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This perennial, Christmas-season favorite from 1942 teamed Bing Crosby and Fred Astaire as entertainers (and rival suitors of Marjorie Reynolds) running an inn that is only open on holidays. It's a great excuse for lots of singing and dancing, seamlessly wrapped in a catchy story, and Astaire's frequent director Mark Sandrich (Top Hat, Shall We Dance?) doesn't let us down. The Irving Berlin numbers (each one connected to a different holiday) are winners. Crosby's warm performance of "White Christmas" is a movie touchstone. --Tom Keogh ... Read more

Reviews (33)

Year round holiday classic!
For us, this movie is far superior to WHITE CHRISTMAS. It stars Fred Astaire and Bing Cosby as competive entertainers. Fred is the dancer (great scenes in this) , BING is the singer. (Bum, bum, bum, bum - - Bing adopted his "style" because he sometimes forgot the words. but, he maintained the music of the melody with his bum, bum, bum, bum s'-- a little trivia) Anyway, Bing grows tired of the cut-throat entertainment biz after his fiance' decides to marry someone else. He moves out of the city and up to a wintry zone, taking over an old motel. Since he is set to become a lazy owner, he vows only to open the motel for HOLIDAYS, hence HOLIDAY INN.

Every holiday is represented, including CHRISTMAS with age-old hit, WHITE CHRISTMAS. Performances with Marjorie Reynolds ( who plays Linda Mason, an upstart want-to-be ) and Virginia Dale ( Lila Dixon, Bing's here today, gone for stardom ex-fiance') are excellent. If you are looking for this movie for Christmas, get it now. Last year, it sold out early, pretty much like every year.

Kick your troubles down the stairs and come to Holiday Inn!
This is one of the finest holiday films ever made.

Inspired by a story by Irving Berlin, the film features many wonderful Berlin holiday tunes, from "White Christmas" to "Easter Parade". This is the film that introduced "White Christmas", Bing Crosby's signature song (which was almost cut from the final version!).

Holiday hijinks ensue when Jim Hardy (Bing Crosby), decides that he's had enough of show business and chooses to retire to a farm in Connecticut. His pal and partner Ted Hanover (Fred Astaire) steals his gal Lyla at the last minute, so Jim takes up the life of a farmer on his own. Unfortunately for Jim, the farm life drives him nuts. He decides to turn the farm into an inn, where he can do entertainment shows for every holiday. The result is Holiday Inn, "open holidays only".

Jim meets and falls in love with Linda Mason (Marjorie Reynolds), a fellow entertainer, and she helps out with the shows.

Things are looking up for Jim, but about this time, Ted's girl Lyla leaves him. Heartbroken (and crocked), Ted shows up at Holiday Inn on New Year's Eve and does a new dance number with Linda. It looks like he's found himself a new dance partner. Trouble is, he was so drunk, he can't remember who she is! Jim knows if Ted hooks up with Linda, he'll take her away from the Inn (and him!), so Jim begins some comedic conniving to keep Ted and Linda from meeting up. But poor Jim isn't out of the stewpot yet!

Walter Abel turns in a wonderful supporting perfomance as a scheming talent agent, and Irving Bacon is the quintissential New Englander as Gus the handyman. Fred does an inspired July Fourth dance routine, and Bing is in fine voice.

Holiday Inn has it all. Romance, laughter, crooning, catchy Irving Berlin tunes, and Bing and Fred at their best! We also get a sneak peek at the soundstage and set for Holiday Inn, as a Hollywood crew make a movie within the movie! A Christmas classic you're sure to love, not only at Christmastime, but at any time of the year.

If you need a lift, then come to Holiday Inn!

Wonderful movie!!!!
Holiday Inn is a wonderful old movie about a man who owns an inn that is only open on holidays. (If only there was such a place!) Bing Crosby and Fred Astaire are great as "friends" going after the same woman. Some of my favorite scenes include Fred's July 4th's firecracker tap dance and when he tries to dance on New Year's Eve when he's already drunk.

A film NOT just for Christmas
This is one of the better musicals from the 1940s. This is not MGM (luckily) so you don't get that 'songs coming from places for no reason' problem. In this, like a lot of the musicals from, lets say, the 1930s, the songs have reason to be there.

I think both Bing and Fred are great, but I have kind of a hate for Fred in this one. Really I guess, because his character is, well, kinda horrible. He is always stealing the women away from Bing, and he does it so easily. The film is mixed with a lot of the usual 'double-crossing' scenes, with some amazing songs by Irving Berlin, mostly sung by Bing, including 'White Christmas', 'Easter Parade' and a number of others, and not forgetting the wonderful dancing by Fred Astaire. Its Bing opening up his own inn, the 'Holiday Inn', which is open only during holidays. This is where the 'music being there for a reason' comes in, and there's lots of it too. Watch out for George Washington's birthday, I mean look out for the dance, which is, lets say amusingly funny.

The following part of this review, refers to a UK Region 2 release on DVD from Laureate/Universal.

The thing I love most about this DVD though is the print of the film, which looks great, and the extra features that go with it. The best being the 'A Couple of Song and Dance Men' featurette, with Ava Astaire MacKenzie and Ken Barnes, lasting around 40 odd minutes I think, which contains some interesting stories. Particularly the one about a certain dance which Fred does in the movie, while 'playing' drunk. Along with this, you get an audio commentary, filmographies, and a few other little things too.

Great movie, with a great DVD presentation. Highly recommended.

a great feel good movie!
This movie has become one of my holiday traditions. great dancing, and one of those which you get both Bing and Fred! They just don't make 'em like this anymore! Get the Dvd, and you get "Going My Way" too. It's worth it..and this IS the original "White Christmas" redition (for you purists). Lots of fun any time of the year! ... Read more

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This blistering little black comedy was well ahead of its time when released in 1947. Originally, Orson Welles had wanted Chaplin to star in his drama about a French mass murderer named Landru, but Chaplin was hesitant to act for another director, and used the idea himself. He plays a dapper gent named Henri Verdoux (who assumes a number of identities), a civilized monster who marries wealthy women, then murders them (as we meet him, he's gathering roses as an incinerator ominously bellows smoke in the background) and collects their money to support his real family. The Little Tramp is now a distant memory, though this was the first film not to feature Chaplin's beloved creation. Verdoux is largely viciously clever until it gets too heavy-handed, as evidenced when a woman he spares returns years later as the mistress of a munitions manufacturer. Ultimately, Chaplin breaks character (much as he did in The Great Dictator) to preach to the masses, declaring that against the machines of war that grip the planet, humble killer Verdoux is "an amateur by comparison." --David Kronke ... Read more

Reviews (19)

Chaplin's Best Talkie
In his 1964 autobiography, Charlie Chaplin called "Monsieur Verdoux" (1947) "the cleverest and most brilliant film I have yet made." Though not without its faults, this sardonic black comedy remains one of his finest achievements -- and it's certainly his best foray into sound. Chaplin's detailed performance as the business-minded Bluebeard is a masterpiece of screen acting. However, the supporting cast ranges from excellent (Martha Raye) to amateurish (Marilyn Nash) while the final minutes get bogged down in endless talk. Chaplin later admitted that "Monsieur Verdoux" could have used a bit more pantomime and less dialogue. Still, it's a thought-provoking and hard-hitting film. Henri Verdoux and the Little Tramp have much in common.

