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An examination of the relationship between political power and personal conscience, Joseph Mankiewicz's traditional Julius Caesar (1953) is a veritable master class for aspiring thespians. As the opportunistic Marc Antony, Marlon Brando delivers the famous funeral speech with pure conviction, elsewhere casting an intense physicality that recalls his work in A Streetcar Named Desire. James Mason suggests a latent Hamlet in his turn as the honorable Brutus, while John Gielgud is positively serpentine as the lean, hungry Cassius. Louis Calhern invests Caesar with intelligence and edgy noir echoes, and director Mankiewicz astutely balances the Renaissance view of Caesar as a power-obsessed, corrupt tyrant destined for punishment with modern suggestions that his murder may have been ill advised. The director's scrupulous pacing is supported in no small measure by Miklós Rósza's stunning score. At film's end, power itself is without a master, and the spirit of Caesar has been left unrevived: and to Mankiewicz's credit, the latter is revealed to be the true tragedy of Julius Caesar. --Kevin Mulhall ... Read more

Reviews (20)

NOT ONE SINGLE COMPLAINT!
I am really tempted to say that I enjoyed this better than the book. It is almost unbelievable what a great job the director did in capturing the essence of this play concerning moral ambiguity in a political setting. It was a true blessing that the director managed to gather James Mason, John Gielgud, and Marlon Brando together. Mason is very convincing as the good and honest Brutus who sees a world where everyone is as honest and honorable as he. Gielgud portrays the ambitious (but not without redeeming features) Cassius well. Brando is over the top as the back stage player Antony who eventually emerges as the most powerful character in the play. The effects are simple but good. The scenery is well done (especially considering the limited resources at the time). One fine addition (not in the book) is when Antony's archers defeat Cassius. Modern special effects may have their place, but these actors showed that it takes real acting to tell the story. I can not overestimate how much Mason, Brando, and Gielgud had their fully 3 dimensional characters down to the very core of the essences created by the master of literature William Shakespeare.

A PRODUCTION WORTHY OF AN EMPEROR
Restrained, stately, dramatic, intelligent and powerful--all these adjectives and more apply to "William Shakespeare's Julius Caesar," a genuine triumph not only on the part of director Joseph Mankiewicz (whose command of tone and atmosphere is nearly flawless here) but for the entire cast and crew. Marlon Brando is justifiably most often singled out for his herculean performance as Mark Antony, and his impassioned speech to the people of Rome, in which he alternately succumbs to grief for Caesar and thirst for power, is Oscar material all on its own. But the other actors shine too: Louis Calhern is an arrogant but affable Caesar blind to his encroaching doom as great leaders so often are; James Mason captures the ultimate pathos that Brutus should embody; Deborah Kerr wins my heart if not Brutus's as Portia; and John Gielgud is the oily, corrupt serpent in the midst of the false Eden that was Rome, and almost implodes before our very eyes with envy and frustration. All in evocative sets that are grand enough to please the eye without distracting from the real drama of brilliant actors portraying a brilliant script. A must for Shakespeare fans.

"There are Some that are Whole that Must be Made Sick"
meaning, of course, that there's going to be a hit today on Mr. Big, Julius Caesar.
This is a very successful translation of Shakespeare's play into film. The title character is played rather well I think by Louis Calhern, and his aide de camp Mark Antony is the brooding Marlon Brando. Greer Garson is the barren Calphurnia, trying vainly to convince her husband Caesar to heed her dream of doom. The conspirators are really a first-rate collection: James Mason's Brutus leads the pack--what a beautiful speaking voice. John Gielgud as Cassius is a little less good, but nonetheless effective. Others include Edmund O'Brien and Alan Napier, better known as Alfred the Butler on TV's Batman show. Deborah Kerr as Portia makes an impassioned speech to her husband Brutus to take her into his confidence--how differently things might have worked out if he had done so.
Things move along very well here; it is a well-rehearsed cast and a highly professional one to boot. I disagree strongly with those who suggest that Calhern is miscast; on the contrary, his speaking with an American accent puts him quite apart from the mostly British conspirators, and helps underline why they find him so antithetical to their beliefs. He really seems a threat, someone who has no respect for the old world order but would easily turn it upside down to suit his humor. The two funeral orations are great in print; on film, both Mason and Brando are so persuasive you'll have difficulty yourself not being swayed.
Fine ensemble piece, superlative Shakespeare showcase.

Brando's Masterful Performance
I must say that Brando was indeed a versatile actor. Admitedly, I only watched this movie because Brando is in it, ordinarily I wouldn't have, but I am glad I did. This movie has made me want to study Shakespeare in greater depth (beyond the required reading in high school and college). I believe that it was the funeral scene, the turning point of the play, that really did it for me. In this film, Brando delivers a powerful performance worthy of his Oscar nomination. His beauty and passion shine through in this production. It is truly first rate...now if only I could get the DVD version!

Wonderful!
For a good analysis of this masterpiece, seek out Harold Bloom's in his fine book on Shakespeare. When I was much younger I thought Julius Caesar was a fairly straightforward play--actually a bit dry and classical--but with repeated encounters its richness reveals itself and the, at first, tantalizing ambiguities eventually dominate. Bloom comments well on these qualities.

Julius Caesar is very much a play for our times. One could imagine a similar play about Jack Kennedy's death if the heresy ever came into anyone's head that perhaps that particular political assassination, like Caesar's, was the result of complex motivations and machinations that couldn't be reduced easily to cozy confrontations between good and evil (as we've done).

This film version is excellent--one of the great adaptations of Shakespeare. It's a beautiful production and the cast is superb and often surprisingly so. The scruffy Americans stand up well against the Brits (We always seem to assume they alone are genetically designed for Shakespeare). The play should really be titled "The Tragedy of Brutus" (Brutus is the central character) and by a double irony, Brando who plays Mark Antony gets top billing over James Mason (who does an amazing job with Brutus). Brutus loses again but this time to some Hollywood dictators (rather than Roman or Elizabethan) along with (perhaps) the dictatorial position of American Culture in the post-war era. The play can be seen as a commentary on its own future handling. Mr. Brando did a fine job but-be warned-this is not a Brando flick. The box art and presentation are misleading.

Dang! Why isn't this on DVD yet? ... Read more

Reviews (103)

beautifully restored film with lots of dvd bonus features
It doesn't get much better than this -- a Hitchcock film starring Ingrid Bergman, Cary Grant and Claude Raines! What a treat it is to see all of this talent -- behind, and in front of, the camera. The story of a star-crossed romance set against the backdrop of post-WWII Miami and Rio, the film has a great script and terrific acting. The direction is awesome; Hitchcock did some wonderful camera work here -- innovative tracking and crane shots that are a delight to see.

This Criterion Collection DVD edition is more expensive but I think it's worth it -- a lot of time and effort have been taken to restore the film and the soundtrack, and it really looks and sounds great. Also, the many bonus features are excellent: excerpts from 'The Song of the Dragon', a two-part Saturday Evening Post short story on which the film was based; fascinating production correspondence by David O. Selznick, Ingrid Bergman, J. Edgar Hoover and the head of the Production Code Administration (censors); rear projection and production stills, including wonderful shots of the scaffolding used to get that breathtaking crane shot from a stairtop balcony right down to the key in Bergman's hand; script excerpts from deleted scenes and alternative endings; a music and sound effects only track; trailers; the complete 1948 Lux radio Theatre version of the story, starring Ingrid Bergman and Joseph Cotten; terrific voiceover narration with film scholar Marian Keene discussing artistic choices and film historian Rudy Behlmer discussing technique; and a touching story about the fate of the Unica key -- the one used in the film. Language and subtitles are English only.

This is a wonderful package for one of Hitchcock's best films. Highly recommended.

