Reviews (14)

Hollywood's first great sequel!
"After the Thin Man" is the second of five sequels in "The Thin Man" series. It was released in 1936, two years after the original movie, and literally takes up where the first one left off - aboard the Sunset Limited headed from New York to California.

Having had their Christmas holidays in New York interrupted by a murder mystery [much to Nick Charles' dismay and wife Nora's delight], the couple is looking forward to a quiet New Year's Eve at home. This is not to be. Their house, it seems, has a huge cocktail party going on in it. And - you guessed it - there's another mystery brewing. Nora's cousin's husband has gone missing, and scandal threatens her stuffy, socialite family. Nick could care less. He has no use for his holier-than-thou in-laws. Nora is concerned - and not a little thrilled at the prospect of another adventure.

William Powell and Myna Loy are, as always, Nick and Nora. They are one of the great screen couples of all time. Their relationship is often hysterically funny, sometimes touching, and more than a little complicated. A very young James Stewart has a meaty supporting role. The star quality is easy to see. Selma Landis is in top form as the neurotic cousin who is under the thumb of her frightfully domineering mother.

"After the Thin Man" [great sequel title!] is only slightly less entertaining than its predecessor and is certainly superior to most of the comedies of today. That superiority is due to great screen writing, true star power and a genuine zest for life that rarely is seen today - at least in the movies.

By the way, there IS no thin man!

A Worthy Sequel
Although it lacks the sharp edge of the original, AFTER THE THIN MAN is a worth sequel to THE THIN MAN, with the famous William Powell and Myrna Loy chemistry as intoxicating as one of Nick Charles' famous cocktails.

The sequel finds Nick and Nora Charles newly returned to their home in San Francisco in the wake of Nick's successful handling of "the thin man" case--only to find Norah's formidable aunt Katherine determined to keep the family name out the papers re cousin Selma's wayward husband, who has been missing for several days. Nick is accordingly summoned to track him down as discreetly as possible. But where Nick and Norah go, both murder and publicity is sure to follow.

AFTER THE THIN MAN boasts a cast equal to the original, most notably a young James Stewart as cousin Selma's former love, Jessie Ralph as Aunt Katherine, and a truly delightful Penny Singleton as Polly, the hard-knocks cabaret singer who leads wealthy husbands astray. The story is a bit convoluted, but the complications never get in the way of the film's witty dialogue, and while many may find the killer a bit obvious it doesn't prevent the film from being a great deal of fun. Recommended.

Best of the 6 THIN MAN movies!!!
The very first THIN MAN movie was so popular due to love bickering relationship between Nick and Nora. It was no doubt a treat to see a married couple pick at each other and all the while the love they shared for each other was evident to all. The murder mystery almost takes second place to the bickering between Nick and Nora. Not so in AFTER THE THIN MAN.

AFTER THE THIN MAN devotes the bulk of the story to the murder mystery. Nick, who is still supposedly retired from detective work, gets lured into another case. A relative of Nora's needs Nick to prove her innocent. The case seems iron clad and Lieutenant Abrams, portrayed by Sam Levene is sure who the killer is. Only Nick seems to be able to sift through all the circumstantial evidence and get to the real evidence. Nora dogs his every step as she attempts to convince her family Nick is a good man even if he wears a "blue" collar.

James Stewart, prior to becoming famous, does well as the rejected love interest of the accused murderer. He will do anything to help her...or will he? Penny Singleton, prior to her role as Blondie Bumstead in the BLONDIE movies and her providing her voice as Jan Jetson on the JETSONS, has an interesting role as 1930's sexy street sassy blonde. As she would tell you, she's not illiterate because her parents were married at city hall.

So, while the original THIN MAN was fresh and new AFTER THE THIN MAN has all the dents and dings banged out of the script. It is a much better and much more interesting film. It is my favorite of the six THIN MAN films.

The DVD edition of this film is long overdue.

MORE BRILLIANCE FROM NICK AND NORA
The second in the series of Thin Man films and the second best one, just a notch below the first. The story begins just days after the first movie. Nick and Nora have returned to their very luxurious home in California from New York.

They arrive home to find a house full of (uninvited) guests who are there to welcome the couple back home. They attend a Dinner party at Nora's very uptight socialite Aunt. Hilarious watching Nick interact with these old, wealthy step-relatives.

Soon, though, Nora's cousin Selma is accused of murdering her estranged husband and Nick and Nora have to step in to investigate.

This time the Charles celebrate New Years Eve with plenty of drinks at the night club of a small-time hood named Dancer. Nick is joined by a table full of his less than savory past friends who tell Nora "I don't like Dames who get mouthy afte a couple of snorts!"

Sam Levine is very funny making his first of two appearances as Lt. Abrahms. A young Jimmy Stewart is also along as the unrequited love of Selma.

As with the first, the drinks flow freely, particularly in the night club scenes where Nick finds himself the object of affection of a drunken young lady, much to the chagrin of her boyfriend.

Fantastic banter between the two stars as usual. Their chemistry was second to none. Asta is along too.

This was also, I think one of the better mysteries of all the Thin Man movies. Where is the DVD????

Still Meaningful After All These Years
Great periscope view of the thirties. Everybody wears a mustach (except the women). Humor still valid. And cocktail- drinking? sheesh! Humor still valid. Good acting. And where does one find a marriage like this? Wonderful. Take me back (altho I wasn't even a gleam yet). ... Read more

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When Columbia Pictures sought to pair Mae West and W.C. Fields in a film, neither was thrilled, but since both stars' careers were on the skids, they agreed to the project. They fought about everything: script, billing, casting, philosophy, work habits, style. Onscreen, Fields is always the butt of his own jokes. West never is. He's all broad slapstick, she, all sly innuendo. In the film West hangs onto her precious image--that inimitable combo of sexiness and wit--as Fields systematically subverts it. It's the clash of the screen-legend titans.

In the Wild West town of Greasewood, West, as Flower Belle Lee (her usual seductive saloon singer), is kidnapped by the Masked Bandit (Joseph Calleia, in a role Bogart turned down). After refusing to turn him in, she's run out of town and can only return when she's "married and respectable." She meets flimflam man Cuthbert J. Twillie (Fields) on a train. He's instantly smitten: "My heart is a bargain today, will you take me?" "I'll take you, and how," she agrees, spying his satchel of cash. Many plot twists later, Twillie's on the gallows. Hangman: "Have you any last requests?" Twillie: "I'd like to see Paris before I die. Philadelphia will do." In her ideal happy ending, West's Flower Belle finds true love--with two men--the Masked Bandit and the town muckraker, Wayne Carter (Dick Foran).