A TRIUMPH
Monsieur Verdoux is Chaplin's unsung masterpiece. A very dry film, it lives in the shadow of the much broader 'The Great Dictator'. The humor is subtle (the Martha Raye scenes aside) and one has to think to get it. Example: Verdoux is tending to his rose bushes while the incinerator is finishing up one of his wives in the background. He's just murdered a woman yet he refuses to step on a little catepillar. In picking it up and moving it to safety, he becomes very squemish at touching the little creature! This character is as far away from the Little Tramp as one can get. They are the same though; both long for love however, Verdoux uses love to his 'business' advantage whereas 'Charlie' was ususally scorned by it. This is his best written talky (any viewer of the over preachy 'Limelight' would concur) while it looks technically cheap at times (a not too uncommon area of some of his later productions). Such criticism is small though and the 'speech' at the end fits well into the narrative, not to mention that with the passing of over five decades....it still makes sense. Chaplin should be commended for putting out such a daring film at a time where America didn't want to hear such things. Not for everyones tastes but still a film that should not be ignored.

Plagiarism Alert!
I must take offense to scotsladdie's November 2001 "review" of "Monsieur Verdoux," since its ripped off almost verbatim from David Shipman's excellent book "Story of Cinema," which also is available from Amazon. Perhaps you should give Mr. Shipman the proper credit instead of scotsladdie. Otherwise, delete this particular review from you web site. Many thanks.

One of Chaplin's highest achievements.
If the willingness to take risks is the mark of a great artist -- and I believe it is -- then Monsieur Verdoux is Charles Chaplin's greatest films. And amidst all the controversy stirred by his portrayal of a serial wife killer, it's easy to forget that it's also a hilarious black comedy with plenty of sharp lines that would have succeeded even without its sociological message.

Chaplin's ability as an actor is pushed to a new level on this film through his portrayal of a morally ambiguous, unscrupulous ex-bank clerk who has no qualms about putting a body into an incinerator in his backyard. While much has been said about this film's break with Chaplin's Little Tramp character, careful examination reveals that Henri Verdoux is just a logical, and daring, advancement in the character: The more devilish, sometimes sadistic sides of the Little Tramp taken to their inevitable conclusion, where comic mischief crosses over the line to villainy. And it's highly compelling, the perfect foil to Chaplin's most heartwarming films (eg. City Lights and Modern Times), allowing Chaplin to express an insidiousness hitherto unexplored. Martha Raye nearly steals the show as the airheaded, supernaturally unkillable Mme. Bonheur (the name itself means "happiness"), and Marilyn Nash is winning as the Belgian derelict who inspires a spark of compassion in Verdoux. The conclusion of this character relationship is one of Chaplin's most complex writing feats: Imagine the ending of City Lights twisted into a dark, steely, uncompromising version of itself.

There are certain moments when the film does threaten to fall into self-involvement -- in his later years, Chaplin did let his ego take ahold of his work -- but in the case of Monsieur Verdoux, he uses this larger-than-life persona so well, and it fits the character so snugly, that the ego becomes an advantage and adds to the depth of the character. And the script has none of the self-conscious mix of silent film and talkies that plagued The Great Dictator; Chaplin had grown quite well into dialogue writing, allowing him to formulate moments of murderous irony that are cuttingly funny. ("Don't pull the cat's tail...") I have no problems with the ending speeches in this film as I did with the final speech of The Great Dictator: In the context of this story, they fit in quite well. Verdoux at the end is a man who has given up all hope, and he seems to mock his own fate and character while unmercifully unveiling his anger at the world. The speeches are not meant to be taken for face value, and I find them thought-provoking and fascinating rather than moralistic or self-important.

I first saw this film at Symphony Space in New York City and the audience was laughing so hard it was in tears. With modern audiences generally less inclined to judge a film by its "moral standing" (Kill Bill, anyone?), Monsieur Verdoux can be seen for what it is: A hilarious, complex sociological examination which identifies social ills while at the same time taking part in it. In that, it is unique in the Chaplin canon and deserves to rank among his most important films.

A quick note about this DVD edition: For some reason, the bonus materials for this film are far less numerous than on the other DVDs in this series -- hence the single-disc package and lower price. By the standards of this series of reissues, the DVD materials are really quite scant -- a useful yet brief half-hour documentary featuring good insight from director Claude Chabrol, a trailer, some storyboards. The picture and sound are of good quality, however, and the film is one to own. Highly recommended.

A charming, yet disturbing cinematic experience by Chaplin
Monsieur Verdoux (Charles Chaplin) is a sad story about Monsieur Verdoux who is a swindling murderer that charms women whom he marries for their assets which he sells after he has murdered a newly acquired wife. Monsieur Verdoux is driven to commit murder as he feels determined to provide the best possible life style for his family. However, Monsieur Verdoux is lost in his determination as it clouds his moral decision making, which he recognizes. Monsieur Verdoux is the darkest of Charles Chaplin's films, and as in his other films it offers a social message. This ominous message becomes apparent from the beginning of the film as Monsieur Verdoux's gravestone is depicted in the initial shot with Chaplin's voiceover that embarks on how he ended up here. Chaplin's direction offers both tragedy and comedy which in the end leaves the audience with a charming, yet disturbing cinematic experience. ... Read more

Reviews (11)

HOME SWEET HOME
Trying to choose a favorite episode in the most sophisticated detective spoof of all time is like trying to choose your favorite child! It's almost impossible for there's always something special about each one that tugs at your heart! So it is with The Thin Man Goes Home...as equally charming on it's own merit as all the others in this series. It's quite a slower pace than we're accustomed to, but then Nick and Nora do manage to get involved in a murder even when going back home to visit Nick's parents. Thankfully the plot involved here is at least understandable, while I was never able to follow Nick's reasoning in solving his other storylines! It's a great tribute to the charismatic personalities of William Powell and Mryna Loy that they continually hypnotized the audience into overlooking the screwy plots written for them. My only criticism is that Nick openly spanks Nora in front of his parents! It seemed a bit chauvinistic of Nick's character to exhibit such behavior and unlike Nora's strong independent nature to allow him to humiliate her in that respect. None the less, this flick is an important piece of classic movie history, and should be appreciated for the magnificient acting talents of it's two stars!

This movie was so good I popped my vest buttons!
This is the fourth sequel to the 1934 smash hit THE THIN MAN. Just when I would have thought the series was dead the producers and writers were able to add life to the franchise.