Beautifully Restored Film Classic
This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

Criterion Disappoints.
This is the first Criterion DVD that I've ever owned. I must say, I was pretty surprised by the price, but promises of extra treatment over standard editions of this movie convinced me to go the extra mile and pay twice as much. Notorious is, perhaps, my favorite movie with Cary Grant. Bergman's performance is excellent, to say the least (I think I'm in love with her now). The way that she passionately kisses Mr. Grant excites like no movies can. The look in her eyes makes her seem as though she is truly in love with him; which is exceptional for "acting". Grant's response seem almost insensitive, rejecting her for her "ways". It's very convincing work. The connection between the two characters amazes me, and the movie seems way ahead of its time. Claude Raines plays an overlooked (but perhaps the most important) performance that amazes me as well. Its definately a movie for all fans of classics to own. There's no doubt, in my mind, that this is deserving of 5 stars. It's probably one of my favorite classic films.

I have no regrets with buying this movie, but I feel very let-down by Criterion. Their attempts do not justify the jacked-up cost. The extras, at best, are pretty disappointing. The RKO radio broadcast (which is the best inclusion) is fairly sub-par in comparison to the film, especially since it was cut short to fit into 60 minutes. The "deleted scenes" and extras are merely text descriptions in most cases. All of this is material that has been in the Internet fan sites for years. As for the quality of the film; I'm neither impressed nor disappointed. The crispness of the film is certainly excpetional, but it almost feels a bit unnatural for such an old film. The "graininess" that many complain of is visable on a high-res TV or monitor (I watched on my standard TV and my PC as well), but it seems to be inherent in the film master itself. Dust particles and artifacts are pretty typical on older movies. Not bad, but not breathtaking. I'm happy with the video and audio quality.

Overall, it's a 5-star movie, but Criterion's effort is a 3 or 4 star attempt for the severe price-inflation. Unless you really must have this version, I can't see why the Anchor Bay release wouldn't be a suitable alternative. The picture quality is different, but each is nice in its own way. I will probably own both (in addition to possible future releases).

Neglected Classic
When I say neglected, I mean in comparison to other Hitchcock films. When people talk about Hitchcock, rarely does this film get mentioned. I think it stands alongside Sir Alfred's best work. Right up there w/ Rear Window, Vertigo and North By Northwest. Spectacular performances by Grant (a CIA g-man doing his job), Bergman ( a woman trapped by her past), Rains (a craven, cowardly, weak mama's boy) and Konstantin (an Austrian actress in her final film role playing the evil and sceming mother). Very realistic, conflicted and not particularly sympthetic characters. Hitchcock displays a perfect knack for creeping dread and a perfect final touch.

Shows How Much Love Hurts
I've always liked Notorious, but, until recently, it hasn't been one of my absolute favorite Hitchcock films. However, recently I've gained an appreciation for Alfred Hitchcock's more personal films. Lighter, more humorous films like The 39 Steps, The Lady Vanishes, Strangers on a Train, Rear Window, North By Northwest, Psycho (Hitch called this a black comedy), The Birds and Frenzy, to name a few, are masterpieces and rank among my favorite films of all time. But the films I have gained much more appreciation for in the past few years are those like Shadow of a Doubt, Vertigo and Notorious. Shadow of a Doubt showed that monsters can live among us, even in the most innocuous of settings and may even be someone we care about. Vertigo showed obsessive love taken to the extreme with deadly consequences. And Notorious shows just how hard it can be for someone to express love for another.

Like in many of Hitchcock's films, the central point of the story is masked by a plotline of suspense and intrigue. In this case, Alicia Huberman (Ingrid Bergman) must marry Alexander Sebastian (Claude Rains), an ex-Nazi in exile in Brazil, in order to infiltrate his organization. With the help of U.S. agent Devlin (Cary Grant), she finds out that Sebastian is stockpiling uranium (the MacGuffin). On the surface, it's a straightforward espionage tale.

However, the film, at its very core, is a tale of frustrated love. Specifically, Devlin can't bring himself to express what he feels for Alicia and must watch helplessly while she marries Sebastian. Devlin knows that he would jeopardize the entire mission if he tells Alicia he loves her and this repression begins to eat him up inside. Even at the beginning of the film when Alicia has fallen deeply in love with Devlin and tell him so, he can't bring himself to return that love, even though he feels just as she does. Cary Grant, usually charming, plays one of his darkest roles brilliantly. He shows his longing for Alicia in every expression on his face. Ingrid Bergman, likewise, shows the frustration of having to marry a man she despises while pining for the affections of the man she truly loves -- a man she thinks doesn't love her. The emotions onscreen are sometimes so raw its almost painful to watch. When Devlin finally tells Alicia how he really feels about her at the climax of the film, the scene ranks as one of the most emotional in screen history.

The movies often make it seem so easy to find true love. In Notorious, however, Alfred Hitchcock shows how painful and just how difficult it is to just say, "I love you" to someone you care about. Everyone has had situations where they were too afraid to tell someone they cared about that they loved him/her and have wondered what would have happened had they done so. It's agonizing to think that you may have missed your chance for happiness with someone who loves you as much as you love them. Alfred Hitchcock brilliantly recognizes those feelings in Notorious -- that's what makes this one of his best. ... Read more

Reviews (21)

Now isnt that him???
The first time I saw this movie ,someone told me that there is actually a scene in which Mario Lanza does indeed appear.... after about the third time, I think I found it....It is the scene in the cathedral after the King dies and the Prince is singing "I'll walk with God". Not the close up, mind you, but the very long wide angle shot. That said, regardless of why Lanza was fired or quit or got too fat(All stories that go around).This is a delightful old fashioned film. Edmund Purdom does an admirable job(especially of the dubbed songs)in a really tough turn.Ann Blyth is a perfect Kathy and the supporting cast is among the best.What a hoot to see Richard Anderson and John Ireland as the leaders of the rival corps. I dont suppose they could really sing either,but...
An all around good time!

Beautiful music...Heartbreaking Story
I will not recap the story behind this beautiful musical....other reviewers have done this well. All I want to say is be prepared to be delighted by the music and destroyed by the ending of the story. No matter how many times I've seen The Student Prince I end up a whimpering mess at it's conclusion. Very bittersweet and all too real, impossible love situations destroy me. That look on Ann Blyth's face, as the Prince she loves but cannot have visits her one last time, haunts me well after the film concludes, at which time I'm crying like a baby. In fact, as I write these sentences I'm crying again!! Too bad that Mario Lanza was not given the acting role (for whatever reason). We do get to hear his glorious singing voice dubbed with actor Edmund Purdom doing a credible acting job. But it is the radiant Ann Blyth (with her own beautiful singing voice) that steals the show for me, and I'm a gay man!! I only hope the DVD will follow soon.
Recommended for all lovers of romance. Have the tissues ready for the ending.

Mario's Voice and Edmund's Body
Mario Lanza was slated to star in this great movie. Unfortunately, he gained a lot of weight and was replaced - not just directorial differences, but Lanza's eating/drinking were taking him over - a sad by-product of fame for some. Edmund Purdom is not Lanza but he does make a handsome prince. When I first saw the close-ups, I noticed that the synching wasn't quite in-synch...but one soon forgives and forgets. This is a lovely story with outstanding music - in all, a delight.

excellent musical.
"The Student Prince," with Ann Blyth and Mario Lanza is a wonderful and beautiful film. I so enjoy it. It's colorful such a great fairytale and some of the best songs. Mario Lanza and Ann Blyth are great actors abd singers. The costumes and scenery deserve a award. A must see film well worth watching many times.