The film's funniest scenes involve Field's futile attempts to get West into a compromising position: "I have some very definite pear-shaped ideas I'd like to discuss with thee." Suffice it to say that Fields ends up in bed with a goat. --Laura Mirsky ... Read more

Reviews (9)

Goodness Has Something To Do With It
This sweet little movie has an undeserved terrible reputation. I think it is due to the fact that the combo of Mae West and W. C. Fields is so perfect one expects the resulting film should be a rival to SOME LIKE IT HOT or THE MIRACLE OF MORGAN'S CREEK. Instead it's just a nice little average comedy movie but one fans of either star should cherish. The movie is particularly not popular with West fans used to their diva completely dominating the screen, covered with diamonds and pawed on by young handsome hunks like Cary Grant and Gilbert Roland. Here Mae has a leading man actually older than her! Yet her original script (she was peeved that Fields received co-writer credit when he simply inserted one of his comic routines for a scene) has some of her sharpest, most political barbs, addressing her critics by deliciously naming Margaret Hamilton's self-righteous women's group The Ladies Vigilante Committee or by becoming a substitute teacher (the prude's worst nightmare, Mae West influencing young America). Reading off the blackboard, "I am a good boy. I am a good girl", Mae snaps "What is this? Propeganda?" If the rest of the movie had this sort of bite, CHICKADEE would be ranked with the greatest social comedies ever made.

She's not your normal kind of girl
Flowerbelle is a rowdy kind of woman and she's good with guns. She shot down a bunch of Indians while riding on a train to Greasewood. She was kicked out of her home in Chicago because she was dating a masked bandit. On the train, she met a city slicker who she decided to marry for his money, only to find out that the money was fake. After he talked to a couple of folks at a bar about his heroic actions, he was made sheriff. After he found out that Flowerbelle was in love with the masked man, he decided to dress up as him but Flowerbelle wasn't fooled but the townspeople were and they wanted to hang him. Flowerbelle came to the rescue by showing who the real masked man was.

WC..... What a guy.
Okay, I'm only 13, but I have to admit I think WC is awful cute. One of my friends, who also saw this movie nicknamed me Chickadee, just to make me mad. Actually, it doesn't. This movie is great, and, even though I don't really like Mae West, It's worth watching again and again.

W.C. Fields & Mae West: What Euphoneous Appellations!
MY LITTLE CHICKADEE was originally released to mixed reviews, but by the 1970s a revival of interest in both W.C. Fields and Mae West sparked renewed attention to the film--and while it is somewhat uneven and does not give us either actor at their best, this single pairing of two of Hollywood's most legendary comics offers enough amusement to keep us watching right through to the end.

By every account available, Fields and West absolutely loathed each other. After Field's death West went to considerable effort to belittle both Fields and his contribution to this film, insisting that she herself wrote the story and the script and Fields was responsible for his personal material only. Ironically, her claims re this are hardly flattering to her talent, for the great weakness of CHICKADEE is the actual story itself, which is remarkable for its lack of imagination: Flower Belle becomes mixed up with an outlaw and is run out of town--and told she can't return until she can prove she is respectably married. The opportunity to do precisely that arrives in the form Cuthbert J. Twillie, an inept con-man who becomes her dupe.

Although uninspired, the plot does have the benefit of allowing both West and Fields to do their own thing both separately and occasionally together--and when it works, it goes off with a bang. Their meeting on the train, their wedding night, and West's unlikely stint as a schoolmarm (teaching the young about figures, of course) are all hilarious bits, and Margaret Hamilton gets in some good moments in the supporting cast. The film only sinks whenever it returns to the storyline of West and her bandit lover--so all in all, although not the best, it is well worth a watch, particularly for Fields and West fans. Recommended, but don't expect too much.

A Sad Relic of Mae, a Fine Example of Fields
Mae West was certainly not your classic beauty, but sauntering into Hollywood at the age of 40 (!) she was somehow very attractive, if more in a "just can't take your eyes off" sort of way than one of genuine good looks. She had a saucy charisma and brash femine confidence that made her age and weight oddly desirable, and within the start of her film career a bonafide sex symbol. But by the time of "My Little Chickadee," at 48, it seems her age has finally caught up to her, and she is reduced to making cheap imitations of herself. The magic and allure is all gone, and though she makes a brave attempt at salvaging a last piece of that brazen bombshell of films like "She Done Him Wrong" and "I'm No Angel," her success is poor. What's more her self-confidence has seemed to become a self-centerdness, and she no longer seems to be acting, but standing alone quoting herself. She no longer really reacts to anyone, but is completely self-contained, as if she was the only actor in the whole picture.

But old age, weight, and wrinkles, the things that most dragged down West, only add to the charm of Fields, who turns in a delightful and suitable performance. For Fields, "My Little Chickadee" only helps to better define his screen presence, and at times he would be very funny. I say "would be." Perhaps it is the admirable struggle and fail of a star who could have nearly retired by the time she was just starting out, but the film has an air of sadness that... well, just isn't funny. ... Read more

Reviews (8)

Great moving film
"Serenade," is an excellent, and not shown much. Mario Lanza's
story is more sad in this one with more obstackles, such as trying to forget a woman he loved. Sara Montiel is excellent in it and beautiful as his wife. It is romantic but has moment of sadness as well. It's one the the best films to chowcase Mario's acting abilities.

music great of course but the plot is boring
there will never be another mario lanza he was it. but this movie could have been done better the music is great of course his epic performance of nusum dorma from turandot is fantastic and is probably up there with franco corelli and jusi bejorling the other arias he performs are great as well. but as allways with any lanza picture the screenplay falls flat and is down right boring at times. not to metion it can get pretty korny also. so serenade is given 2 stars for its horrible script if you wanna see lanza at his best its here so get a tape and edit the soap opera script and keep the music cause thats all your ganna want to see

Winner
Supurb acting and a great musical score make "Serenade" an easy favorite of Lanza and Opera fans alike. Another movie that will merit repeat watchs not only for the story line but especially for the musical score. What a great talent!
Beverly J Scott author of Righteous Revenge

Lanza shows real acting potential
I was mightily impressed with Lanza's vocal performance in this movie, and agreeably surprised by his (often) fine acting. He's no Olivier, and as Derek McGovern says in his review, he needed to reined in by the director at times, but in his best moments he is totally believable, and often moving.