Nick goes home and of course gets dragged into another murder mystery. Nora, who by now should no longer be curious to see Nick solve a mystery, tries to get Nick to solve a murder mystery so he can impress his father the medical doctor. Nick's father had always hoped his son would have become a doctor and when Nick became a cop and then detective he looked down on him. As far as the mystery goes it follows the typical THIN MAN formula. A bunch of suspects are introduced and in the end Nick rounds them all up and reveals the killer.

The comedy is better than ever. Rather than have Nick always drinking and having jokes centered around his drinking Nick is now sober. The jokes are even funnier because everyone believes he is still a drunk and he just can't convince them otherwise. The scene in his Dad's parlor is hilarious. Nick is stone sober but due to a series of mishaps he is on the floor and appears to all to be drunk as ever. Also, when Nick recounts his childhood to Nora and tells her of his trips to the wood shed that brings back memories of my childhood and trips to the wood shed.

This is my second favorite THIN MAN movie. Right behind AFTER THE THIN MAN and just before the original THIN MAN. It is an almost perfect blend of mystery and comedy. Where the heck are the DVD's for all the THIN MAN movies?

"Has Nora Become 'Ordinaire'?"
A delightful change of pace from previous "Thin Man" movies -- no cutsie "little Nickie" and no annoying references to Nora as "mama."

Nick returns home, is faced with a mystery, and finally receives his father's praise. Most importanly, Nick's background is nicely developed. Obviously his brains and composure come from his father while his drinking problem and sometimes-irresponsibility are the result of an overweaning mother.

The plot unwinds with several twists and features an assortment of local small-town characters played by a wonderful supporting cast. (None of them are portrayed disparagingly, or negatively mocked or compared to "hip" New Yorkers.) The story moves along at a pleasant pace and of course Nick smoothly solves the mystery.

What's MOST interesting, however, is the transformation seen in Mrs. Charles -- Nora has become "ordinaire." The once strikingly beautiful, ultra-sophisticated woman is now a whining little wife. While once capable of exchanging rapier one-liners with a variety New York males, she now is reduced to self-consciously avoiding eye contact with a few appreciative men in a pool hall. She would have verbally decimated those guys in earlier movies. Can this be the same Nora who effortlessly reigned over parties on both coasts?

Nora's role seems to be that of her husband's cheerleader -- and an uninteresting one at that. Maybe she's trying to ingratiate herself with the family. And she looks...well....

While changes in fashion come and go, it's a pity to see Nora with an unflattering hairstyle and in uninteresting clothes. Maybe audiences in the 40's wanted different images from those in the '30s. Or maybe motherhood took a toll on Nora. Meanwhile Nick is more charming than ever -- and -- in a household without liquor! He's more than a drunk afterall. In fact we get new insight into Nick that will gratify his many fans.

This is a very good movie, do watch it.

No Small Town Is Safe When Nick And Nora Show Up
Nick and Nora go to a small town to visit Nick's parents in this installment. Of course, usually it's a quiet place where nothing exciting ever happens, but when the Charles show up, there's bound to be murder. There's an extra dose of humour in this story compared to the others in the series and the film has a strong supporting cast that includes Lucile Watson and Harry Davenport as the parents, Gloria DeHaven as a drama queen, Leon Ames as a mysterious art collector, and best of all, Anne Revere as the town's crazy woman. William Powell and Myrna Loy do their customary good job as the leads. The mystery was interesting, with some good twists, and other than needing a little tightening up in a few places, the film moves along well. Mystery fans will enjoy this entry.

Nick and Nora Visit the Folks.
This entry in the series is a change of pace. Instead of New York or San Francisco we have Sycamore Springs. Sycamore Springs looks as if it is just down the road from George Bailey's Bedford Falls. It's very Norman Rockwell. Lots of trees, picket fences, and big houses. Nick and Nora breeze into town to celebrate Nick's birthday with the folks. There are a variety of suspicious characters hanging around town. They get nervous when a famous detective arrives. There is, in fact, a murder. Right on the Charles' front porch. Nick and Nora's razor sharp repartee lost some of its edginess by this point in the series. This film gets disparaged as a step down in quality. Although some of the banter takes place over a wobbly piece of lawn furniture in the side yard rather than a cocktail shaker in a New York bar, dismissing the film as inferior is a mistake. Ozzie and Harriet interludes notwithstanding, this is fun for those who enjoy classic comedy. A hallmark of the series is that the murder is an excuse for humor. Not to make fun of murder, of course, but it's hilarious when Nora follows a suspect on a walk on the wild side. The WWII flavor of this flick adds to its old-fashioned charm. The mystery is of stolen propellor plans down at the local defense plant. The small town social mores are quaint. This movie is a good fit for fans of classic comedy, Thin Man fans, and collectors. Ownership is recommended. ;-) ... Read more

Reviews (5)

One of Betty Grable's better musicals
This movie gets criticized for having a "weak" male lead. First of all, it's called "Pin-Up Girl" not "Pin-Up Man." I am not interested in the male lead. John Harvey does a good job acting as a foil to Betty Grable - and that's all that's required. The last Betty Grable musical I tried to watch (Moon Over Miami) was going great until the male lead showed up and KILLED it. Another thing it gets criticized for is the "weak" finale. Instead of seeing a big song-and-dance number (for the 1000th time), you get to see Betty Grable marching around some kind of women's auxiliary force. This may have been necessitated by the fact that she was pregnant at the time, but it's pretty interesting to watch. It is also super-patriotic, whereas "Pan-American Jubilee," the ending to "Springtime in the Rockies," was a nameless celebration of the Western Hemisphere that made me want to shove my VCR through the TV screen.

Worth The Price To Watch The Ending
This film's finale is a staged rifle drill by dancing girls -- and they perform as well as almost any military unit you will ever see, with Betty Grable calling cadence. It's worth watching the entire film just to see them march.

A delightful confection!
Of course in this age of packaged pastries, that's a difficult metaphor to bite into. Forget the silliness of the plot (aren't all Hollywood plots, indies or otherwise, silly a year later?). Forget the mediocre songs. It's got a great cast, sensational clothes, wonderful sets & spectacular numbers. And it's light and deelish as a perfect meringue! They don't (can't) make them like this any more. (Sob).

Not one of Grable's best, but still enjoyable.
This film, although not one of Grable's best, is still enjoyable. The plot is rather contrived, but is still humorous. Some of the songs are corny, but, again, they are still enjoyable. Due to advancing pregnancy, producers didn't want to use the "Song of the Very Merry Widow" routine. Instead they substituted one that consisted of Grable leading girls in complicated military marches. Although the finale leaves much to be desired, the film is still enjoyable and was a top money-maker at its time.