Lanza Was Right... the Directing is Terrible!
This is the worst film to feature Lanza in any way. Lanza and the Director just couldn't get along and I can see why. The Director has poor Edmund walking his wooden way through this film while incongruously opening his mouth and emitting all of the unrestrained passion of Lanza's voice. Lanza wanted to play the Prince evolving from a disciplined Prussian into a passionate lover. The Director would not allow the metamorphosis. Lanza would have been great in this role, but he just couldn't tolerate what he thought (correctly, I believe) was the absurd juxtaposition of the sometimes sentimental other times pleading or romantic music/lyrics... with the Director's insistence that the lead be played almost devoid of emotion. It was Director vs. Mario and the result was that this is the film marks the beginning of the tragic end of Lanza's painfully brief career. ... Read more

Amazon.com

Don Ameche, silver haired and aged to classy elegance, tries to explain to the Devil (a deliciously underplayed Laird Cregar) why he should spend the afterlife down below. "Have you committed any major crimes?" he's asked. "No, but you might say my life has been one long misdemeanor," he replies. He then proceeds to tell his life story: romantic misadventure, infidelities, and the one true love of his life, his faithful wife, played by porcelain beauty Gene Tierney. Ernst Lubitsch's first film in color is a gorgeous evocation of America through three generations and a charming if meandering romantic comedy. Ameche is a fine performer but a limited actor, never capturing that knowing glance or the lively spark of Maurice Chevalier, while Tierney's charm carries her through her role. Cregar (in his brief scenes) and Charles Coburn, who plays Ameche's spunky grandfather, all but steal their scenes with puckish performances. Next to the colorful but vapid 20th Century Fox musicals and romantic comedies, this is a stylish breath of fresh air, but it hardly ranks with such masterpieces as The Shop Around the Corner or To Be or Not to Be. Still, Lubitsch in decline is better than many directors at their best, and Heaven Can Wait remains an amiable, often hilarious lark in exquisite Technicolor. --Sean Axmaker ... Read more

Reviews (7)

Some reviewers are just plain [stupid]
... It's a charming story, but I guess all the nudity and face-eating kisses we are bombarded with these days must have numbed you to some good old fashioned storytelling that does not need sex and drugs to be interesting. When looked at from that standpoint, this film has LOADS of substance ... Could the point of it also be that none of us is perfect but all are capable of achieving Heaven onetheless?

Second, judging something from the past - whether it is a movie or history - must be judged on the face of its merit as it was when it originally occurred. Judging today's behavior against standard decorum from the past is completely stupid.

Third, it is a very clever movie. There are several moments throughout the movie that are downright funny. For example, consider the woman who wound up in the ultra-hot environs while Don Ameche's character is there. A true comedic classic.

If you're still unsure, rent it. If your video store does not carry it, buy it (from Amazon!) It's THAT GOOD!

Although not great, still worth seeing
Don Ameche stars as a turn of the century playboy who still has a good heart, and so the devil isn't convinced he belongs in Hell. He gets to tell his life story, which is recounted in the film, to see whether he really belongs in Satan's Realm after all.

Although Ameche and Tierney have the starring roles here, Charles Coburn as the puckish and witty Grandpa steals many of the scenes. And Laird Cregar is superb as the Devil, a role he underplays with irony, wit, and charm, and he seems more like a bemused business executive rather than the Prince of Darkness himself. I would go so far as to say his supporting-role performance is actually the best part of the movie.

A brief note on Cregar, which I turned from up the IMDB database. Can you believe he was only 26 or 27 when he played this role? He looks and acts like a suave, sophisticated, man in his 40's! Unfortunately Cregar died of complications from a crash diet. He had wanted to play leading-man roles, but when the 6' 3" tall but husky Cregar decided to lose weight rapidly, he developed heart complications from the severe diet, and he died at only age 28--a great loss.

Although Ameche is good in the role, I think it required a little more intensity and energy, and perhaps even roguishness, than Ameche displayed, but he still comes off as a basically good human being, despite his philandering ways with women--who we really don't get to see much of anyway in the film--so he doesn't seem like that successful a playboy, either. And the goodness part is important, since that's why the Devil thinks he may have come to Hell by mistake.

Last but not least, the period sets are lavishly realized and certainly add to the overall ambience of the movie. And there are some funny scenes where the overly polite, New York upper- crust society of Ameche's family is contrasted with Tierney's crustier, but more down-to-earth and plain-speaking, parents from Kansas City.

In the end, the Devil decides in Ameche's favor. When Ameche steps into the elevator connecting Heaven and Hell, he turns to Cregar and says expectantly, "Down?" And Laird Cregar has the last scene-stealing word, as he manages to seem both playful and ironic as he pronounces his fateful decision and says, No--up!"

Overall, although not great, still a good movie. Big Steve says go see it (or in this case, rent it or buy it), and don't Bogart the popcorn.

Film Has Style But Little Substance
What was the point of the film? That adultery is forgivable and one can actually end up in heaven? The film lacks the wit of earlier Lubitsch films such as "Shop Around the Corner". It's way too talky and lacks action. For example, viewers would've sympathized with Martha the scorned wife more had the film shown her witnessing her husband's infidelity. Don Ameche is competent as the lead but lacks the spark and roguish charm the role requires. I found it hard to believe women would find him irresistable and that his wife would want to stay married to him. This film could've eliminated several scenes not quite pertinent to its story, which dilutes the impact of the storyline. Don't buy this film. Rent it first.

One of the Lubitsch's Best
Ernst Lubitsch's "Heaven Can Wait" - written by Lubitsch's long time collaborator Samson Raphaelson - is, quite simply, one of the sublime experiences of classic Hollywood cinema. Easily one of the Lubitsch's greatest accomplishements. As expected of a Lubitsch classic, "Heaven Can Wait" is a sheer delight full of grace, glory, and gaiety. Not to mention, every shot, every gesture, and every movement is close to perfection. Rarely has a classic used the Technicolor in such a stunningly beautiful manner. And what a terrific cast! Don Ameche, Gene Tierney, Charles Coburn, Marjorie Main, Eugene Pallette, and Spring Byington are nothing short of brilliance. Keep your prejudices to yourself - this is a film that needs to be judged in its own terms.

Pure marvel
Viewed it 5 times this month : a real marvel to me. I am sorry I don't master english enough to write a comment making justice to my feelings and thoughts. The main point is that every situation is dealt with the way real humanity would be in dreams. Fantasyland maybe, but such a pleasure ! And also, such fine acting and conducting... Definitely love it. Along with Night of a Hunter and Rio Bravo, this is my favourite english speaking movie. ... Read more

Reviews (3)

Count Your Blessings
The First sound version of " The Count of Monte Cristo" scores well because of its veteran cast.

Donat is fine in the title role in a Muni type performance. Imprisoned with the Abby( O.P. Heggie ) Dantes gets a big start in life and thus persues his revenge on Baron Danglers et all.

Louis Calhern , an under appreciated actor and Sidney Blackmer are fine in thier roles as antagonist and there is a certain 30,s sweep to the narrative that makes it a bit hokey but well done.

CP

Count of Monte Cristo VHS ~ Robert Donat
Accidentally left bad feedback. Would like to change it.
Please help.

Old Sometimes Better
Several years ago I owned a copy of the 1934 version of the Count of Monte Cristo. I appreciated the fact that the older movie stayed closer to the author's original story line, carefully woven in. Some of the acting is a little corny, overdone a bit (similar to silent films), but that is easily forgiven. Our copy was damaged and we no longer have it to watch again, but I was reminded of it when we rented the new version. The new version is OK, but I found myself enjoying the older version better. ... Read more

Reviews (5)

The Prisoner of Zenda: This Version Still Enjoyable
There is a category of film that Hollywood cannot, from time to time, resist making--that of the historical costume drama. Director Richard Thorpe took THE PRISONER OF ZENDA novel by Anthony Hope, updated and colorized the superior 1937 version with Ronald Coleman, and cast Stewart Granger in the double role as the King of Ruritania and his twin, cousin Rudolph. What marks both versions is the dashing swashbuckling that Errol Flynn first popularized in the early 30's. True, Ronald Coleman possessed a sense of dash that Stewart Granger could only emulate rather than stamp with his own screen persona. Granger is a distant lookalike cousin of the King of the mythical country of Ruritania, who is kidnapped by the evil henchman (James Mason) of the king's brother. Granger impersonates the king and falls predictably in love with Princess Flavia (Deborah Kerr), who is bound to marry the reigning king. The plot is nonsense, of course. The audience slides in with surprising grace to accept that Flavia and Rudolph fall instantly in love. What marks this version of Zenda is the witty wordplay by all concerned. Everyone in the cast all seem to have graduated from Eton and dress and speak impeccably at all times. James Mason as the roguish underling of the king's plotting evil brother radiates the same suave aura of menace that has come to mark his essential screen persona. The chatty dueling scene between Granger and Mason is an updated reprisal of a similar scene between Errol Flynn and Basil Rathbone in THE ADVENTURES OF ROBIN HOOD. Deborah Kerr is, unfortunately, quite listless as she is merely a prop to further a rather slight plot complication. Jane Greer as her female counterpart who loves the king's brother is even less of a screen presence. Still, in costume dramas like this one, the willing suspension of disbelief is rendered easier by a combination of verbal repartee and old-fashioned cinematic fun that draws in the audience to overlook a series of increasingly improbable plot devices. Coleman's earlier Prisoner simply had a bit more zip and zowie.