But what grabbed me was his singing. If you can overlook the awful singing during the opening credits, almost everything from La Danza on is fantastic. What an assortment of vocal goodies! The Otello scenes took my breath away. I was simply astonished at the end of the monolog, and I don't believe this aria will ever be sung better. The same goes for Amor Ti Vieta (beautifully filmed), Torna A Surriento and the Lamento Di Federico. Just about the only aria he doesn't quite pull off (surprisingly) is Nessun Dorma. In this one, he's pushing too much for my liking, and I, too, would have liked a retake. After all, Lanza had the perfect voice for this aria.

The co-stars in the movie are great, especially Sarita Montiel and Vincent Price. I read somewhere that Vincent Price was enormously impressed by Lanza's singing, and that's quite a compliment from someone who had heard all the opera greats.

Serenade is a true melodrama, and a greatly underrated film.

Lanza 's Magnificent Comeback
After a four-year absence from the silver screen, Mario Lanza gave his finest dramatic performance as a singer haunted by a woman from his past. He strides among the sunny Mexican landscape in all of his photogenic olive-skinned glory, ill one minute, working in the fields and back singing the next.
His renderings of Schubert's "Ave Maria", "Nessun Dorma", and "O Paradiso", and the title song are heavenly.
Inevitably, with 1950s censorship codes firmly in place, James Cain's steamy novel had to be toned down. To this end, the equally photogenic Sara Montiel becomes a bullfighter's daughter rather than a prostitute, and an appropriately respctable and submissive wife to Lanza. She is helpful in furthering her husband's career interests and helping him put the past behind him.
But the past catches up with him, and Joan Fontaine's cold aristocratic anti-heroine, who derides in building people up and then destroying them, traps the young couple in her clutches once more with near-tragic results. Fontaine's role is comparable to that of Glenn Close's in "Dangerous Liasons", but less graphic. Vincent Price is his usual elegantly sinister movie personna as one of Lanza's benefactors.
Those of us born after Lanza's untimely death can only wonder what his acting skills might be like now if they were free of the stilted, superficial, and rather corny constraints of the'50s. But this is as good as he gets, and his singing, although more somber than ever, is free of such constraints and as majestic as ever. As was observed in 1956, he was "still in possession of that God-given High C", which literally and figuratively, is the triumphant note on which this film ends. ... Read more

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This surprisingly absorbing drama, based on Conrad Richter's novel, tells the tale of the re-assimilation of Johnny Butler, kidnapped as a child by Native Americans (in this 1958 film, of course, called Indians), into the "white man's world." Reluctant and unfamiliar with his biological parents (Jessica Tandy and Frank Ferguson), he's befriended by frontiersman Del Hardy (Fess Parker, basically looking handsome and playing his popular image), also raised by the Indians and now an Army man. Johnny also meets and fancies Shenandoe--his aunt and nasty uncle's indentured servant girl,(a positively luminescent Carol Lynley, 16, in her first role), whose family was massacred by another tribe. While this is an action film set in 1764, made in the still politically insensitive 1950s, it manages not to paint stereotypes. But Light in the Forest is, more than anything, a love story. Shenandoe, terrified of Johnny initially, grows to love him. Johnny, burdened by not feeling he belongs in either world, finds solace in Shenandoe's sweet friendship. (Ages 8 and older) --N.F. Mendoza ... Read more

Reviews (12)

Hm.
The film The Light in The forest was exactly what you would expect in a Disney film. No gore no real fighting, if your an action movie lover then this is the worng flick for you. After reading the novel by Conrad Richter, Diney literally trashed this book. Changed everything besides a few things. Also if you like movies true to the book, skip this one.

Nostalgic movie but not for today's kids...
If you were born in the 1960's or before, you might enjoy this sweet, simple Disney tale of young love and the wilderness. Today's youth, however, will find it a snooze. MacArthur and Lynley are beautiful and display great promise.

The Movie VS. The Book
The name of this movie as you can tell is "The Light in the Forest. Some of the things in the movie were the same as in the novel. One thing that was similar is most of the same characters were in both the movie and the novel. Another similarity that i liked was that they had most of the same settings. One thing that i disliked was the fact that True Son's white brother wasn't in the movie, instead he was replaced by the servant girl. I didn't enjoy the elements of the movie because it wasn't like the novel. There were many things that were different. One big difference is that Gordie (True Son's white brother) wasn't in the movie. Another big difference is that there was no name for the servant girl in the novel and that she wasn't really paid attention to in the novel. However in the movie she was as important as Gordie was in the novel. That is what i think of the movie and how it campares to the novel.

The Light in the Forest review
Iv'e seen this movie called The Light in the Forest and it was wonderful. The original author was Conrad Richter, then they turned the book into a movie.The video was ful of adventure and excitement cast int he 1760's in america. I think the movie was cool but I don't like some parts of it,like when they left out and added some characters and scenes that were not in the novel. The again I like the part when Trueson got into a fight with his uncle Wilse and first got beat up but the beated his uncle up. I also liked that the video ended with a happy ending and everybody is okay, but in the novel Trueson was left hanging and doesn't know where to go. The video and the novel are somewhat the ame and different. The video focuses Trueson's problem is his uncle and the novel focuses himself getting home to his Indian home. The video is bases on a Disney movie and has a happy ending to it.I recomend you see the movie, I think people will enjoy it.

read the book forget the movie
The Light in the forest the movie was awful. I loved story line but it was made unprofeshinally and un real.It was like watching a kindergardners play (which I would enjoy much more.)The book was made with a spirit of passion by Conrad Richter but the movie toke that passion and obviously changed it into a heap of garbage.
The movie is about True Son a boy who has lived among the indians for many years and now must go back home to his real white family. The boy is lost between his two sided heart now he must make a decision.
If I were to compare this to a rollercoaster ride of your mind it would be a rollercoaster going no where. ... Read more

Reviews (4)

Entertaining Golf the Comic Italian Way
This is more of classic Martin & Lewis! They play off each other so well. Here the goofy caddie (read Lewis) becomes the star golfer.