Pin-up pins down war hero
Grable plays Lorry Jones, a stenographer and part-time USO entertainer in this WWII flagwaver. Slight plot concerning fibber Lorry, who gets herself into all kinds of bother with her fancy tales. But she bites off more than she can chew when she upstages Martha Raye for the attention of Gaudalcanal hero John Harvey. An unlikely plot, but Grable's sense of comedy and some expert dancing - with Hermes Pan - gives it lift off. Good support from Raye and Joe E Brown. The finale must be seen to be believed! Grable as a drill sergeant? However it a a perfect piece of parade-ground marching and should be in every military manual! Great fun, if you ignore the plot. ... Read more

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Mark Twain's Huckleberry Finn is considered by many to be the greatest American novel ever written. Though none of the many film adaptations have done the book justice, the closest remains the 1939 remake with Mickey Rooney. Toning down his usual firecracker personality, Rooney's river-boy Huck is a fun-loving, superstitious kid who can't give up his free-and-easy life of fishing and smoking, despite the best efforts of his kindly guardians. When his souse of a Pap blackmails the well-meaning matrons, mischievous Huck fakes his death and heads down the river with his friend Jim (Rex Ingram), a slave he grudgingly helps escape to a free state. Rooney displays his underrated skills as a dramatic performer as he banters with Jim about slavery, fate, and destiny, and his slow realization that, slave or not, Jim is a human being ripples across his face like a remembered sin. The last half of the picture winds the destinies of the runaways around the schemes of con men Walter Connelly and William Frawley (who make a hilarious team as "the King" and "the Duke"), where the comic antics nuzzle against despicable plots and Huck's free spirit slams against his growing sense of responsibility. It's a generally faithful adaptation until the climax, which completely removes Tom Sawyer's appearance for a melodramatic, race-to-the-rescue conclusion. But for all the film's narrative liberties, Rooney's thoughtful performance captures Twain's Huck better than any version before or since. --Sean Axmaker ... Read more

Reviews (5)

The Adventures of Huckleberry Finn
I want, DVD version "The Adventures Of Huckleberry Finn" with Mickey Roonney, with subtitles in spanish and spoken in spanish!!!!!!!!!!!!!!!!!!!!!!!!!!!!

The best film version of the Mark Twain classic.
This is probably the most accurate portrayal of Huck ever brought to screen! Here you see the young hero learn the power of loyalty and the evils of racism as he smokes and curses his way through one adventure after another.

Despite criticisms about the use of racially offensive language, this movie(and book) have done much toward bridging the gap between the races by imparting understanding and empathy. Accusations that the language of the book should justify its being banned are born of ignorance, not a true desire for tolerance.

Watch this and decide for yourself.

It was an okay movie.
I think this book was very boring . But the movie was alittle better. I wish that he had published some better book than the ones that he has out.Mark Twain is a very creative man and I admire that. Recently i had visited his house in Conneticut. It was really nice and I enjoyed myself. Otherwise , the my most favorite book would have to be Tom Sawyer because it was an exciting aventure. Iy was also nice how he put Tom Sawyer as a continuation in Huck Finn Book, eventhough I thought that book was really boring. So to all the readers out there I would just like to say watch the movie and not read the book you will enjoy it more.

super............thanks for asking
super movie wonderful everything just a tad different from the book but overall it was great thanks for asking

Fun Movie, good acting -- not fairly true to the story
If you care for accuracy avoid this video. For fun, and a sort of neat feel - OK

Acting quite good.

But this is not the story written by Mark Twain (or Sam Clemens) ... Read more

Reviews (3)

black and white, not technicolor
This movie was not redone in technicolor. The Black and white takes some time to get used to.

ENGAGING LITTLE MUSICAL.
Boxer Victor Mature lands a role in a Broadway play and quickly makes a move on dancer Betty Grable, who is secretly married to another of the actors. John Payne plays the elusive husband, and he isn't content with watching his wife be fawned over. As fate would have it, the play calls for both the lead male characters - as played by Payne and Mature - to get into a rousing brawl...The cinematography by Lee Garmes is striking, but the score is unfortunately a bit lacklustre. The supporting cast is terrific, though: Jane Wyman, James Gleason, Phil Silvers, June Lang and Irving Bacon. The 7 songs include such classics (just kidding!) as ARE YOU KIDDING? - no pun intended - LIVING HIGH & I'M STEPPING OUT WITH A MEMORY TONIGHT. The latter actually made a minor dent on the Hit Parade back in 1942.

Grable is a knockout in musical boxing story
Very authentic backstage feel about this showbiz story of two young chorines, Grable and Jane Wyman, trying to reach the big time. Story concerns show-off boxing champ, Victor Mature who is about to star in his own show on Broadway.Grable gets work as a chorus girl. Mature takes a shine to her, but she is already in love with John Payne. Complicated? A little, but it all works out in the end. This b/w musical was just crying out for Technicolor. And studio head Zanuck vowed, on viewing the rushes, that Grable would only be featured in Technicolor in future, even though it added a third to the production costs. Thus she became the first-ever star to have a "colour clause" in her contract. Great musical numbers with Grable partnered by Hermes Pan. And her solo, 'I Heard the Birdies Sing' in which she boxes with her shadow is - if you'll pardon the expression - a knockout! Trivia note: In one scene, a despondent Grable asks Jane Wyman if she would ever become a star. Consulting the cards, Jane replies: "You have as much chance of that as I have of being first lady." ... which is what Miss Wyman would have become had she stayed married to Ronald Reagan! Phil Silvers is very good in an early comedy role. ... Read more

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Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the background is so bright you can't even see the faces of the actors. I'm going to buy a good version of this eventually because it is worth the extra money! BUY BETTER QUALITY!! ... Read more

Amazon.com

Among Deanna Durbin's happiest memories of Hollywood would beher two-film collaboration with actor Charles Laughton: 1946's minor Broadway-set comedy Because of Him and this imaginatively scripted gem that remains one of Durbin's best vehicles.In It Started with Eve, Deanna is enlisted topose as fiancée to Robert Cummings, who's trying to please his (apparently) dying father Laughton.Avoid the Sandra Dee remake I'd Rather Be Rich, and enjoy the clever plot twists and three good tunes found in the original, which marked Durbin's last pre-war picture and the end of her golden age at Universal. --Steven Smith ... Read more

Reviews (11)

Durbin grows up, gets sexy.
Her first movie where consummation (i.e., marriage) becomes a possibility. Durbin, bright-eyed and bushy-tailed, has a knack for facetious comic timing as well, the heavy-lidded, seen-it-all variety that Rosalind Russell and Barbara Stanwyck mastered. Charles Laughton tries a little too hard to be a crinkly, charming old tycoon, but he pulls it off pretty well. This late screwball comedy features the handsome pratfall Robert Cummings, but the chemistry the movie presumes to show between him and Durbin seems a little superficial if not non-existent (other than the nearly kinky pinching scene, of course). Fun and diverting overall.

Warm and Delightful
Deanna Durbin was always wonderful and on this outing has a nice script and fine support from Charles Laughton and Robert Cummings, making this one of her best. This film is warm, funny, and delightful. Durban gets to do a few beautiful songs that are worked into the story in a natural way. This is really a very funny comedy with some fine moments that will leave you smiling when it's over.