Paging Ronald Colman !
Comparisons to the 1937 classic are inevitable. Story-wise, there is little difference except for the colonization of the remake. Many of the frames are carbon copies of each other. This reviewer feels that the b&w format of the original added to the suspense. The original cast is clearly superior especially the male leads of Ronald Coleman, David Niven and C. Aubrey Smith. Also, Douglas Fairbanks Jr. outshines James Mason as Rupert of Hentzau, the main bad guy. (I wonder if a stunt man performed that high dive.) A nice gesture is the cameo role of Lewis Stone, the star of the 1922 SILENT version. It is the 1952 female leads who compare most favorably: Deborah Kerr comes very close to equaling Madeleine Carroll as the lovely Queen Flavia, with her strong (!) sense of duty. And Jane Greer probably surpasses Mary Astor's 1937 role. Both Mary and Jane are key to the plot. Watch them closely! Blessedly, despite the many frame similarities, the remake does not carbon copy the 1937 fadeout, with Ronald Coleman's gallant wave of farewell. On its' own merits, the 1952 version is a very credible adventure story indeed. It only suffers from comparison to an original classic it cannot possibly surpass.

Pales in comparison to the 1937 version.
There are at least three reasons why this version pales in comparison to the 1937 version. First and foremost, James Mason has not a tenth the charm and youthful vitality of Douglas Fairbanks, Jr. in his portrayal of the Rupert of Henztau character. Second, in the 1937 version, Black Michael is a pitiable villian, a much more rich and vivid character than the straight-evil Michael of this version. And third, the 1937 version has the best witty repartee ever featured in a dueling scene in any movie.

A very good movie!
I highly recommend this film. Stewart Granger, James Mason, and Deborah Kerr are great in it.

Right up there with the Ronald Colman version
Remember this pair (Stewart Granger and Deborah Kerr) from King Solomon's Mines (1950) ASIN: 6301971167? Well they did it again with The Prisoner of Zenda (1952). There is all of the sward play and loyalty of the first version, plus the interaction and reaction of Stewart Granger and Deborah Kerr to add to this.

For those of you who may have missed the story King Rudolf V, who is not the nicest of guys is gets drugged out of the way. Because all Kings named Rudolf look like Stewart Granger, a vacationing Englishman, who happens to be a long lost cousin, he gets to substitute for the stability of the country and to foil the bad guys (his half-brother Michael, Duke of Strelsau (Robert Douglas) form taking over. So the question is what happened to the king? Do the bad guys win or are they foiled? Who gets the girl? Who doe the girl get? And why are you reading this when you can watch the movie? ... Read more

Reviews (7)

Who Wants to be the Boss?
Avery Bullard, the president of a big furnishing house drops dead on the street. One of his vice-presidents (Louis Calhern) observes this incident, which nearly sends him into raptures from his window. He sells his stock-holdings immediately because he hopes their price will fall - he has the intention to buy them back at a lower price. The news that the body of his boss has not yet been identified gives him a further advantage over his competitors for the top-position: Time-honored Walter Pidgeon, goaded by his ambitious wife, hot-tempered Paul Douglas, probably the next canditate for a cardiac infarction, and eager-beaver Fredric March, who hopes that his subservience will finally be rewarded. As soon as March learns of Bullard's death he makes all the arrangements for the funeral. He is an expert obituary writer, and feels at home in public relations too. He refuses to close the factory even for one day - Pidgeon is incensed at his irreverence - and plans to publish the balance-sheet instead: the stock-price should raise, a plan that does not make Calhern happy.

There is yet another candidate for the head of firm: William Holden, and you can see with half and eye that he is the most qualified of them all: a designing engineer so committed to his task that he rather refuses to attend an important conference than interrupt the development of a promising manufacturing process. He is happily married to June Allyson and likes to play baseball with his son. Pidgeon is willing to endorse him, but Calhern and Douglas are resigned to vote for March, who knows their little secrets: Calhern's illegal speculation, Douglas' affair with his secretary (Shelley Winters)...And there is the human factor: Barbara Stanwyck, the principal shareholder, loved Bullard for 10 years, always hoping he would marry her. Now she is on the verge of suicide. If she sells her stock-holdings it means the ruin of the firm, and one anonymous phone-caller advised her to sell...March and Holden fight for her vote: March promises to cut spending in order to pay the stock-holders their full share. Holden, on the other hand, wants to suspend the disbursement and invest in new technologies and fabricate quality furniture. He reveals that the workers in the factory are ashamed to turn out quick-selling but damaged goods. Who will get Stanwyck's vote? Who would get yours?

EXECUTIVE SUITE is an "important" film. It's seriousness is even emphasized by the lack of a soundtrack - but it couldn't prevent the coming of the throw-away society. The film combines the enjoyably ruthless comic-strip dialogue of series like DALLAS with the coy morals of the fifties - and the result is hilarious. I was not bored for a minute. The acting is very good, you will see many familiar faces, and if you enjoyed it you will also like WOMAN'S WORLD (1954), which has the same story, but this time the wives of the competitors are those who plot and scheme.

Refreshingly unique drama
Considering how much the business of business consumes of America's daily life, it's surprising that there haven't been more films like this one. The great John Houseman helped to put together this project and it's a superb study of a crisis in the life of a corporation, and the ambitions, ideals and practical necessities guiding the enterprise. The cast is fabulously good except for some scenery-chewing by Barbara Stanwyck. It's set in the 50's but anybody who's ever worked for a modern company will recognize plenty.

A great movie that still feels relevant
I have to disagree with the one reviewer here who said he faults the movie for being "too ordinary". That is actually why I like it so much. It feels very true to life. Some of the exchanges early on reminded me of executive meetings I have seen in real life. The VP sales is talking about his golf game with a client. The VP Engineering is being pulled aside to confer with his development engineers on an urgent matter. The VP Finance is rambling on about quotas and margin curves. Yes, some of it is boring, but the lack of over dramatization is what makes it so good. What is at stake in this power game is not the fate of the world-its the fate of a furniture making factory. In one scene, William Holden even talks with his wife about if its worth even fighting the good fight for the company. She urges him to strike out on his own-form his own design company. He ponders this and then decides that he will do that only if he feels there is no way not to be able to do what he wants at the company he is with after investing his energy in it for so long. I have had this same discussion with some of my friends who were thinking of leaving their companies to strike out on their own.
The final scene is great, if a little contrived.

Very Nice Boardroom Drama....
I have watched this excellent picture many times...and never tire of seeing it. I've always found the final scene to be quite gripping. There's nothing super heavy or extra special about this flick. Just really good acting by a great cast. And an above-average script. You will find yourself getting caught up in the story...and enjoying it! Fredric March is exceptionally good here.