Songs are good, with That's Amore the headliner. Never realized that this song came from this movie.

Lighthearted stuff that is so pleasing a contrast to today's shocking, revolting plots. Very entertaining for the family.

Buy this one!
Really enjoyed Dean Martin's singing! Their acting was more believable in this movie. The 2 comedians looked like they really had fun on this film.

Terrific
Another one of my personal favorites.Along with The Stooge and Cinderfella.I love it when Dean sings That's Amore.But my favorite part is when Jerry's in the store on roller skates with all the dishes and stuff on the shelves!you just know it will all end up on the floor somehow.Hilarious!!

Yet another Martin&Lewis Classic!!
Dean Martin & Jerry Lewis have done it again with this timeless classic of a would-be pro golfer seeing what it's like on the pro tour. This film has some of the most timeless tunes ..."That's Amore" first appeared in this movie...

Buy it today....and enjoy it for a lifetime... ... Read more

Reviews (2)

Sinister Little Horror Story Enlivened By Good Performances
At first glance this minor 1941 Paramount feature looks like it really can't make up its mind if it is a Courtroom drama or a horror feature. The film has two distinct parts to it with an abrupt change in direction a little under half way through, however that doesn't stop it from being a quite enjoyable 70 minutes of viewing. Looking like a Universal feature from the time when that studio was still the leader in the horror field, it is instead a Paramount feature which perhaps explains the attempt at some deeper characterisations and a more polished look to some of the special effects, in particular in the "Monster' of the title which here is a murderous Gorilla that has a wrongly convicted man's brain transplanted into it. The first part of the film contains a well acted murder trial while the second half goes off totally into the realm of horror fantasy as the Gorilla thinking like the convicted man, goes on a murderous rampage against those who falsely framed him for murder.

"The Monster and the Girl", tells the story of brother and sister Scot and Susan Webster (Phillip Terry and Ellen Drew), who live in a small midwestern town. Susan yearns for the bright lights of the city and despite warnings from her protective brother, heads off in search of a more exciting life. What she gets in New York is not exactly what she bargained for as she is romanced by smooth talking Larry Reid (Robert Paige) who's intentions are not as sincere as they first seem. Going through a sham marriage to Larry Susan finds herself at the mercy of a prostitution and white slavery ring headed by ruthless gangster W.S. Bruhl (Paul Lukas),from which there seems no escape for her. Coming to her rescue Scot tries to track Larry down and in the process stumbles onto Bruhl's headquarters just as they are about to "remove", one of their group who is as Bruhl states "My favourite thorn in my side". He is shot just as he opens the door for Scot and when the gun is thrown at him Scot mistakenly picks it up and is then blamed for the murder. Totally framed he goes on trial and at length is found guilty of the crime. In the courtroom there is another individual with an interest in Scot , Dr. Perry (George Zucco) who is an eccentric scientist currently working on certain evolutionary theories and seeing that Scot is to be executed seeks his permission to use his brain in his experiemnts. After Scot's execution he performs the operation and transplants the still living brain into the body of a Gorilla in his lab. However during the observation period the Gorilla now thinking like Scot manages to escape and begins a murderous cycle of revenge against those that wrongly framed him for murder and sentenced him to death starting with the District Attorney. One by one the gang are literally crushed to death by the murderous Gorilla and the police are at a loss to explain the cause of death. Only after the Gorilla succeeds in saving Susan from the clutches of Larry Reed by murdering him before being shot himself in the finale is it worked out that the monster has the mind of Scot and was enacting this revenge just as much for the shame brought on his sister as for his own wrongful execution.

Perhaps "The Monster and the Girl", can be viewed as "B" horror nonsense however the whole story is played in a very serious manner by all cast members and certainly the Gorilla is a vast improvement on other "ape" monsters used in earlier horror efforts. The actor within the ape suit does a wonderful job of copying a Gorilla's movements and visually it has a convincing and at times almost frightening demeanour to it. Performances throughout this little effort are uniformally fine. Phillip Terry despite only appearing in the first half hour of the story does a convincing job as the loyal brother seeking to assist his sister but who gets involved way over his head and winds up executed for a murder he didn't commit. Ellen Drew as Susan has the longest role in the film and is also excellent as the naive girl trapped in the clutches of Bruhl's prostitution ring. Horror veteran George Zucco despite his high billing in the cast list, has a relatively small role in the middle of the film as the scientist who transplants Scot's brain into the Gorilla. An actor always so much better than most of the material he had to work with ,here he plays the "mad scientist" role capably once again and his knowledge is vital in the conclusion in working out why this Gorilla has human thoughts. What perhaps is most interesting in "The Monster and the Girl", is the surprisingly modern openess it has when dealing with such issues as prostitution and white slavery that were largely unheard of in the more major releases in the early 1940's. This gives the film , certainly in the first half, less of a horror film mood and more of the feel of a 1930's Warner Brothers gangster drama. The film is beautifully shot for a "B" effort with great emphasis placed on the power of shadows to achieve the desired dramatic effect. Directed with a sure hand by Stuart Heisler the film despite its dramatic change in direction never lets up on the action and its short 70 minute running time ensures that the story doesn't drag in the least.

While certainly not the greatest horror effort from the 1940s, "The Monster and the Girl", makes worthwhile viewing. The Gorilla is one of the more memorable "killers" that movies produced in this decade and depite the obviously outlandish storyline the sincere performances and overall good quality production make up for viewers having to totally suspend belief to get involved in the proceedings. Watch out for the Gorilla with a man's mind bent on revenge in Paramount's curiosity "The Monster and the Girl".