Jonathan Reynolds (Charles Laughton in another great performance), an irracible, rich, and socially prominent tycoon, is on his death bed. His son Jonathan Jr. (Robert Cummings) rushes home from Mexico with his new fiance Gloria (Margaret Tallichet) to see him before he dies, which the papers can't wait for. But when the old man wants to meet her, and she and her hideous mother have left the hotel to go shopping, Jonathan Jr. talks sweet coat check girl Anne Terry (Deanna Durbin) into pretending to be 'Gloria' for $50.00. It is money she needs for train fare back to Shelbyville to see her mom and abandon her dreams of singing stardom, which are going nowhere.

A teary eyed Anne has a warm and instant connection with old man Jonathan, who adores her and makes an unexpected recovery thanks to her charm and warmth. Jonathan Jr. has to catch Anne at the train station (twice!) in order to keep the charade going, of course, and the interplay between the two as they start bickering about it is priceless. Even when the old man overhears them and knows the truth he goes along because he can see she's the right girl for his son Jonathan Jr., and the daughter-in-law he wants.

Of course, Jonathan Jr. still thinks he wants to marry the 'real' Gloria and there is a subplot about a party which will be attended by Stokowski and Heifetz, friends of the old man, where Anne may finally get her chance to be noticed. But Anne is to sweet to go through with it and plans on returning home to Shelbyville.

This prompts the wise old Jonathan to hatch up a little plan of his own to get her to stay long enough for Jonathan Jr. to see that he's really in love with Anne. A night on the town where a delightful Durbin teaches Laughton to do the 'Conga' in a swank nightclub is a particular highlight, as is her tearful rendition of "Goin' Home".

There is an hilarious fight scene with Durbin and Cummings chasing each other all over the place that involves biting and pinching that will have you on the floor! This is one of Durbin's best films. She was wonderful at light comedy, had a warmth and sincerity to her acting, and as someone puts it in this film, sings like "A thrush from Ireland".

You can't miss this one if you love Durbin or enjoy a great comedy. This is a classy production and a chance to see for yourself the always wonderful Deanna Durbin, who will always be "The Last Rose of Summer".

Tons of laughs and great music!
This movie is hysterically funny and cute. A hilarious Charles Laughton leads the crew along with the ever lovely Deanna Durbin. It has great music, acting, and comedy. Deanna shows off her gorgeous voice and her excellent piano skills especially while singing a little Spanish song called "Clavelitos." Robert Cummings is adorable as Laughton's soon -to -be -married son. Lots of funny scenes and cute dialogue. Buy this movie and laugh all your troubles away!

Cute but....
I've always loved Deanna Durbin and this is a cute movie, but the chemistry between her and Robert Cummings just didn't seen to click in my opinion. I really couldn't see his feelings shifting to the hat check girl (Deanna) he passes off as his fiance to his dying father. And likewise I couldn't see her falling for him. The romantic triangle plot could have used some beefing up. The comic bits are well done though and as always Deanna's voice is superlative.

Wonderful Romantic Movie
HIGHLY recommend for all Deanna Durbin fans to watch this wonderful romantic movie. ... Read more

Reviews (3)

The Kettles go back to the farm for some quick fixin' up.
The Indians try to make a fire in the Kettles fireplace the old fashion way, the smoke signal way. Judges are a comin' to award a child with a scholarship. However, who ever has the nicest looking farm and raises their kids in a good enviroment has a chance of winning. So the Kettles move back to the old farm (where they lived in their first film appearance THE EGG AND I [1947]) to fix it up. Funniest bit: Ma trys on a corset. Another funny bit: The town Indians had to read a book on "Indian Costumes" on how to dress (or be undressed) like their forefathers and learn to put on war mark make-up. Mary Wickes has a role as "Miss Wetter". The Kettles also have Christmas on the farm. The next film in the series is MA AND PA KETTLE AT WAIKIKI (1955).

The Funniest One!
Even though these movies seem so ancient compared to todays version of comedy, this movie is so funny! I think its probably the funniest kettle movie! In this one the kettles try transform their not-so-dream farm into a dream farm useing things to rebuild their barns and buildings that well, just dont hold up! Very Funny!

One of the top Kettle comedies
The Kettles' college-student son has described his folks' ramshackle farm as the last word in modern technology. Now Ma and Pa have to prove it, in one of the best Kettle comedies. (One memorable scene has Percy Kilbride playing a charming Santa Claus for his kids.) Check your intellect at the door for some simple, folksy fun. Picture and sound are excellent. ... Read more

Amazon.com essential video

Alfred Hitchcock considered this 1943 thriller to be his personal favorite among his own films, and although it's not as popular as some of Hitchcock's later work, it's certainly worthy of the master's admiration. Scripted by playwright Thornton Wilder and inspired by the actual case of a 1920's serial killer known as "The Merry Widow Murderer," the movie sets a tone of menace and fear by introducing a psychotic killer into the small-town comforts of Santa Rosa, California. That's where young Charlie (Teresa Wright) lives with her parents and two younger siblings, and where murder is little more than a topic of morbid conversation for their mystery-buff neighbor (Hume Cronyn). Charlie was named after her favorite uncle, who has just arrived for an extended visit, and at first Uncle Charlie (Joseph Cotten) gets along famously with his admiring niece. But the film's chilling prologue has already revealed Uncle Charlie's true identity as the notorious Merry Widow Murderer, and the suspense grows almost unbearable when young Charlie's trust gives way to gradual dread and suspicion. Through narrow escapes and a climactic scene aboard a speeding train, this witty thriller strips away the façade of small-town tranquility to reveal evil where it's least expected. And, of course, it's all done in pure Hitchcockian style.--Jeff Shannon ... Read more

Reviews (57)

The Merry Widow Murderer strikes again
Hitchcock loved to subvert what others took for granted. Set in the Northern California town of Santa Rosa, Shadow of a Doubt is most subversive about the very normal, tranquil qualities of small town life. Like all of Hitchcock's most convincing and powerful thrillers, the mystery is revealed right away. Uncle Charlie (Joseph Cotton)is on the run from the police. He's endearing, charming and a serial killer nicknamed The Merry Widow Murderer. With the police hot on his trail he turns to the only place he can--home.

Uncle Charlie visits with his sister and her family in a sleepy small town. Uncle Charlie gets the chance to visit with his namesake and favorite niece nicknamed Young Charlie (Teresa Wright). They have a grand old name visiting until the past comes haunting. Young Charlie begins to suspect that Uncle Charlie is the Merry Window Murderer. What's worse, he realizes that she knows. Suddenly, he must find a way to murder his favorite niece and escape without suspicion.

Shadow is one of Hitchcock's earliest films where his favorite themes finally come together in a great collabortive effort with Thornton Wilder (Our Town). Wilder's early drafts (Hitchcock's wife and frequent collaborator Alma Reville did extensive rewrites along with Sally Benson and, of course, Hitchcock himself, as always, uncredited). Like many of the releases from Universal in the Alfred Hitchcock Collection, Shadow comes back with some interesting extras.