A Great Cast and a Great Director are Not Enough
I'm going to swim against the stream of the other reviewiers. EXECUTIVE SUITE proves that a great film must have more than a great cast and a great director. At the beginning of the film, the president of a major furniture manufacturing company dies suddenly. All the junior officers are caught in a power struggle seeking to find a successor among themselves. The movie plays like a soap-opera, only with better acting.

If you think about it, ask yourself why we watch movies? Because they take us to places we normally can't go and allow us to meet people we normally never would. In EXECUTIVE SUITE we meet normal business people experiencing normal business problems (not normally of this magnitude, of course). It's just not very exciting. The film is well made and mostly well acted (except for Stanwyck, who overplays her role), but just a little too ordinary. ... Read more

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Never before available on home video and unseen on television since1973, the 1950 production of Annie Get Your Gun has achieved somewhat legendary status, most notably for who would inherit the role Ethel Merman had made famous on Broadway in 1946. MGM originally cast Judy Garland, but her ongoing drug and alcohol problems led to her being fired and replaced by Betty Hutton. Fortunately, the bright and brassy Hutton sparkles in this highly fictionalized story of Annie Oakley, the sharpshooter who wins fame in Buffalo Bill's Wild West Show and wins the heart of fellow sharpshooter Frank Butler (Howard Keel). Dashing baritone Keel was beginning his career as one of MGM's favorite leading men in the 1950s (including Seven Brides for Seven Brothers and Kiss Me, Kate). Together they make gold of the many Irving Berlin hits--"Doin' What Comes Naturally," "Anything You Can Do," "They Say It's Wonderful," "I Got the Sun in the Morning," and the classic anthem "There's No Business Like Show Business."

Annie Get Your Gun is unquestionably a product of the 1950s. Keel's relentless chauvinism and Hutton's constant fawning over him grow tiresome (though she does stand up to him in a battle of the sexes), and the Indians wear full headdresses and face paint, say "Ugh," and destroy modern conveniences. (In the name of political correctness, the 1999 Broadway revival starring Bernadette Peters removed "I'm an Indian Too" and received its own share of criticism from purists.) Quibbles aside, the excellent cast and immortal score make Annie Get Your Gun a classic musical. It's great to have it back. --David Horiuchi ... Read more

Reviews (71)

Betty Hutton scores a triumph as Annie Oakley
At last the 1950 movie muscial "Annie Get Your Gun" is finally available for a whole new generation and fans who fondly recall seeing it years ago to experience the magic of America's greatest composer,Irving Berlin(who in addition to the great score of this film brought us"White Christmas", God Bless America" and hundreds of others)dynamic stars, Betty Hutton, Howard Keel and a first rate supporting cast perform in one of Hollywood's greatest and at the time most expensive musical. The technicolor has been preserved in such a manner that the colors are a joy to behold and the meticulous detail of the great photography of Charles Rosher and the costumes by Walter Plunkett("Gone With The Wind")and Helen Rose, who did the exquisite western costumes for Betty Hutton are truly a feast for the eye.This film showcases Betty Hutton at her best. She may not have "voice of the century" like Judy Galand who had to bow out of the role due to illness and other problems but she adds a tremendous gusto to the role plus an almost child like innocence to her early scenes as the backwoods, uneducated Annie. She is especially touching in several scenes in addition to her special gusto (toned down here from some of her earlier roles). Betty Hutton was one of the top stars in Hollywood when this film was released. That same year she made the cover of Time magazine and the film went on to be one of the top grossing movies that year. She went on to sing and dance with Fred Astaire in "Let's Dance" and then won the coveted starring role in Cecil B. DeMille's oscar winning film(for best picture of 1952)"The Greatest Show on Earth"in which she did most of her own stunts in her role as a trapeze performer in a circus.(both of these films are available on video Her last big film was "Somebody Loves Me" in 1952. She left Paramount Pictures due to a dispute over having her then husband direct her next film. She later made one more film in 1956(released in 1957 called "Spring Reunion" a small black and white film produce by Kirk Douglas'company co-starring Dana Andrews. Miss Hutton gave a sensitive performance in this drama about an unmarried career woman in her 30's ,lonely and living with her parents. Once the most popular girl in high school, she meets and old classmate at a reunion. The film gave Miss Hutton a chance to really show that she was a actress fo considerable depth. It is a small film but quite affecting. It is not available on videobut has been aired on TCM) Also in "Annie Get Your Gun", Howard Keel made his movie musical debut and it was an auspicious one indeed. The first of many great parts showcasing his magificient baritone voice, natural acting ability and his strong, handsome ,masculine prescence.Mr. Keel later reached his peak in MGM musicals in "Seven Brides for Seven Brothers" and especially "Kiss Me Kate" (both available on video and probably DVD)The theatrical version of "Annie Get Your Gun"had several songs that were not included in the film. One "I'm a Bad Bad Man" would have been fun to have had Mr. Keel perform and two sung by Annie were a ballad"I Got Lost In His Arms"(beautifully done recently by Bernadette Peters in the broadway revival) and the delightful "Moonshine Lullaby" sung by Annie to her little brother and 3 sisters with an assist by them . It would have been nice to have had Miss Hutton do these in the film. Most of her songs except "They Say It's Wonderful" are of the exuberant variety. She is a standout doing the show's greatest number "There' No Business Like Show Businesss" in which she sings with her co-stars, later a reprise by herself and a again with Mr. Keel. Before the film, it is enjoyable to see the original trailer(or coming attraction promotion) for the film, a short introduction and brief history of Annie Oakley and her various incarnations by broadway/television star, Susan Lucci. Shown are outakes made by Judy Garland before she was let go for the film. After the film 2 completed numbers by Miss Garland are shown. She appears rather tired in them but her voice is just great and fine natural acting ability is evident as always. Finally a lovely number that unfortunately was later deleted from the film before it was released is shown for the first time.It is called "Let's Go West Again" with Betty Hutton. It is a good number , beautifully shot, sung in a more low key manner by Miss Hutton. Another interesting sideline, some of the original lyrics by Mr. Berlin were considered a little too "racy" for movie censors in 1950. For example in "You Can't Get a Man With A Gun",The lyric "a man's love is mighty he'll even buy a nighty for a gal who he thinks is fun, but they don't make pajamas for pistol packing mamas" was altered for the movie to "a Tom, Dick or Harry will build a house for Carrie when the preacher has made them one" Although a minor complaint it did cause a few of the songs to lose a little of their "bite".The film won 2 Oscars for sound recording and musical adaptation and it is obvious by the smooth , clear arrangements which give great justice to Irving Berlin's genius as both a composer and lyricist. I highly recommend this film for the entire family, especially if you are tired of the current films that offer nothing more than extreme violence, car chases, boring performers, gimmicky special effects, blatant sexuality etc. run and get this film. Betty Hutton was recently interviewed by the brilliant Robert Osborne on TCM(the Turner Classic Movies cable channel) and if they see my review I want to say "Bravo" to both of you for an outstanding one hour conversation about Miss Hutton's life and career. I hope that Betty Hutton will continue to give future interviews and lectures . She is a remarkable "survivor"who gives so much of herself to her audience.It is not surprising that she got her start on the Broadway stage and after her movie career continued appearing all over The USA and Europe in concerts and and theatrical productions to sellout audiences until personal problems in the 1960's caused her to stop performing until she made a brief return to Broadway in 1980(filling in for Alice Ghostley) in the role of Miss Hannigan in "Annie" ( muscial based on Little orphan Annie)

Worth the wait?
Well, it`s here at last. The long-awaited VHS of this smash hit Broadway musical.
I remember seeing it at the movies when it came out and thinking - what went wrong?
The tunes are great - the start is excellent but there`s no heart.
It`s too clean I guess and one-dimensional. Poor Howard Keel has not got into his stride as a movie actor and his Frank Butler is stodgy and quite unpleasant.
Our girl, Betty does her nut as usual but as she gets prettier so does her character diminish and she too appears brash and unsympathetic.
Of course, the songs are block-busters but I really missed Moonshine Lullaby which would have gone a long way to redeem Betty Hutton`s portrayal of Annie Oakley.
My favourite line is when Chief Sitting Bull says:
"Keep bow tight, keep arrows sharp AND NO PUT MONEY IN SHOW BUSINESS."
Unfortunately the movie degenerates into montage sequences of little moment and a conclusion that depends on the woman being subservient to the man and 'letting him win'.
Based on a true story, it starts so well........but finishes like a damp squib.
In all fairness, Judy Garland couldn`t have cut it as Annie, as we see in a couple of her numbers before she was sacked from the production.

