't even what he looks like. A British official comes, bringing his daughter with him. His daughter meets an Irish man who she falls in love with, but finds out he is the resistance leader her people are seeking to arrest. Their differences make it hard for them as she is closely watched. The two countries seek for peace and...
well, that's the basic story.
It's supposed to be about the resistance but I think it's mainly just a romance story. ... Read more

Reviews (2)

An early and quite underappreciated cross-dressing comedy
For a long time "Sylvia Scarlett" was considered a failure, and the big joke was that Katharine Hepburn looked better disguised as a boy in this 1936 film than she did as herself. But we are talking Hepburn starring oppostie Cary Grant, the same pair that made "Bringing Up Baby," "Holiday," and "The Philadelphia Story." We are also talking director George Cukor who directed the last two films on that list with this pair as well. Today the judgment is that "Sylvia Scarlett" is a film that was ahead of its time, which makes sense when you considered how long it took American to decide that Katharine Hepburn was the quintessential modern independent woman.

Henry Scarlett (Edmund Gwenn) commits a bit of larceny and is forced to flee France with his daughter Sylvia (Hepburn) masquerading as a boy. Along the way they meet up with Jimmy Monkley (Grant), a cockney ne'er-do-well. In London they start doing some creative swindling, hooking up with a Maudie Tilt (Dennie Moore), a daffy servant girl who becomes Henry's wife. Meanwhile, Slyvia becomes enamored with handsome young artist Michael Fane (Brian Aherne), who, of course, thinks she is a boy. But when Michael starts to fall for Lily (Natalie Paley), Sylvia has to become a woman again to get the man she loves (pretend for the sake of argument that she is going to end up with the guy who gets third billing in the movie).

"Sylvia Scarlett" is based on the 1918 Comptom MacKenzie novel "The Early Life and Adventures of Sylvia Scarlett," but this ends up being Cukor's film and a charming story about vagabond thieves. Hepburn's androgyny does not strike contemporary audiences as being all that odd while Grant is playing the character closest to his own younger days of any in his entire career and stealing all the scenes. Gwenn and Moore are delightful as the less than suitable parental figures for the gang. Certainly compared to other cross-dressing comedies that have been made over the years, "Sylvia Scarlett" actually ends up being relatively realistic. Note: Natalie Paley was actually a Russian princess, the daughter of the Russian Grand Duke Paul, who was an uncle of the late Czar Nicholas, which would make her a cousin of the tragic Anastasia).

A RATHER MEDIOCRE CURIO FROM 1935.
A real curio for devout fans of oddball vintage films. When Henry Scarlett's wife dies, he and his daughter Sylvia leave Marseilles to begin life anew in England. To help her debt-ridden Dad escape from his creditors, Sylvia bobs her hair and dresses as a young man - calling herself Sylvester....Definitely one of vintage Hollywood's most curious films, it will have an appeal to some due to its eccentric storyline. Evelyn Waugh was originally to have written the screenplay, but British novelist John Collier was hired instead. Exterior shots for this film were photographed in Malibu and Laurel Canyon. The film was a disaster at the box-office, but today, SYLVIA SCARLETT is considered a mild cult classic. Critics in 1935 thought that Hepburn made a better looking boy than girl: this would begin her descent into the "box office poison" category. For his interpretation of Jimmy Monkley, Grant is quite good. As the charming Cockney, he was realistic, he being born Archibald Leach in Bristol, England in 19O4. ... Read more

Reviews (10)

Hitchcock Confesses
This film is seemingly standard Hitchcock fare, with a twist. A man is accused of a murder he didn't commit. That is typical Hitchcock. However, instead of the man trying to find the real murderer while trying to escape the police and criminals, the man knows who the murderer is and he cannot do anything. This is not typical Hitchcock. Montgomery Clift gives a good performance as the priest who cannot reveal the truth. Karl Malden is also well cast. Not the greatest of Hitchcock efforts, but a interesting plot and the Master of Suspense's touch makes this well-worth a look.