Bizarre, interesting B horror film
2 1/2 stars. Film starts as melodrama with a girl getting involved with a white slavery ring then veers into horror when her avenging brother has his brain transplanted into a gorilla who then goes after the villains. Wild stuff with an interesting cast: Paul Lukas, George Zucco, Joseph Calleia, Rod Cameron, et al. ... Read more

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John Wayne drew on what he learned from John Ford, Howard Hawks, and practically everyone who directed him during his long career when he made his own directorial debut on this labor of love. The Alamo is a sprawling, unabashedly patriotic epic of the sacrifice made by 187 men defending the Alamo from Santa Ana's bigger and better equipped army. Wayne stars as Col. Davy Crockett, the straight-talking, fun-loving frontiersman turned senator, with Laurence Harvey as the stiff, by-the-book Col. William Travis and Ricahrd Widmark as the legendary Jim Bowie who bristles under Travis's military protocol. The mix of regular army soldiers, Texican irregulars, scouts, and civilians makes for a volatile melting pot, but they all come together in a time of crisis in this metaphor for Wayne's heroic vision of America. Wayne spared no expense in this, one the last of the old fashion Westerns, re-creating the Alamo in exacting detail and corralling a cast of Western icons and old friends, including Richard Boone, Chill Wills (who earned an Oscar nomination), Hank Worden, Denver Pyle, Ken Curtis, and Olive Carey, in addition to teen heartthrob Frankie Avalon and Wayne's son Pat. Even old pal and spiritual godfather John Ford lent a hand shooting second-unit footage. Wayne is no Ford, but despite himself (and a talky script), he delivers an entertaining film full of intriguing characters and excellent action scenes, earning the film an Oscar nomination for Best Picture in 1960. Remember the Alamo! --Sean Axmaker ... Read more

Reviews (90)

A Duke Classic
The Alamo is a true western/historical classic that John Wayne wanted to make for years before the actual release. The movie tells the story of the days leading up to and during the famous siege of the Alamo. Many people say it isn't accurate or its boring, but it is really anything but. The movie is full of patriotic speeches that at times slow it down, but they are still very enjoyable. As for historical accuracy, The Alamo goes on its own way. Many things seen in the movie never actually happened, but it contributes to the overall feeling of the picture.

All the performances are truly great. John Wayne portrays Davy Crockett with Richard Widmark as James Bowie and Laurence Harvey as William Travis. The cast is full of Wayne regulars who also give great performances; Chill Wills, Patrick Wayne, Ken Curtis, Denver Pyle, Hank Worden, Chuck Robertson and many others. Other good parts include Joan O'Brien as Susannah Dickinson and Linda Cristal as Flaca, the woman who captures Crockett's heart. The only out of place actor is Frankie Avalon as Smitty, the youngest of the defenders of the Alamo.

Overall, The Alamo is one of my all-time favorite movies. The set built in Bracketville is truly amazing. The final assault on the old mission is one of the best battle scenes ever made. The original, un-cut VHS version is much better than the DVD since it adds almost 30 minutes to the movie that are missing elsewhere. There are several scenes that are very interesting that I don't think should have been cut. However, the DVD does have an interesting documentary about the making of The Alamo. Excellent score by Dmitri Tiomkin, excellent performances, great battle scenes. Do not miss this movie!

one of the best movies ever made on the Alamo
as far as historical reference, it's not a documentary, but this movie is awsome. i've been watching The Alamo since i was a little kid. i pratically have the entire movie memorized in my head. the music is great in film, the guitars and mexican sounding music is relaxing. my favorite part as music goes is when the Mexicans are surrounding the Alamo and all you hear is the drums for like 5 minutes. Sounds awsome.

as far as the movie goes, this was a huge production and the Alamo still stands today! The real Alamo of course is in San Antonio, but the Alamo for this movie stands in Bracketville, TX, where other movies have been made. John Wayne stars, produces, and directs this one of a kind film. truly a great film by a great man.

of course, in every Wayne movie, there is always a love story of some sort, and the Alamo has a short love story. The Alamo centers around 185 Texans and fellow men fighting for their independence from Mexico and General Santa Anna, ruler of Mexico. the movie stars Richard Widmark (Jim Bowie) and Laurence Harvey from The Manchurian Candidate as Colonel William Barrett Travis. great movie and great cast. the actual battle scene rocks. tons of explosions and action.

there are 2 sad parts in the movie.
the first sad part is the day before the battle. all the men are together talking about life, because they know tommrrow they are going to die. the background music sets the right tone and i like Davy Crocket's quote during this scene. one of the guys asks him "What ya thinkin Davy?" and John Wayne (Davy Crockett) replies, "Not thinking, just remembering."

the second sad part is after the battle is over, and Lady Dickinson is leaving with her child and the boy. all the Mexican Soliders are standing around, there are some bodies of the men on the ground, and then Santa Anna makes his soliders stand when she's leaving. he also takes off his hat as a sign of respect.

what i liked about this movie is that John Wayne makes both sides look galiant and brave. the men of the Alamo know they are going to die, but they still stay to fight for what they believe in. then he makes the Mexican soilders look honorable twice. the first time, Santa Anna asks that all women and children be evacutated before he attacks, and this takes place.
the second instance is right after the first attack, which happens right after the women and children are released. the Tennessian boys are standing around and one of them says "even though i was killing them, i was proud of them. men dying for what they believe in."

the DVD features include about a 40 mintue feature on the making of the Alamo. this is where you really get to see how much The Alamo ment to John Wayne and just how loyal of a man he really was.

The Alamo is a classic that everybody should watch at least one time in their life. great film that to me, will always be remembered as John Wayne's greatest work.

Still Waiting For the 2-Disc Special Edition
One could easily say that seeing this film for the first time was a turning point in my life (it probably had a great impact on a lot of other 6-year old boys, too). To this day, John Wayne's "The Alamo" still has a firm grip on me emotionally.

True, the film is not accurate to history, but I dare anyone to name a movie that is! As I stated in my review of "The Messenger: The Story of Joan of Arc", Hollywood makes "movies", not documentaries (and most documentaries don't agree on the details of the Alamo, anyway). Movie producers, like John Wayne, try to make an "entertainment", to sell tickets and make money. Anyone who thinks film makers are honor-bound to tell the truth on the screen is kidding him or herself.

So the question is: Does this movie entertain? Speaking subjectively, I say a resounding "Yes!". I guess there's still a lot of 6-year old in me.