There Really Is No Businesss Like Show Business!
Annie Get Your Gun is my favort play.And now it is my favort movie. I loved being in that play even though i was only 11 years old i still loved doing it.As I got older I found out that there was a movie and when I got the movie I could not stop watching it, and now my future goal would Be Palying Annie Oakley. And I think Annie would be proud.

There Really Is No Businesss Like Show Business
Annie Get Your Gun is my favort play. I loved doing it even though i was only 11 years old is till loved doing it.As I got older I found out that there was a movie i could not stop watching it. And My Future goal in life would Be Palying Annie Oakley. And I think Annie would be proud.

One of the most fun films ever made!!
Betty Hutton is sooo good in this musical. Even in pigtails, freckles, and rags she's totally loveable and her backwoods accent is hysterical!!
Annie Oakley (Hutton) and Frank Butler(Howard Keel) are two of the best gunshots in the world, but Oakley, who doesn't know a thing about being a lady, falls hopelessly in love with the handsome Butler. After accepting an offer to work with Butler in Buffalo Bill's western show, Oakley takes pains to become a beautiful lady and win Butler's heart. Unfortunately for Oakley, Butler can't take her being a better shooter than him, so a big rivalry ensues and so does all the fun.
Most memorable performance is Hutton and Keel's adorable number with the song "Anything You Can Do."
The quality of this DVD is great. Picture's bright and clear, sound is excellent, and so are the extra features like Susan Lucci's intro and about four outtakes, two of which contain Judy Garland's only two finished performances. Enjoy!! ... Read more

Reviews (5)

Colorful, daring Hollywood epic
From the Golden Age of Hollywood comes The Prodigal (1955), a MGM release. This "Biblical" epic, based on the New Testament story of The Prodigal son, tells of the adventure of the young man who enters the pagan world and discovers the mysteries and charms of Miss Lana Turner, high priestess of the temple of a graven, cruel, jealous god, and the dangers of forbidden love. Edmund Purdom is the prodigal who is smitten by Turner's Samarra.The story plods along with some over-blown and sometimes trite dialogue, but the costumes and sets are eye-popping. This movie era could only produce such grandier and Miss Turner as the brilliant center, is sinfully beautiful. She reveals more of her self as any much younger actress would dare at the time. And she looks marvelous. See this spectacular entry for what we may never see in today's cinema.

EPIC MORALITY TALE
Lana Turner was breath taking beautiful as ever. She is the sexiest woman I have ever seen. Her costumes are surreal. If for nothing else, The Prodigal would be memorable for Lana Turner's pagan-ritual costume, which is little more than a Burlesque Queen costume that Blaze Starr, Lili St. Cyr or Tempest Storm wore. The effect was at once sexy, erotic and alluring. And an interesting side comment on the evils of Burlesque.

Worthwhile if you like the genre...
Edmund Purdom reprises his role in "The Egyptian" as a good guy who gets led astray by his passion for a woman he should have avoided. Lana Turner made a career of playing temptresses and does an excellent job here although the cast of "The Egyptian" is, overall, much stronger with Gene Tierney, Michael Wilding, and Biblical epic specialist Victor Mature. But "The Prodigal" has some quality supporting players including perennial bad guy Neville Brand and Francis Sullivan, one of the more memorable character actors of the 50s, in the role of Bosra the money lender. The production values are Golden Age MGM with large, colorful, impressive sets. Unfortunately, the script is wooden and Purdom was not a captivating screen presence.
Richard Thorpe, MGM's principal director of costume epics in the 50s did an excellent job with "Ivanhoe" (Robert Taylor, Elizabeth Taylor) but proves here that his direction could be quite straightforward and unimaginative.
The bottom line is this: If you're looking for another "Ben Hur" you won't find it here. But if you like most of the Biblical epics of the 50s and early 60s, even the second and third tier ones, you'll enjoy this film and the three star rating is for you. You'll be especially interested in the ending which is unusual for films of this type. If you do not enjoy this genre or you enjoy only the very best examples of it then you should avoid "The Prodigal".

The Prodigal
I just watched this film for the first time and found it interesting and overall good. It is a Bible story which is done very well. I thought Edmund Purdom was the best thing about the movie. He did an excellent job of acting. Lana Turner was gorgeous as always. The supporting cast was a little weak, but the story carried them along. The sets and the costumes were very well done and a pleasure to watch. I have read some bad reviews of this film but I don't agree with them. I think it's worth seeing. I know I plan to watch it again.

MGM hits a new low in Tastelessness
Whoever thought up this abomination must have been out of his mind.Technically,they did a good job,sets,props,camera work,etc.A fine set of supporting actors provide characterizations that are cliches,at best.The plot doesn't even qualify as stereotypic;the dialogue is inane;and the leads don't even provide roles that manage to be one-dimensional.There is a continuous emphasis on brutal cruel,and grossly inhumane situations,terrifying horrors of the ancient world,monstrous disregard for life,and appalling barbarisms.3/5 of the way through the picture is the most atrocious sequence;a ritual human sacrifice which will outrage anyone with the moral fastidiousnessof a gila monster. .... This piece of tripe deserves any bad remarks a critic can find. ... Read more

Reviews (2)

Something was seriously missing here...
I think it was plot. It's a tragedy that dear Ingrid and Charles had to work with such material... It actually wasn't a bad story - it just needed a lot of help. It's hard to review a movie that didn't present itself clearly so I'll just say... While it wasn't unendurable, it had little in it to make me want to see it twice... The only reason I would buy it would be to say, yes I have it. It does have Ingrid after all. But whether I would ever unwrap it and view it is another story.

There were a few good moments. Unfortunately they got so mixed up in the rainy haze that I can't remember what they were. This is definitely only for people who are Ingrid freaks like me and even I wasn't moved by it.

Well, so much for that. I think I shall cease reviewing this now and move on to another movie...

The Anti-Casablanca
ARCH OF TRIUMPH is, simply put, my favorite Hollywood movie from the classic era, and I've seen just about all of them. Unfortunately, over the years this one has garnered overwhelmingly poor-to-middling reviews. Its detractors generally fall back upon two basic points: that the acting is self-consciously stiff, and that Charles Boyer and Ingrid Bergman don't gel together on screen. In some respects, this criticism is justified. On the other hand, whether intentional or otherwise, the stiltedness of the acting and the lack of emotional fire between the two stars is PERFECT for conveying the sense of overwhelming alienation that is the true subject of this movie.

This movie is perhaps the most unremittingly dark Hollywood picture that was ever filmed. The majority of its scenes occur at night, and in them it is frequently raining. The one noteworthy exception, in marked contrast to the rest of the picture, is owing to the sterile white brightness of the operating room in which Charle's Boyer's character, an immigrant physician prevented by the French police from legitimately practicing his profession, secretly tends to the hopeless results of a botched abortion.

The other literally bright sequence in this movie -- inserted at the insistence of Ingrid Bergman herself in order to alleviate its rampant gloominess -- features Bergman and Boyer, as lovers, on the beach in the South of France. But overall it comes off as something of an irrelevancy to the subtly modulated darkness of the rest of the picture, and after a while you will simply just learn to fast forward over it.