ANOTHER FIND FROM HITCHCOCK!
This was another one of Hitchcock's movies that I had never seen, but I'm glad I did! Montgomery Clift, as a priest who knows a terrible secret, is wonderful! (What a great actor he was - I have never seen him give a poor or mediocre performance in any of his films. It's such a pity his life was cut short)Karl Malden and Anne Baxter give good performances, as well, but the movie is all Clift's. The movie has an interesting premise - a murderer confesses his crime to a priest, who is bound by his vows not to reveal anything told to him in the confessional. There was a little too much talk in the film, but the surprise ending more than makes up for any minor complaints I may have had. Alfred Hitchcock's movies are wonderful - classy and intelligent as opposed to some of the rot being churned out of Hollywood today. A great film, a great cast, a great viewing experience into the dark sie of human nature!

clift: probably the greatest screen actor period!
this is by no means a great film, but it's essential for the incredibly intense, internalized acting of montgomery clift.
and that's what so incredible with clift. he could still make thin material like this an unforgettable experience.
it's no accident that brando, james dean, and countless others have named clift their biggest influence.
all potential actors should watch this perfromance, which clift said was inspired by reading kafka and watching chaplin.
it shows.

Remember when Hollywood believed in God?
This is an excellent movie! Montgomery Clift turns in a superb performance as Father Michael Logan, a priest who hears a confession of a murder. Shortly thereafter, Father Logan himself is suspected and, eventually, accused of the murder. Of course, he knows who committed the murder, but he can't break the seal of the confessional even to save his own life! Anne Baxter plays an old girlfriend who tries to help, but ends up making things worse. Karl Malden is very good as a police detective determined to solve the murder.

This is one of the best and most Catholic movies ever! I am a priest, and I encourage all of my brother priests to watch this movie. It is an inspiring look at the kind of priest that God has called us to be. It is also an excellent reminder to all Catholics about the great gift we have in the Sacrament of Reconciliation.

a lesser Hitchcock, but still recommended
"I Confess," set in Montreal and starring Montgomery Clift and Anne Baxter, is not one of Hitchcock's finest, but it's still worthy of your entertainment time. The musical score is rather lugubrious but the plot does move along. Clift presents his trademark longsuffering, noble look throughout, resisting the passionate entreaties of Baxter.

Unfortunately, the murderer with his accent somehow reminded me of Bruno Hauptmann, the German immigrant who may have been falsely accused of the Baby Lindbergh murder. (I 'm not giving away the plot; the opening scene reveals who commit the crime.) I don't accuse Hitchcock of national bias, though, as many of his villains are accentless Americans in other films.

A young Karl Malden turns in a fine performance as a detective, part of the strong supporting cast. There are some good scenes of the beautiful capital of Quebec. Recommended. ... Read more

Description

Otto Kellar and his wife Alma work as caretaker and housekeeper at a Catholic church in Quebec. Whilst robbing a house where he sometimes works as a gardener, Otto is caught and kills the owner. Racked with guilt he heads back to the church where Father Michael Logan is working late. Otto confesses his crime, but when the police begin to suspect Father Logan he cannot reveal what he has been told in the confession. ... Read more

Reviews (10)

Hitchcock Confesses
This film is seemingly standard Hitchcock fare, with a twist. A man is accused of a murder he didn't commit. That is typical Hitchcock. However, instead of the man trying to find the real murderer while trying to escape the police and criminals, the man knows who the murderer is and he cannot do anything. This is not typical Hitchcock. Montgomery Clift gives a good performance as the priest who cannot reveal the truth. Karl Malden is also well cast. Not the greatest of Hitchcock efforts, but a interesting plot and the Master of Suspense's touch makes this well-worth a look.

ANOTHER FIND FROM HITCHCOCK!
This was another one of Hitchcock's movies that I had never seen, but I'm glad I did! Montgomery Clift, as a priest who knows a terrible secret, is wonderful! (What a great actor he was - I have never seen him give a poor or mediocre performance in any of his films. It's such a pity his life was cut short)Karl Malden and Anne Baxter give good performances, as well, but the movie is all Clift's. The movie has an interesting premise - a murderer confesses his crime to a priest, who is bound by his vows not to reveal anything told to him in the confessional. There was a little too much talk in the film, but the surprise ending more than makes up for any minor complaints I may have had. Alfred Hitchcock's movies are wonderful - classy and intelligent as opposed to some of the rot being churned out of Hollywood today. A great film, a great cast, a great viewing experience into the dark sie of human nature!

clift: probably the greatest screen actor period!
this is by no means a great film, but it's essential for the incredibly intense, internalized acting of montgomery clift.
and that's what so incredible with clift. he could still make thin material like this an unforgettable experience.
it's no accident that brando, james dean, and countless others have named clift their biggest influence.
all potential actors should watch this perfromance, which clift said was inspired by reading kafka and watching chaplin.
it shows.