One suggestion I have for Ted Turner (or whoever makes the DVD decisions over at MGM) is to release the roadshow Director's Cut version on a 2-Disc Special Edition. Include the 40-minute documentary found on the current disc, and any other archival footage pertaining to the film (Oscars, premiere, interviews). I would also like to see the television special, "Spirit of the Alamo", that John Wayne hosted in 1960. A part of it was used in the aforementioned documentary, but it would be nice to see the program complete for a change. Perhaps the discs could also include a printed history of the Alamo and other events during the Texas Revolution, so viewers won't come away from the film thinking they just witnessed the truth.

A few good scenes, mostly nonsense
The script of this movie is awful. There are so many historical inaccuracies. There's also a lot of schlock in the movie.

Frankie Avalon didn't disgrace himself, but why was he in the movie, anyway? Smells like pandering to the younger generation!

I couldn't believe The Duke as Davy Crockett. I always thought of him as Duke, rather than Crockett. You can't superimpose one big legend on top of another.

Richards Widmark and Boone were good in their performances.

Laurence Harvey as Travis was terrible! That accent was all over the place. Finally, in his last big speech he abandoned it altogether, sounding more like Laurence Olivier.

This movie was long and bloated. I kept checking my watch. I'm thankful that I don't have to sit through the director's cut!

Skip the first two-thirds of the movie and check out the last third, and you'll be just as well off!

Frankie Avalon in one of his 1st movie roles
The movie is good and with Frankie Avalon in one of his 1st movie roles. ... Read more

Reviews (104)

a film noir masterpiece
While not as highly regarded as Citizen Kane, Touch of Evil is arguably Welles' second greatest film and now it is being presented as the filmmaker had originally intended it to be. Included on the DVD is his 58-page memo to Universal Studios detailing all the changes he wanted to be made to their compromised version of the film.

As it stands now, this is an amazing film with some of the most impressive deep focus photography ever put to screen. The depth of field that Welles creates is astounding.

Touch of Evil is also probably one of the last of classic film noirs produced by Hollywood and was a great way to end this period of the genre.

A lot of people poo-poo the casting of Charlton Heston as a Mexican (?!) government muckty-muck and to be sure that was some really odd bit of casting but he's perfectly cast as the straight-arrow good guy of the film. But he's totally blown off the screen by Welles' corrupt sheriff who simply steals every scene he is in. Janet Leigh, stunning as ever, is also really good as Heston's beleaguered wife.

What I like best about this film is the moody atmosphere that permeates every scene -- even the daylight ones. It draws you into this corrupt, cynical world and never lets go. Essential viewing.

100-Proof Noir
Seedy border town is the setting for this noir classic--justifiably called by a New York Post film critic "The Baroque Cathedral of Film Noir." Orson Welles' entrance as the crass, venal Capt. Quinlan is just one example why this film is a must-see on the big screen--not that this DVD widescreen version is so bad (it's a gem). Quinlan's massive, bloated bulk fills the screen as he climbs out of his car to begin the murder investigation that will soon envelop and taint the film's principal characters--immediately establishing Quinlan as the embodiment of corruption. The breathtaking opening sequence (shot in one take) incorporating the ambient music and sounds of the town's lurid nightlife is a key part of this reedit DVD version, setting right the studio-maimed opening of the original release, which ran opening credits and Henry Mancini's score over this sequence to Welles' fruitless objections, diluting its effectiveness. Respected Mexican police official Miguel "Mike" Vargas (Heston) and his American bride Susan's (Janet Leigh) ("She doesn't look Mexican either," Quinlan sneers) honeymoon is derailed when they become targets first of local crime family boss "Uncle Joe" Grandi (Akim Tamiroff), whose brother is about to be sent to prison because of Vargas, and Grandi's impulsive nephews, and then Quinlan, when Vargas accidentally uncovers the latter's penchant for tampering with crime scenes to ensure a death sentence for the accused--whether guilty or actually innocent. Leigh drips sex and is the perfect pawn for those scheming to wreck her husband's career and their marriage. Joseph Calleia stands out as Pete Menzies, who idolizes Quinlan and painfully must come to terms with his betrayal. Dietricht is enigmatic gypsy Tana (memorable line as she looks over the considerably changed Quinlan and bluntly says: "You're a mess honey.") Mancini score, especially "Tana's Theme" ("Pianola"), is exceptional. One valid complaint about this otherwise beautiful DVD is that the standard version should have been included in addition to the widescreen version for those who have not yet overcome the perception problem of "those black bars." Now for me, widescreen is the best. It is how we see the movie on the big screen. This is how the film was shot, and we see camera angles that are lost when the film has been "reformatted to fit your television screen." Those who put together this DVD should have known better and provided BOTH options--usually standard practice with many DVDs.

Pulp Fiction
Orson Welles may have made the supposed greatest film in history with "Citizen Kane", but the experience virtually ruined him. Ostracised by Hollywood and the press after his insulting portrayal of William Randolph Hearst, he was relegated to making low budget films.

Touch of Evil was made in 1958; the last film to be directed by Orson Welles. Unexpectedly given the reins of the film, Welles threw away the script for the planned film, and in just two weeks scratched out a script based on a cheapo pulp fiction novel called "Badge of Evil".

The result, as presented now in a restored version (the movie was, like Magnificent Ambersons, butchered by the studio) is quite remarkable.

On the one hand, it is definitely pulp, with an extremely rough-and-ready style, gritty elements (this is the only "pot party" you're likely to see in a "great film" from the studio era!) and a very, very low budget.

On the other hand, it is a masterpiece. I was extremely impressed by the scene in which (*spoiler!*) Hank Quinlan strangles the Hispanic fellow. I have never seen a movie scene shot like this, especially with the surreal effect of the flashing neon, and the slanting camera.
And who can forget the end of the film, where (spoiler!) Hank Quinlan sits in a pile of garbage in a stream, and tries to cleam blood off his hands? Look at Orson's acting in this scene - truly magnificent.

Someone called this the best B film ever made. If you want to see a pulp masterpiece made on the cheap, see Touch of Evil!