In short, for those of you who quite often experience what Herman Melville called a "dark November of the Soul," this film might very well be just what the doctor -- or the devil -- ordered. For most others, stick with Casablanca. ... Read more

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Novelist Evan Hunter burst America's postwar bubble when he described an inner-city school terrorized by switchblade-wielding juvenile delinquents. Director-screenwriter Richard Brooks's 1955 adaptation of Blackboard Jungle still packs a tremendous wallop (even if it was shot mostly on the back lot). A forerunner of Rebel Without a Cause and West Side Story, this black-and-white classic--set to Bill Haley and His Comets' "Rock Around the Clock"--is part exposé, part melodrama, part public-service announcement. "It is the frankest, the toughest, the most realistic film since On the Waterfront," ballyhooed MGM at the time.

Glenn Ford, at his slow-to-rile best, plays Richard Dadier, an incoming English teacher at North Manual High School. An idealist who knows how to handle himself in a dark alley, Dadier stands his ground and earns the begrudging respect of school thugs led by Vic Morrow and Sidney Poitier. Anne Francis plays Ford's especially vulnerable wife; Richard Kiley (later in Brooks's Looking for Mr. Goodbar) is the timid math teacher with the priceless jazz-record collection; Louis Calhern and John Hoyt are among the more cynical North Manual High veterans. See if you can ID Jamie Farr and director Paul Mazursky as gang members. The film was nominated for four Oscars. --Glenn Lovell ... Read more

Reviews (13)

Blackboard Review
The Blackboard Jungle was produced in 1955-a popular time period for movies dealing with teenage delinquency. Richard Dadier is a teacher who gets his first assignment in a rough inner-city school. Dadier has trouble exerting his authority over the students while other teachers have given up.
Gregory Miller, played by Sidney Poitier, is pinpointed by Dadier as the leader of the students. Dadier wants to reach Miller in hopes at reaching other students. But it is soon discovered that Artie West and his student gang rule the school.
Dadier foiled an attempted sexual assault (against another teacher, Ms. Hammond) by one of the students in the gang. The other members vow revenge on Dadier. In the end of the film, West attacks Dadier with a knife and Miller comes to the aid of Dadier.
For me, I feel that the main message about teenagers/youth culture was that kids were often labeled as delinquents without fully understanding them. Dadier assumed that all of the students were problem students, yet really it was a select few. Also, such students', growing up in poorer families, seemed to be labeled as delinquents and thus not much is expected of them or their future. Dadier tries to change this by showing his students that he does care about all of them.
Even though this film was created almost 55 years ago, I think it does a decent job capturing the realities of some youth cultures. I, myself, can not relate to such deviance in school, but I can imagine for those who grew up in urban areas, that students are much more disrespectful, abusive and delinquent, just like they are depicted in the film.
I liked that the film focused on a teacher who was willing to fight for the students. While watching this movie, I am reminded of the film Dangerous Minds. Both movies contain teachers who don't back down from a challenge. They help the students because they want to, not because they have too.

An honor roll American drama
This tough, gritty film created quite a stir in 1955 with its approach to incorrigible students unwilling to learn or listen and their self-destructive tendencies. A brave, tireless teacher is determined to remain at a trade school and try to shape and mold young minds against heavy odds. Richard Dadier [Glenn Ford] is beset by many problems, personal and professional, but he eventually wins over his unruly students by teaching them about life, racial intolerance, and responsibility as well as the three Rs that his charges so desperately need to learn. Dadier remains true to his personal values as he dotes on his pregnant wife who fears another miscarriage, resists the advances of a lonely, sexually frustrated fellow teacher and returns to the classroom to confront and teach the same thugs who beat him and another teacher senseless in an alley. The student body has a diverse ethnic make-up and the volatile racial angle flares up in several scenes. Margaret Hayes has a nice turn as a teacher with plenty of sex appeal and because she doesn't dress like a teacher should, she gets catcalls and whistles from her male students who ogle her figure appreciatively. Sidney Poitier is also good as Miller, the thoughtful student who Dadier targets to pull the other boys into line and turn the tables on Vic Morrow's sneering, lawless thug Artie West.

Always Good to See Poitier in Fine Form
Early Poitier flick. He's actually not in very much of it. Elements of what made him the greatest black actor ever are already evident. The movie itself is merely ok. On those crazy kids. Rebel Without a Cause, released the same year, is a far superior movie on the same exact subject. So, James Dean fans watch that one and Poitier fans watch this one.

The Rock and Roll Era Begins
I saw this movie in 1955. It was one of the best in that age in the genre about alienated youth, dealing as it did with ghetto kids and minorities rather than the spoiled brats of "Rebel Without a Cause."

Most of all, the movie introduced me and a million other kids to Rock and Roll. I remember listening spellbound to "Rock Around the Clock" by Bill Haley and the Comets at the end of the movie. Something, I perceived in my little noodle brain, had changed -- and nothing would ever be the same again.

Dated yet Current !!
The Blackboard Jungle is a tense drama starring Glenn Ford as a man who has no idea what he is in for as he starts to take a english teacher position at a "inner city" trade school for teen boys.

The movie is basically about a battle betweeen him trying to teach these students not only english but just decency in general and the students resisting all attempts of being reached. The students are thugs portrayed briliantly by Vic Morrow, Sidney Portier,Rafael Campos among many in the classroom. The verbal and sometimes physical interaction between Ford, other struggling new teachers and the students is totally compelling.

An important aspect of the film I think is its handling of the theme in terms of the racial and ethnic diversity of the students. Between this, the violence, and music makes this film unforgettable and still easily relevant to today. FAR SUPERIOR to Rebel Without a Cause. ... Read more

Reviews (36)

Bubbly Musical Remake of Hepburn Classic!
'High Society', MGM's musical remake of Philip Barry's classic 'The Philadelphia Story', is a frothy, high-spirited joy! While it lacks the inestimable star power of Katharine Hepburn, Cary Grant, and Jimmy Stewart, in replacing the male leads with the greatest crooners of all time, Bing Crosby and Frank Sinatra, and offering Hollywood's Princess, Grace Kelly, in her last film role, MGM was NOT dropping the marquee value by much! Add to the mix the legendary Louis Armstrong, and one of Cole Porter's last great film scores (including the lushly romantic 'True Love'), and you have all the ingredients for a delightful movie experience!

Changing the film's locale from Philadelphia to Newport, the class distinction subplot of the story becomes, at best, a minor plot point, but it does provide the 'hook' of the Newport Jazz Festival to bring in Armstrong, and to add songwriting as a hobby of millionaire C.K. Dexter-Haven (Crosby). His ex, Tracy Samantha Lord (called 'Sam' in this version, so Cole Porter could recycle his tune 'Goodbye, Amanda', as 'Goodbye Samantha'), and played by the luminous Kelly, is remarrying, to boring, wooden George Kittredge (played woodenly by John Lund). An 'Enquirer'-type scandal sheet, 'The Spy', blackmails the family into allowing a writer and photographer (Sinatra and Celeste Holm) to cover the nuptials (in an improvement on the original story, where Cary Grant 'sells out' the Lords in an attempt to disrupt the wedding).

From this point on, the film follows the original version fairly closely, adding songs to 'spice up' the proceedings. Sinatra and Holm take potshots at the idle rich with 'Who Wants To Be a Millionaire?'; Crosby tosses off a sweet ditty for Sam's little sister ('Little One'), and attempts, with Armstrong, to explain contemporary music ('Now You Has Jazz'); Sinatra, smitten with Kelly, expresses his feelings ('You're Sensational' and 'Can I Make Love To You?'); Crosby and Kelly, in a flashback, recall their honeymoon ('True Love', which became a hit single, earning both stars a gold record). The film highlight is, understandably, the fabulous and funny duet between Crosby and Sinatra, 'Well, Did You Evah?' (rich with sly comments on Crosby's famous fortune, and Sinatra's 'new' style of crooning). The number is nearly always featured in MGM musical retrospectives, and is a show-stopper!