The documentary which includes interviews with Teresa Wright, Hume Cronyn, Robert Boyle, Pat Hitchcock O'Connell and director Peter Bogdanovich, isn't the usual slapdash affair. There's some interesting insights and observations about the film (if you'd like real insight into the film, I'd suggest the recent Hitchcock biography).

Joseph Cotton, Teresa Wright and the rest of this stunning cast capture the atmosphere (or least Hollywood's version of it with a bit more realism courtesy of Wilder and Hitchcock)of life in a small town during the 40's. It's one of Hitchcock's early American masterpieces (along with the wonderful Notorious).

The transfer looks pretty good overall. There are some minor issues with edge enhancement but the overall look of the film is very clean considering the age of the negative. It's a pity that so many Hitchcock films are spread over so many studios. Shadow would work well in a boxed set with Strangers on a Train and even Rear Window.

Charlie, think. How much do you know about your uncle?
Having just watched Alfred Hitchcock's Shadow of a Doubt (1943) last night for the first time, I was surprised at how good it was, and why I've never seen it before. I mean, I am a fan of Hitchcock, and I've seen many of his movies, but to have heard so little of this particular film seems puzzling to me, as it's an excellent film, and worthy of a lot more recognition than it seems to have gotten. Either that or I just need to get out of my cookie jar more often...

Anyway, the film, directed by Alfred Hitchcock and written by Thornton Wilder, stars a wonderful cast including Teresa Wright, who appeared with Gary Cooper the previous year in The Pride of the Yankees (1942), Joseph Cotten (Citizen Kane, The Third Man), and Henry Travers (High Sierra, Mrs. Miniver, It's a Wonderful Life). Also making an appearance is Hume Cronyn making his film debut in a supporting role as a mousy neighbor.

The story involves a family in a small California town, and the impending arrival of a relative, Charlie (Cotten), from back east. Most anticipatory is younger Charlie (Wright), named after her uncle, as she feels a deep, almost telepathic connection to this man she hasn't seen in quite awhile. Now, before Charlie's departure for California, we get a general sense of unease, as it seems Charlie is involved in something of a sinister nature. Upon arriving in California, the visit seems to be going well, as the family welcomes him with open arms, but soon we learn that trouble has followed Charlie in the form of two rather shady individuals who present themselves with a certain amount of deception, which is elaborated on later. The older Charlie's behavior begins to change subtly, perceptible only to the younger Charlie and us, the audience. As various bits of information are disseminated, the younger Charlie's begins to realize that her uncle may harbor a terrible secret that could tear apart the very fabric of her family. As her uncle's slick veneer is slowly peeled away, she eventually learns the truth, with the older Charlie realizing that the relative safety he sought in coming to stay with his sister and her family is in jeopardy. What lengths will he go to to protect himself from his past?

The film starts out very slowly, but it's obviously deliberate, as the sense of dread within the viewer is cultivated in meticulous fashion. This seems a common tactic with Hitchcock, but I did get the feeling it was more drawn out here than in most of his other films. The pacing felt very similar to Rebecca, another Hitchcock film, which was released in 1940, but while that film had a much more grandiose feel to it, this film keeps things fairly simple, which really works well. There is a good amount of leaving the viewer in the dark within the first hour or so of the film, but when the secrets of the character is revealed, the plot points prior to this fall into place nicely, making sense of these once less meaningful elements. Teresa Wright's character is wonderful as the perceptive and intelligent niece forced to make a very difficult decision between her family and her uncle, trying to deal with the consequences of whatever path she chooses. Cotten is the real standout performance in the film, presenting a very likeable character, with a highly polished exterior, but an exterior you learn is barely hiding a very ugly and, ultimately, dangerous core. He figuratively becomes the fox in the hen house, as his sinister nature encroaches upon this quiet, unassuming community. As I said before, the pacing is pretty slow, picking up moderately within the last 30 minutes (it has a running time of 108 minutes) to a very suitable and satisfying ending, one that provides a nice jolt during an already tense scene.

The print provided by Universal for this release looks very good, despite a few hardly noticeable signs of age and wear. Special features include a featurette on the making of the film, detailing why Hitchcock considered this to be one of his favorite movies he made, production notes, drawings and photographs, recommendations (to other Hitchcock films), and a theatrical trailer for the film. All in all, and excellent, if underrated, Hitchcock classic.

Cookieman108

What a Film!!!
It is sad that Santa Rosa, Ca. doesn't look like this today,but this film almost foretells the waiting, looming changes that we were about to face in our land, both to our lifestyle and our environment. Never more relevant than now.Hitchcock captured the essence of a wonderful and, now, nostalgic time in America as no one else, before or after.

5 star movie ...
While the film itself is absolutely brilliant, 'Shadow of a Doubt' loses a star for being a disappointing DVD. Considering this film was always hailed as being Hitchcock's favorite, I'm really surprised that Universal didn't roll out the red carpet when it came to the disc's bonus features.

I completely expected to see the same TLC that made the 'Rear Window', 'Vertigo', and 'Psycho' DVDs such an education to watch. Instead Universal didn't even seem to think 'Shadow of a Doubt' warranted a simple wide-screen format.

I loved the film and will always think of it as one of my favorites among Hitch's works. I can't help but to be disappointed that it seemed to fall to the way-side when it came to the attention I felt it should have commanded in its reproduction and formatting though.

I'll Go With the Masses on This One
No question about it: this one of Hitchcock's best, and it ought to be a lot better known.

There's some truth in the contention that much of Hitchcock's work is based on flimsy plotting, gimmickry, and attractive stick figures racing from one scene to the next just a step ahead of sense or logic. This is easily seen even in much-admired films like "North by Northwest".

But "Shadow of a Doubt" (along with "Vertigo" and the first half of "Psycho") gives the lie to the claim that this was all there was to Hitchcock. This is a film in which every turn of the narrative is governed by the development of character, as a girl matures from giddy teenager to strong (and even deadly) young woman while grappling with the knowledge that her beloved uncle is a serial killer.

The acting is uniformly outstanding. Cotten is in full lounge-lizard mode here--nobody ever enunciated a perfectly-balanced sentence with more venom. Hume Cronyn plays a neighborhood geek almost--but not quite--to the point of parody. But it's Teresa Wright who takes the prize here. Wright was a pleasant but unremarkable presence in a number of films, but in "Doubt" she really shows what she was capable of. Consider the expression on her face as she descends the stairs in the climactic scene, and how easy it would have been to overplay it.