You don't have any future , just only past!
This cynical answer given by Tanya (Marlene Dietrich) is obviouslly a clear a reference's pattern shakesperian.
Any other fim noir before or future has been able t tarnish Welles's vivid creatin of a mexican nightmare, or his realization of a set of characters who are so well depicted , resonant , cruel and colrful. This shakesperian giant utilizes his accustomed approach so efficiently that it makes hard for any viewer t be capable to disecrn which moment create the dramatic thrust of the story and the others laded of outrage and fuRY.
A film is really good when the camera becmes an eye in the mind of a poet. Welles made movies as an orchestra conductor.
The opening shot , lasting ver four minutes , show us once more the personal style of Welles in what concerns to the moving camera and the longtake, establishing the premise around whixh the narrative is built. Like the genius he was; he knows to emphasize the dramatical effects without losing his goal.The camera begins with a close up of a time bomb ; then the camera travels up and back , and fllows the car as a constant witeness . This opening shot is widely in all and every masterful of cinema in the world. Notice fr instance, the cinematic fluidity works out as a visual device .
Once more , we must recall the huge influence about the expressionism german permeated the visual style nt only of Welles , but Hitchcock and a a crowd of talented directors alng these three decades of glorious films noir.
If you need any other proof, think in Fritz Lang , wh came from Germany and (coincidentially?) fllowed the road of the film noir.
In these puzzle of corruption and shame Quinlan is shocked due he failed to bring his wife's murderer to justice ,and retaliates by enlisting the help of the racketeer Uncle Joe Grandi .
Once more the film noir works out as an extrardinary expressive device to express the hopelessness, the existential anguish , the shadows of the fate, the shame and distrusts that shapes the behavior of the human being. All this puzzle runs with the timeless tragic atmosphere ; you face the cruelty in Vargas's wife in the motel where she is kidnapped where visual scenes suggests us all the horror , told in theatrical language where the words are useless.
When Quinlan (as Macbeth)decides to visit Tanya about his future , he listen these bitter words wh wrk out as headline in the review.
From all the stanpoints , this is the one of top movies entitled as film noir , because Welles enriched the bitter insights so typical of this genre with shakesperian moods.
Notice for instance that Grandi reminds us to Yago ; obviusly Grandi has a minor stature since he is much vulgar and obscene . and Tanya is linked with Macbeth's witches ; and the nightmares and the demons who live in the cavern - mind of Quinlan reminds us to the decadent power.
A unforgettable masterpiece all the way.!

Restored to Orson Welles wishes. Great nighttime mood film.
Great black & white film noir film with Orson Welles. The opening sequence has the feeling that you are moving with through the night time streets of the California/Mexico border. You might be astonished by the weight of Orson welles as he does not look like himself from the time of Citizen Kane. The film starts with a bride and groom Janet Leigh and Charlton Heston as they walk into the Mexico border town. Orson Welles plays a wrong-doing police chief who wants to follow the couple. Heston is a well-known Narcotics Investigator and his wife trys to inquisitivly get involved in her husband's professional business. Well, when she sticks her nose in too far, she has got a mexican boy and his boss on her trail. While Heston separates from his wife for official business, he advises her to go on to a hotel for sleep. She ends up in this out of the way hotel taken care of by Dennis Weaver. (Janet Leigh would end up in another hotel two years later in PSYCHO [1960]). Heston must square off with Orson Welles. There are two different versions of this film. When Welles was fired as director, Universal Pictures recut the film. After Welles saw the film in 1958, he wrote a 58-page letter to the studio about the way the film should be re-edited and scenes added. In 1998, Universal obliged. This letter was found and a new version of "Touch Of Evil" was made from the original negetive and the film was reconstructed the way Orson Welles had wishes. This new version is longer at 111 minutes. This DVD version is the 111 minute version. The 1958 print is 108 minutes and shorter prints are 95 minutes. Cast also includes: Joseph Calleia, Akim Tamiroff, Valentin De Vargas, Ray Collins, Mort Mills, Victor Millan, Lalo Rios, Michael Sargent, Phil harvey, Joi Lansing, Harry Shannon, Dan White, with special guests Marlene Dietrich and Zsa Zsa Gabor. ... Read more

Reviews (90)

A Duke Classic
The Alamo is a true western/historical classic that John Wayne wanted to make for years before the actual release. The movie tells the story of the days leading up to and during the famous siege of the Alamo. Many people say it isn't accurate or its boring, but it is really anything but. The movie is full of patriotic speeches that at times slow it down, but they are still very enjoyable. As for historical accuracy, The Alamo goes on its own way. Many things seen in the movie never actually happened, but it contributes to the overall feeling of the picture.

All the performances are truly great. John Wayne portrays Davy Crockett with Richard Widmark as James Bowie and Laurence Harvey as William Travis. The cast is full of Wayne regulars who also give great performances; Chill Wills, Patrick Wayne, Ken Curtis, Denver Pyle, Hank Worden, Chuck Robertson and many others. Other good parts include Joan O'Brien as Susannah Dickinson and Linda Cristal as Flaca, the woman who captures Crockett's heart. The only out of place actor is Frankie Avalon as Smitty, the youngest of the defenders of the Alamo.

Overall, The Alamo is one of my all-time favorite movies. The set built in Bracketville is truly amazing. The final assault on the old mission is one of the best battle scenes ever made. The original, un-cut VHS version is much better than the DVD since it adds almost 30 minutes to the movie that are missing elsewhere. There are several scenes that are very interesting that I don't think should have been cut. However, the DVD does have an interesting documentary about the making of The Alamo. Excellent score by Dmitri Tiomkin, excellent performances, great battle scenes. Do not miss this movie!

one of the best movies ever made on the Alamo
as far as historical reference, it's not a documentary, but this movie is awsome. i've been watching The Alamo since i was a little kid. i pratically have the entire movie memorized in my head. the music is great in film, the guitars and mexican sounding music is relaxing. my favorite part as music goes is when the Mexicans are surrounding the Alamo and all you hear is the drums for like 5 minutes. Sounds awsome.

as far as the movie goes, this was a huge production and the Alamo still stands today! The real Alamo of course is in San Antonio, but the Alamo for this movie stands in Bracketville, TX, where other movies have been made. John Wayne stars, produces, and directs this one of a kind film. truly a great film by a great man.

of course, in every Wayne movie, there is always a love story of some sort, and the Alamo has a short love story. The Alamo centers around 185 Texans and fellow men fighting for their independence from Mexico and General Santa Anna, ruler of Mexico. the movie stars Richard Widmark (Jim Bowie) and Laurence Harvey from The Manchurian Candidate as Colonel William Barrett Travis. great movie and great cast. the actual battle scene rocks. tons of explosions and action.