Remember when Hollywood believed in God?
This is an excellent movie! Montgomery Clift turns in a superb performance as Father Michael Logan, a priest who hears a confession of a murder. Shortly thereafter, Father Logan himself is suspected and, eventually, accused of the murder. Of course, he knows who committed the murder, but he can't break the seal of the confessional even to save his own life! Anne Baxter plays an old girlfriend who tries to help, but ends up making things worse. Karl Malden is very good as a police detective determined to solve the murder.

This is one of the best and most Catholic movies ever! I am a priest, and I encourage all of my brother priests to watch this movie. It is an inspiring look at the kind of priest that God has called us to be. It is also an excellent reminder to all Catholics about the great gift we have in the Sacrament of Reconciliation.

a lesser Hitchcock, but still recommended
"I Confess," set in Montreal and starring Montgomery Clift and Anne Baxter, is not one of Hitchcock's finest, but it's still worthy of your entertainment time. The musical score is rather lugubrious but the plot does move along. Clift presents his trademark longsuffering, noble look throughout, resisting the passionate entreaties of Baxter.

Unfortunately, the murderer with his accent somehow reminded me of Bruno Hauptmann, the German immigrant who may have been falsely accused of the Baby Lindbergh murder. (I 'm not giving away the plot; the opening scene reveals who commit the crime.) I don't accuse Hitchcock of national bias, though, as many of his villains are accentless Americans in other films.

A young Karl Malden turns in a fine performance as a detective, part of the strong supporting cast. There are some good scenes of the beautiful capital of Quebec. Recommended. ... Read more

Amazon.com

A lesser version of the Camelot legend, Sword of Lancelot is practically a one-man show by Cornel Wilde, who coproduces, directs, and plays the title role in this 1963 film. The major plot points are all here: Lancelot is King Arthur's most valued Knight of the Round Table and a paragon of courage and virtue. Things change, however, when the good knight falls for Guinevere (Jean Wallace, Wilde's wife), bride of Arthur (Brian Aherne, who has essayed this character more than once), and she for him. Ten years after Richard Thorpe's Knights of the Round Table, the illicit romance this time is portrayed as a more intimate affair, and the sword fights have a more menacing reality (Wilde was an excellent fencer). A subplot concerns Arthur's effort to forestall a challenge from a rival king, a problem that will inevitably catch Lancelot up in a personal conflict. As a director, Wilde (The Naked Prey) knows what he wants, though his skills are generally outmatched by the size of his themes. Still, there is something very likable about this movie, and it's definitely recommended for anyone who can't get enough of Camelot. --Tom Keogh ... Read more

Reviews (2)

60'S HOLLYWOOD VERSION OF LANCELOT-GUENEVERE-ARTHUR
Cornel wilde was sort of the bridge wetween Errol Flynn and Kevin Costner. He started out in swashbuckling adventures, then tried his hand directing epic movies, attempting to re-interpret each genre he tackles. Here he tackles the Arthurian romance/medieval epic with a focus on the suffering of passionate love against loyalty and duty.

One can say that a parallel of passions is played out here. Both Guenevere and Mordred want something they can't have, and Lancelot's duty to King Arthur is to deny them both. These two desires wind up working for each other, though in Mordred's case it's deliberate, Gwen's passion makes her not realize the danger she is putting the kingdom in.

Hollywood movies had gotten a little less stiff in how they portrayed romance and love scenes by this time, and Wilde takes advantage of it, giving the romantic leads a little bit more steam than they had in "Knights of the Round Table." It doesn't make the romance much more convincing, however. The trouble with many Arthurian movies is the unconvincing set up for the love between Lancelot and Guenevere ("Camelot" is a significant exception to this). The slightly stilted writing and silly French accent that Wilde puts on doesn't help.

There is plenty of sword-swinging action scenes. There's a joust, two battles, a fight through the castle, and a rescue. There is some innovation in the fight scenes; heads and body parts are cleaved, rather than sanitary thrusts to the armpit. Unfortunately, there is a degree of stiffness to the fighting and battles (unlike the love scenes) that detract from the drama. In the joust Lancelot sits on his horse, standing still, and recieves a lance with nary a quiver. Perhaps the pan-and-scan ("full-frame") presentation is at fault in some bits. In several battle scenes the figure in the center is the guy standing around like he doesn't know what to do. It also seems that some of the weapons, axes and maces, are too big for the one-handed use they are given.

The production design follows 11th-12th century styles of costume, armor, and architecture (mostly). This would match the period in which was written Geoffrey of Monmouth's "History of the Kings of Britain," the foundation of much of the Arthurian legend (ironically, Lancelot is not in that version). Unfortunately there is some stiffness here also. Certain pieces of costume and armor look clumsy and awkward, and of course the chain mail is all Hollywood fake stuff.