Perhaps it was the influence of Wilder (though his biographers state that he actually didn't really do much work on the picture), but "Shadow of a Doubt" is one film in which the master outdid himself, stepping beyond the limits of entertainment into something approaching art. ... Read more

Amazon.com essential video

James Stewart, at his warmest and most avuncular, plays the bandleader who rocketed to fame during the swing era. The Glenn Miller Story may be a whitewashed version of Miller's life, but it certainly is a pleasant example of the feel-good Hollywood biopic, with the usual conventions: early struggles, loyal wife (June Allyson at her chirpiest), personal sacrifice--Miller joins the Army when war breaks out, although he doesn't have to--and ultimate tragedy. All the Glenn Miller classics filling the soundtrack make the film pretty easy to take, too: "Moonlight Serenade," "A String of Pearls," "Chattanooga Choo-Choo." Miller plays the great "In the Mood" with his military band during a World War II air-raid warning. Pure corn, but it works. Director Anthony Mann, better known for his superb series of hard-bitten fifties westerns with Stewart, keeps the story moving gently and gracefully. A hot jazz interlude features Louis Armstrong and Gene Krupa. --Robert Horton ... Read more

Reviews (28)

The man who invented big band!
"The Glenn Miller Story" can be enjoyed even by someone who's not a fan of big band or jazz music. It's for everyone especially music lovers of all tastes. Jimmy Stewart is cast superbly here and at times you're thinking you're watching the actual Glenn Miller himself and not the actor. The music of Glenn Miller is brought to life so magically with its captivating soundtrack filled with his most memorable tunes and melodies like "Chattanooga Choo-Choo" and the one everyone knows: "Moonlight Serenade." The colors on this film are vivid and make you wish you'd want to be there. It was indeed tragic to lose such a great musician all too soon. You still hear his music in movies, nightclubs, theaters and more. All in all, it is a neat movie to look at and to hear remembering the trombonist who became the leader of the band: Glenn Miller.

5 stars for the music.....as for the story.....well.......
This film is a typical Hollywood b.s. story. A lot of incidents were made up for the film, for example, the Chummy McGregor-Glenn Miller friendship going back to the Ben Pollock Orchestra days, which was years before they even met! And it's too bad Miller didn't come up with his "sound" so easily!!! About the parts of the movie that are true-to-life is the relationship between Glenn and Helen, as performed by two of my favorite actors, James Stewart and June Allyson.

However, the music in this film (orchestrated by Universal Pictures staff composer, Henry Mancini) more than makes up for the deficiencies in the story. The orchestra assembled does a excellent job re-creating Miller's hits (far better than some of the ghost bands later organized by the Miller Estate).

You'll enjoy the music, especially in stereo, just don't take the story seriously.

Also, the VHS version has a couple of scenes clipped to make the movie time out to 120 minutes. Hopefully, these scenes will be restored when the movie is released on DVD (in March, 2003, as a double feature with The Benny Goodman Story, another Hollywood b.s. bio-pic).

Here's a interesting factoid: Harry (Henry) Morgan ("Chummy MacGregor") actually appeared in a film with the real Glenn Miller, "Orchestra Wives". Unfortunately, they did not appear in any scenes together.

That Sound
This was the highest grossing American film of 1954; had he wanted to, James Stewart could probably have ended up owning Universal Studios, so vastly indebted were they to him at this stage for the string of hits he'd produced for them. Director Anthony Mann too. It's a pretty easygoing look at the not-so easygoing bandleader Glenn Miller from his earliest days as a sideman trombonist and arranger to his becoming the top pop musician in the United States. Very interesting and enlightening about the way Miller searched for his own distinctive sound to set him apart from the hundreds of other jazz bands of the day. It also pretty much set the tone for the mysterioso treatment that has ever since surrounded Miller's disappearance in the European theater during WW2 in 1944. The theories are that his plane crashed in England and has yet to be found, or that returning bombers from an unsuccessful mission accidentally dumped their loads on his plane over the Channel. Neither gets any exploration here; Miller just ascends into band heaven. Pretty good performances all around, especially the wonderful and always reliable George Tobias as the theater owner/agent.

Evocative and Amazing
It happens every time. When you watch a film with James Stewart in it certain things happen.

The film begins, we see Mr. Stewart appear in character, he is the same, tall ,lanky and charismatic. As the film proceeds on..slowly but surely, Mr Stewart becomes " That" character he is playing. Soon the viewer is hooked by the total talent of Jim Stewart , he invites us in to each character he is playing.

He is Glenn Miller for us here in this film. If we didnt see Glenn Miller while he was around this is a good chance to see a close example.It does not matter how accurate the film is really.
Those who carp about accuracy should pick up a biography. Those who love the mystique will watch and enjoy the timeless Glenn Miller through James Stewart.

I cant see Krupa or Satchmo in any biography , and for sure I cant hear them. In this film I can..with superb effect. A snapshot in time of our musical history.

Finally, I was not around during during the Miller era however,

after viewing this film .. " I was there"

C Pope

Another mistreatment of a classic
Let's clarify a couple of things.

First, this movie IS INDEED anamorphic, despite the claim of another writer that the package was wrong in claiming such.

Secondly, to expect any biographical picture out of Hollywood to NOT play loosely with the facts is expecting a bit much. After all, from "The Babe Ruth Story" to "JFK", Hollywood has always subscribed to the theory of "fictional biographies".

Frankly, I found this movie to be quite enjoyable. First, ANY movie with Jimmy Stewart has something going for it. Throw in some FANTASTIC music, and a great...albeit way to short...cameo by Louis Armstrong, and this movie is a real piece of cinematic history.

Unfortunately, Universal Pictures seems to have a different opinion, as they have given this picture a very bare-bones AND shabby release.

The picture, while widescreen AND anamorphic, has a VHS quality to it. Some portions had an "out of focus" appearance. But most distracting was a frequent pulsating color...going from bright to dull to bright...ad infinitum. In some instances, this REALLY distracted from the enjoyment of...and the concentration on...the movie.

Having seen other pictures from this era with wonderfully clear transfers, I can but only believe that this was merely the result of laziness, cheapness, or carelessness on the part of Universal.

As this is not considered a classic in most film circles, I doubt this movie will ever see a second release. So sad, as it could be so enjoyable with a good picture. As it is, I hate to say it, but I'd recommend against a purchase. ... Read more

Reviews (1)

Great movie!
"Good Sam" is a really greatmovie to watch because of themoral lesson that one can learn when you are a "good sam(aritan)" like Gary Cooperin the movie. It's a must see! ... Read more

Reviews (1)

POOR QUALITY TRANSFER
DO NOT PURCHASE THIS VIDEO! Although W. C. Fields is wonderful, the quality of the tape is extremely poor. The sound can barely be heard in the opening and drops out entirely midway through the climatic chase scene. I have returned my tape and am surprised that amazon would sell such a poor quality product. Do not waste your money! ... Read more

Amazon.com

A stylish, often amusing crime drama, this 1938 feature revolves around a central, improbable plot twist that consciously serves its casting against type: as the eponymous doctor, Edward G. Robinson, who had helped define the Warner Bros. style for gritty gangster sagas, jettisons his signature snarl in favor of a plummy, vaguely English accent that underlines his urbane sophistication. Dr. Clitterhouse is a creature of privilege who embarks on a criminal life not out of desperation, but rather through intellectual curiosity; instead of slouch hats and suits, he has marcelled hair and first appears in white tie and tails. He begins pulling off "perfect" jewel thefts as research into the criminal mind, but his gradual immersion in New York's shadowy demimonde of thieves and fences eventually finds the good doctor between those two worlds.