As all the pieces fall into place for a 'beautiful' wedding, (which concludes both versions of the story), Louis Armstrong provides a final coda that is both charming and a reminder that Hollywood just doesn't make 'em like this any more!

'High Society' may not be in the stratosphere of 'The Philadephia Story', but it certainly has a well-deserved place in the cosmos of its own! This one's a keeper!

A GREAT "SOCIETY" MUSICAL
MGM's idea to remake "The Philadelphia Story" as a musical, with Bing Crosby, Grace Kelly, and Frank Sinatra in the lead roles may sound perfectly ridiculous. But the idea was intriguing, and so 1956 audiences went to see this new film, "High Society"... and MGM had hit the nail right on the head. The audience loved it, and we still love it today.

"The Philadelphia Story" is still "The Philadelphia Story" (okay, so it's moved to Connecticut), with much of the original script intact and reformed to compensate the film's fine musical numbers. But for those who have seen neither "Story" or "Society", the storyline is as follows:

Millionaire charmer C.K. Dexter-Haven (Crosby) is trying to woo back his uppity ex-wife, Tracy Lord (Kelly), despite the fact that she's already engaged to be married to George Kittridge, the following afternoon. When Tracy's family is blackmailed by an unscrupulous editor who threatens to do an expose' on Mr. Lord's philandering, Tracy agrees to host a photographer and reporter from the editor's magazine. Enter sweet-and-cynical reporter Liz Imbrie (Celeste Holm), and brash-and-smirking reporter Macaulay "Mike" Connor (Sinatra). Tracy has every intention of taking the two "spies" for a ride, not anticipating the ride she's about to be taken on... with the help of Mike and a bucket of champagne. By the time the wedding march is about to begin, who will walk down the aisle with Tracy... George, Dexter... or Mike?

While a bit softer ("fluffier" to use Mr. Maltin's words) than the original, this version is actually a lot of the time more fun to watch, with new colorful takes on the story's characters: Crosby milks charm and elegance from his sophisticated easygoing role. Kelly is a pertfect post-Katharine Hepburn Tracy. Sinatra is Sinatra through and through in his cynical but goodhearted role as Mike. Celeste Holm is a lot of fun as the sarcastic but romantic Liz, and the whole cast including John Lund, Louis Calhern, and even ol' "Satchmo" himself, Louis Armstrong, in a cameo as himself, playing at the much-hyped Newport Jazz Festival (and eventually at Tracy's wedding).

"High Society"'s musical score is a lot of fun, too: Armstrong's scratchy singing of the title tune, Sinatra and Holm sing the funny number, "Who Wants To Be A Millionaire?", Crosby and Kelly duet with a charming rendition of "True Love", and the Crosby-Sinatra gemstone "Well, Did You Evah?", sung over a magnum of champagne... any wonder this film won the Oscar for musical scoring?

"High Society" is definitely a great movie musical, a great and witty successor to "The Philadelphia Story", and funny enough for the whole family to have a real "swingin' time." My, it's yar.

Dreadful!
This movie may stand on its own, but unfortunately it is painful to watch for anyone who knows The Philadelphia Story. Bing Crosby is too old, is unbelievable and is miscast. Frank Sinatra is passable, but pales in comparison to Jimmy Stewart in the original. Celeste Holm is fine when she is singing, but she seems unduly matronly and lacks the charm and spark of Ruth Hussey, also from the original. Then there is the problem of Grace Kelley. She is convincing as a rich ice princess, but ( in this film, at least) she posseses none of the charm, aristocratic strength, or appeal that Katherine Hepburn gave to the original Tracy Lord.

Whereas the original was quick and dynamic, the pacing of this one is slow and ponderous. The side trip to Newport and commentary on "the end of a way of life" adds nothing to the film. And Louis Armstrong's appearance, while perhaps noteworthy in its day, now seems embarrasingly buffoonish. One has the sense that the directors and producers are trying to create a joke at Armstrong's expense by placing him in a mileau where they clearly find him out of place.

As a kid, I liked this movie when I saw it on tv. Now, however, I see it and cringe. Truth be told, I can't even sit through it all. Bad, bad, bad!

High Sociey
Absolutely one of the best movies of its ilk of all time! Great fun, light, fabulous to look at, super catchy songs, and the best collection of great actors! I LOVE High Society!!!!

Grace is Great!
If you're "holed up" for a long weekend (of rain, as it turns out this Memorial Day), and haven't seen it, "High Society" is a great diversion, almost as good as a Memorial Day barbecue, and maybe better.

I raaaally liked the original Philadelphia Story, being a huge Katharine Hepburn fan, but I must say, Grace Kelly is just fantastic in this role and to me, even better than Kate. Probably because, Grace is Tracy, the central character in the story.

Otherwise, except for the sets, including the great collection of 50's classic cars, Newport mansions, women's dresses, and the dancing, this is a lesser film than the originial.

But it's worth watching for Grace Kelly alone. I didn't realize she was such a talented comedienne. The movie gets better as it goes along, stick with it. Grace Kelly makes the best tipsy, goofy, adorable woman I've ever seen! ---Wow. This alone is worth the price of a DVD.

My feeling is, and this is not being a Kelly fan at all before, that the U.S. should have done something to prevent her from moving to Monaco. I was too young to follow that story as it happened, but it seems a crying shame for America's entertainment and film industry and us people. She's got something that, say, Gwyneth Paltrow tries for but doesn't have to the same degree. I now understand why people made such a big fuss about her, and this movie will help you do the same.

If you don't like musicals, which I don't, you can fast forward through the frankly mediocre, ill-timed, and happily not-too-frequent musical numbers. (Sorry, I beg to differ with the other reviewers.) Even Louis Armstrong is forgettable in this. Not every movie's a musical, for Godsake. (Besides, Grace doesn't sing!!!) Except, the most enjoyable singing in the movie, to me, was Grace Kelly's drunk amateur singing! It was terrific!

The great Sinatra and also Bing Crosby (whom I admit to not liking either as an actor or a ba ba ba boom singer), don't get very good songs to sing in this movie, compared to the timeless and great songs Frank got in Pal Joey, say. They should develop a button that skips through singing in 50's and 60's musicals! Some of these films woulda been fine without the singin' and with the same performers anyway.

As I said, if you're in the mood for watching a great female performer, WATCH THIS, folks! Grace is TIMELESS in this film. ... Read more

Reviews (3)

Poor transfer
Even though the box claims a digital transfer, the source elements must be poor. Sections of the film are too dark, and it is noisy and grainy throughout. This film needs a more serious restoration than provided here.

Steinbeck's sensitivie and imaginative story of childhood
Lewis Milestone's adaptation of John Steinbeck's "The Red Pony," which has the surprising virtue of a screenplay by the author, tells the story of the love of Tom Tifling (Peter Miles) for his pony Galiban. The film was shot mainly on location in the coastal range mountains on the western edge of the Salinas Valley. The ranch belongs to Tom's maternal grandfather (Louis Calhern), a talkative old geezer who longs for the old days of the Wild West. Fred (Shepperd Strudwick), Tom's father, came from the city to live on the ranch where his wife Alice (Myrna Loy, looking decidedly out of place out on the farm) grew up. Fred is trying to come to terms with whether or not he has a future being a rancher, but also with the fact that his son feels closer to the ranch's trusted hand Billy Buck (Robert Mitchum). Billy is a real cowboy and figures largely in Tom's imagination: there is a wonderful scene where Tom imagines himself leading a magical processing along the country road. When Tom gets his pony Galiban, he learns a lot about responsibility; in time, he will also learn about loss as well. The climax of the film contains a cruel and terrifying scene that threatens to destroy the overall pastoral mood of the film. "The Red Pony" also features a score by Aaron Copland, which certainly helps elevate the tone of the film. Steinbeck's novel has long been a staple of Junior High English classes and this film version is a decent albeit dated effort. Note: Look for a young Beau Bridges playing "