This film does have more appeal to fans of the genre than the average movie viewer. It is interesting as a transitional piece between "Knights of the Round Table" and "First Knight" ("Excalibur" is in a different league).

A bit of trivia: In one scene, Gwen talks about a bowman named Diccon. Diccon bowman was a charater in Henry Pyle's "Men of Iron," made into the movie called "Black Shield of Fallworth."

Neither Flynn nor Havilland
Mr and Mrs Wilde (Jean Wallace) suffer a lot, but all their suffering does not touch the heart. Mr Wilde is perhaps too old for this part and uses terrible intonations. Brian Ahearne as a King is very good. Fights are good with a lot of fighters. I recommend Flynn and Taylor epics instead of this. It is not bad, but something is lacking. ... Read more

Reviews (5)

Very Entertaining Movie
This is the perfect movie for a rainy night. Grab a bag of popcorn, a pepsi and the family and sit down and watch this movie. Moving into a new place should be exciting, but this couple gets more than they bargained for when a corpse is discovered in their back yard. Ah, but the husband is a published mystery writer and shouldn't have too much trouble solving this whodunit, or will he? This is a fun movie to sit down and watch with the family.

Best Titanic Movie So Far,
This movie would easily be the best Titanic movie around and it would even beat 'TITANIC' 1997 starring Kate Winslet and Leonardo Dicaprio! Despite it been in black and white. For the Titanic fanatics out there, if u want a movie about the TITANIC that's accurate then this is for you.

Wrong Synopsis
You have the wrong synopsis listed for this movie. There was another movie entitled, "A Night to Remember." It's a 1958 release about the Titanic sinking. It's done in a documentary style. The ship's first officer was played by Kenneth More. In many ways this movie is far superior to the Leo DiCaprio recent version.

A pleasantly unpretentious comedy/mystery
As long as you do not expect something as bright and sophisticated as The Thin Man,this should entertain.A mystery writer (Aherne) and his wife (Young) find themselves involved in a real-life murder mystery.Although Aherne and Young never work as well together as William Powell and Myrna Loy,they still gel fairly well,and the script contains enough sharp lines to make this a consistently amusing and amiable little movie.

1942 MYSTERY-COMEDY
An engaging little story has young married couple Young and Aherne (as a writer) moving into a seemingly tranquil Greenwich Village apartment where strange things begin to happen...The Richard Flournoy-Jack Henley screenplay (from a story by Kelley Roos) works hard at being funny by involving the Troys in a variety of false leads and narrow escapes as Jeff (Aherne) tries to find the murderer himself, but there is a little less menace and less fun in the proceedings. Loretta gives us nervous screams and an air of desperation and Aherne does what he can - they try to give their roles demension and play with aplomb. The script is a bit overwritten, but the supporting cast is fun: Blanche Yurka, Gale Sondergaard, George Chandler and Lee Patrick. In my opinion, Donald McBride comes off best as the eloquently irate and bewildered cop. ... Read more

Reviews (1)

Unabsorbing tale of father's devotion to cad of a son
Brian Aherne gives his son all he never had and turns the son into a spoiled, lying cad. Louis Hayward plays the cad. This goes on forever and is not at all interesting. Oscar nom for Art Direction. Conversion of son at end is totally unbelievable and Aherne has been such a blind fool all along that audience has no sympathy for him. ... Read more

Reviews (2)

60'S HOLLYWOOD VERSION OF LANCELOT-GUENEVERE-ARTHUR
Cornel wilde was sort of the bridge wetween Errol Flynn and Kevin Costner. He started out in swashbuckling adventures, then tried his hand directing epic movies, attempting to re-interpret each genre he tackles. Here he tackles the Arthurian romance/medieval epic with a focus on the suffering of passionate love against loyalty and duty.

One can say that a parallel of passions is played out here. Both Guenevere and Mordred want something they can't have, and Lancelot's duty to King Arthur is to deny them both. These two desires wind up working for each other, though in Mordred's case it's deliberate, Gwen's passion makes her not realize the danger she is putting the kingdom in.

Hollywood movies had gotten a little less stiff in how they portrayed romance and love scenes by this time, and Wilde takes advantage of it, giving the romantic leads a little bit more steam than they had in "Knights of the Round Table." It doesn't make the romance much more convincing, however. The trouble with many Arthurian movies is the unconvincing set up for the love between Lancelot and Guenevere ("Camelot" is a significant exception to this). The slightly stilted writing and silly French accent that Wilde puts on doesn't help.