Robinson's principal foils stick closer to their studio strong suits. Humphrey Bogart is "Rocks" Valentine, a sturdy if familiar variation on the hoods and have-nots that were his early stock in trade at the studio. Bogart's fence and former paramour is Jo Keller, played by Claire Trevor as glamorous, streetwise, and otherwise decent, apart from her knack for larceny. When the doctor asks her to fence his glittering contraband, she's intrigued, and Clitterhouse, known to the hoods only as "the Professor," becomes their strategist. Jo is clearly falling for him, while "Rocks" is visibly jealous of the fastidious stranger's rising influence and romantic rivalry.

In keeping with its ultimately goofy premise, the story navigates some eccentric plot turns with an aplomb that can be credited to the solid cast (including other studio stalwarts such as Allen Jenkins, Ward Bond, and Donald Crisp) and the three principals, who would work off each other to much more riveting effect a decade later in Key Largo. --Sam Sutherland ... Read more

Reviews (5)

The amazing dr. clitterhouse 2nd best forgotten Bogart movie
The Amazing Dr. Clitterhouse is a good movie showcaseing Bogies talent even though the script and plot for the movie is not the greatest but none the less a great 87 mins of bogart and edward g. Robinson show caseing their talents Robinson plays Dr. Clitterhouse as a doctor eager to study the physical and mental states of lawbreakers(suspenseful charater)!!Bogarts plays Rocks Valentine a gang memberThis movie also stars Claire Trevor as Jo Keller as the leader of a gang of safecrakers.Now the storylineClitterhouse is a overzealous psychologist who joins a small time safecracking gang(bogart is in it!!!!) who takes the gang members and take their blood and examins it to furgure out what makes a criminal do criminal things!!!!!Overall this is a good movie because of two main elements the first which is edward g. Robinson plays the overzealous doctor who joins a gang for medical purposes!And 2nd element is bogart playing his usual pre- maltese falcon gangstergood movie to see great movie to own to complete your collection of bogart or robinson4 of 5 starsI hope you like the movie

The Clitterhouse Movie: Drama? Melodrama? or Just Goofy?
Director Anatole Litwak took quite a chance in 1939 with THE AMAZING DR. CLITTERHOUSE. He reunited such stars as Edward G. Robinson and Humphrey Bogart, who had squared off only three years earlier in THE BATTLING BELLHOP. Bogart, as usual, plays the back-stabbing criminal who sees the world only in terms of how it may enrich him. The real star, however, is Robinson, who goes against type as the suave and urbane surgeon who decides that the origins of crime are biological, rather than sociological. As Doctor Clitterhouse, Robinson is successful and widely admired, yet he feels that despite his stature as a respected high class physician, there is something missing from his life. That missing something is his contribution to the then ongoing controversy about the origin of crime. To Clitterhouse, crime is organic and its effects on the human body are quantifiable and measurable. He intends to prove to the world that, beyond doubt, criminals are born, not made. He joins a mob of thiefs led, improbably enough by Claire Trevor, who later develops feelings for him, much to the chagrin of Bogart, who has eyes for her himself. Clitterhouse leads the gang into several highly successful robberies, and at each step of the way, he examines each thief for variations in organic responses to light, heat, sound, and stress. The movie slows a bit in the second half when Trevor and Robinson reach out for a romance that goes nowhere. The ending, which places Clitterhouse in a trial, is both funny and on point. Throughout the movie, Clitterhouse is a doctor driven to prove his point that crime is organically based. The ending allows the film to shift focus to the question as to whether Clitterhouse had things wrong after all. The ending implies that a criminal's mental state of mind ought somehow factor not only into the origin of crime, but its punishment as well. Clitterhouse's reaction to the jury's verdict ironically implies that a many-layered blanket of origin versus punishment can never be neatly decided by any jury. At the end, even Clitterhouse realizes that.

Entertainment
EG Rombinson plays a real doctor with a scientific interest in the psychological motivations and aspects of criminals. As he takes this journey for the sake a research, he gets more than he bargins for, with a twist ending.
Although this is another example of Bogart as a bad guy, criticism may fall toward the fact that he is still young here and not as polished. Robinson seems to read through his lines very quickly. Other issues are present in the production, but basically, it is fun entertainment, and not worth dissecting until it is a worthless heap. See it for a fun ride.

YES! It's out again!
I saw this movie on TV almost ten years ago. When I went to look for purchase, no luck. Every now and again, I would--well, here it is. Edward G. Robinson is fantastic in a milder role where he isn't as bad as BOGART, leader of a rough gangster group. In fact, Robinson plays a medical doctor taking an interest in crime's effect on the human condition. Great story, wonderful character interaction--tension. This is the type of movie that cries to be seen over and over because of its subtle messages on society, law, and the psyche. Enjoy!

The Unbelievable Dr. Clitterhouse
Edward G. Robinson stars as Dr. Clitterhouse, a man fascinated by criminals and what makes them tick. In the name of science, he pulls of a series of heists, observing his accomplices in action and then later checking their vital signs, etc to determine the effect that crime has on men. A suspicious Humphrey Bogart leads the accomplices, while Claire Trevor as the fence, and Gale Page as his nurse, are the women who worry about him. The story is pretty unbelievable but it maintains interest, and the performers are good, especially Robinson. It's not a bad movie, but it's not likely the film that you'll remember Robinson, Bogart, or Trevor for. ... Read more

Amazon.com

Hollywood's golden year of 1939 found the Marx Brothers At the Circus, up to their usual mischief if not their usual standards. It's a lesser effort but still a rollicking good time, casting Groucho, Chico, and Harpo as the would-be saviors of a financially troubled circus. Of course, Groucho gets the lion's share of zingers as crackpot lawyer J. Cheever Loophole (especially when sparring with his quintessential straight-lady, Margaret Dumont), and Irving Brecher's zippy dialogue (with a last-minute polish by Ben Hecht) is custom fit to the Marxes' vaudeville roots. This was the Marxes' third movie for MGM, and the studio's insistence on sappy romantic subplots and a wimpy romantic lead (Kenny Baker) occasionally stalls the manic momentum. Fortunately there's ample compensation, including Groucho's signature performance of "Lydia, the Tattooed Lady," penned by Wizard of Oz songwriters Harold Arlen and Yip Harburg. Despite the racial stereotypes that populate Harpo's jazzy interlude, At the Circus is a three-ring showcase of fun. --Jeff Shannon ... Read more

Reviews (23)

MEDIOCRE MARX
AT THE CIRCUS was the ninth Marx Brothers movie and it's not on