There is plenty of sword-swinging action scenes. There's a joust, two battles, a fight through the castle, and a rescue. There is some innovation in the fight scenes; heads and body parts are cleaved, rather than sanitary thrusts to the armpit. Unfortunately, there is a degree of stiffness to the fighting and battles (unlike the love scenes) that detract from the drama. In the joust Lancelot sits on his horse, standing still, and recieves a lance with nary a quiver. Perhaps the pan-and-scan ("full-frame") presentation is at fault in some bits. In several battle scenes the figure in the center is the guy standing around like he doesn't know what to do. It also seems that some of the weapons, axes and maces, are too big for the one-handed use they are given.

The production design follows 11th-12th century styles of costume, armor, and architecture (mostly). This would match the period in which was written Geoffrey of Monmouth's "History of the Kings of Britain," the foundation of much of the Arthurian legend (ironically, Lancelot is not in that version). Unfortunately there is some stiffness here also. Certain pieces of costume and armor look clumsy and awkward, and of course the chain mail is all Hollywood fake stuff.

This film does have more appeal to fans of the genre than the average movie viewer. It is interesting as a transitional piece between "Knights of the Round Table" and "First Knight" ("Excalibur" is in a different league).

A bit of trivia: In one scene, Gwen talks about a bowman named Diccon. Diccon bowman was a charater in Henry Pyle's "Men of Iron," made into the movie called "Black Shield of Fallworth."

Neither Flynn nor Havilland
Mr and Mrs Wilde (Jean Wallace) suffer a lot, but all their suffering does not touch the heart. Mr Wilde is perhaps too old for this part and uses terrible intonations. Brian Ahearne as a King is very good. Fights are good with a lot of fighters. I recommend Flynn and Taylor epics instead of this. It is not bad, but something is lacking. ... Read more

Reviews (2)

60'S HOLLYWOOD VERSION OF LANCELOT-GUENEVERE-ARTHUR
Cornel wilde was sort of the bridge wetween Errol Flynn and Kevin Costner. He started out in swashbuckling adventures, then tried his hand directing epic movies, attempting to re-interpret each genre he tackles. Here he tackles the Arthurian romance/medieval epic with a focus on the suffering of passionate love against loyalty and duty.

One can say that a parallel of passions is played out here. Both Guenevere and Mordred want something they can't have, and Lancelot's duty to King Arthur is to deny them both. These two desires wind up working for each other, though in Mordred's case it's deliberate, Gwen's passion makes her not realize the danger she is putting the kingdom in.

Hollywood movies had gotten a little less stiff in how they portrayed romance and love scenes by this time, and Wilde takes advantage of it, giving the romantic leads a little bit more steam than they had in "Knights of the Round Table." It doesn't make the romance much more convincing, however. The trouble with many Arthurian movies is the unconvincing set up for the love between Lancelot and Guenevere ("Camelot" is a significant exception to this). The slightly stilted writing and silly French accent that Wilde puts on doesn't help.

There is plenty of sword-swinging action scenes. There's a joust, two battles, a fight through the castle, and a rescue. There is some innovation in the fight scenes; heads and body parts are cleaved, rather than sanitary thrusts to the armpit. Unfortunately, there is a degree of stiffness to the fighting and battles (unlike the love scenes) that detract from the drama. In the joust Lancelot sits on his horse, standing still, and recieves a lance with nary a quiver. Perhaps the pan-and-scan ("full-frame") presentation is at fault in some bits. In several battle scenes the figure in the center is the guy standing around like he doesn't know what to do. It also seems that some of the weapons, axes and maces, are too big for the one-handed use they are given.

The production design follows 11th-12th century styles of costume, armor, and architecture (mostly). This would match the period in which was written Geoffrey of Monmouth's "History of the Kings of Britain," the foundation of much of the Arthurian legend (ironically, Lancelot is not in that version). Unfortunately there is some stiffness here also. Certain pieces of costume and armor look clumsy and awkward, and of course the chain mail is all Hollywood fake stuff.

This film does have more appeal to fans of the genre than the average movie viewer. It is interesting as a transitional piece between "Knights of the Round Table" and "First Knight" ("Excalibur" is in a different league).

A bit of trivia: In one scene, Gwen talks about a bowman named Diccon. Diccon bowman was a charater in Henry Pyle's "Men of Iron," made into the movie called "Black Shield of Fallworth."

Neither Flynn nor Havilland
Mr and Mrs Wilde (Jean Wallace) suffer a lot, but all their suffering does not touch the heart. Mr Wilde is perhaps too old for this part and uses terrible intonations. Brian Ahearn