there are 2 sad parts in the movie.
the first sad part is the day before the battle. all the men are together talking about life, because they know tommrrow they are going to die. the background music sets the right tone and i like Davy Crocket's quote during this scene. one of the guys asks him "What ya thinkin Davy?" and John Wayne (Davy Crockett) replies, "Not thinking, just remembering."

the second sad part is after the battle is over, and Lady Dickinson is leaving with her child and the boy. all the Mexican Soliders are standing around, there are some bodies of the men on the ground, and then Santa Anna makes his soliders stand when she's leaving. he also takes off his hat as a sign of respect.

what i liked about this movie is that John Wayne makes both sides look galiant and brave. the men of the Alamo know they are going to die, but they still stay to fight for what they believe in. then he makes the Mexican soilders look honorable twice. the first time, Santa Anna asks that all women and children be evacutated before he attacks, and this takes place.
the second instance is right after the first attack, which happens right after the women and children are released. the Tennessian boys are standing around and one of them says "even though i was killing them, i was proud of them. men dying for what they believe in."

the DVD features include about a 40 mintue feature on the making of the Alamo. this is where you really get to see how much The Alamo ment to John Wayne and just how loyal of a man he really was.

The Alamo is a classic that everybody should watch at least one time in their life. great film that to me, will always be remembered as John Wayne's greatest work.

Still Waiting For the 2-Disc Special Edition
One could easily say that seeing this film for the first time was a turning point in my life (it probably had a great impact on a lot of other 6-year old boys, too). To this day, John Wayne's "The Alamo" still has a firm grip on me emotionally.

True, the film is not accurate to history, but I dare anyone to name a movie that is! As I stated in my review of "The Messenger: The Story of Joan of Arc", Hollywood makes "movies", not documentaries (and most documentaries don't agree on the details of the Alamo, anyway). Movie producers, like John Wayne, try to make an "entertainment", to sell tickets and make money. Anyone who thinks film makers are honor-bound to tell the truth on the screen is kidding him or herself.

So the question is: Does this movie entertain? Speaking subjectively, I say a resounding "Yes!". I guess there's still a lot of 6-year old in me.

One suggestion I have for Ted Turner (or whoever makes the DVD decisions over at MGM) is to release the roadshow Director's Cut version on a 2-Disc Special Edition. Include the 40-minute documentary found on the current disc, and any other archival footage pertaining to the film (Oscars, premiere, interviews). I would also like to see the television special, "Spirit of the Alamo", that John Wayne hosted in 1960. A part of it was used in the aforementioned documentary, but it would be nice to see the program complete for a change. Perhaps the discs could also include a printed history of the Alamo and other events during the Texas Revolution, so viewers won't come away from the film thinking they just witnessed the truth.

A few good scenes, mostly nonsense
The script of this movie is awful. There are so many historical inaccuracies. There's also a lot of schlock in the movie.

Frankie Avalon didn't disgrace himself, but why was he in the movie, anyway? Smells like pandering to the younger generation!

I couldn't believe The Duke as Davy Crockett. I always thought of him as Duke, rather than Crockett. You can't superimpose one big legend on top of another.

Richards Widmark and Boone were good in their performances.

Laurence Harvey as Travis was terrible! That accent was all over the place. Finally, in his last big speech he abandoned it altogether, sounding more like Laurence Olivier.

This movie was long and bloated. I kept checking my watch. I'm thankful that I don't have to sit through the director's cut!

Skip the first two-thirds of the movie and check out the last third, and you'll be just as well off!

Frankie Avalon in one of his 1st movie roles
The movie is good and with Frankie Avalon in one of his 1st movie roles. ... Read more

Reviews (37)

Worth seeing 100 times!
They don't make them like this anymore! An exciting film noir with the beautiful Rita Hayworth and the handsome Glenn Ford. They were the most popular movie couple of the 1940s/1950s and seeing GILDA you're caught in this love triangle of a women torn by love/hate and two men falling into her trap. Rita does the unforgettable "Put the Blame on Mame." A MUST SEE for fans of these two classic mega-stars!

"There never was a woman like Gilda!"
This artificial melodrama is only redeemed by the absorbing performances of its lead actors. Set in the Argentine, along a backdrop of gambling casinos, illicit trade and international intrigue, it portrays an American gambler (Glenn Ford) who is enlisted to become the right-hand-man of a powerful casino owner. He is struck by the fact that his new boss's wife, Gilda, is an old flame of his, a sensuous, enigmatic and manupulative "femme fatale", played by the sex bomb of the 1940s, Rita Hayworth. The story develops along a pattern of a love triangle sustained by reciprocal hate, love and domination as the trio dramatically pit their wits against each other. The dialogue sparkles once managed by these actors and in this style. Hayworth is captivating as Gilda, perhaps her most accomplished performance. Ford is also good as the gambler promoted by the boss to casino top-dog, though the honours also have to go to George Macready as the the husband and boss, the ice-cold, self-possessed, aristocratic type. The character actors, particularly Joseph Calleia and Stevan Geray, provide excellent support. The digitally remastered version of the film restores the crisp quality of the black-and-white phtography.

"I make my own luck."
In Charles Vidor's classic film "Gilda" Johnny Farrell (Glenn Ford) plays a down-on-his luck drifter in Argentina. One night, he meets mysterious casino owner Ballin Mundson (George Macready), and soon Johnny is working in the casino--and rapidly rises to become Ballin's right-hand man. Johnny has a rosy future until Ballin leaves for a short period and returns with a juicy new bride--Gilda (Rita Hayworth).

Johnny and Gilda had a relationship in the past that turned sour. Ballin quickly guesses the true state of affairs and a rather bizarre love triangle ensues....

Ballin attempts to control Gilda by giving her a very long leash. He has some rather dirty business in his past, and that keeps him occupied. Ballin assigns the role of watchdog to Johnny. Johnny finds this role excruciatingly painful, and he's caught between fealty to his employer and suppressed lust for Gilda. Johnny attempts to control Gilda by locking her up--neither man's plan works. Gilda remains an exotic, reckless creature who endangers herself in order to make a point. Gilda's wild attitude towards life, and her sarcasm--loaded with suggestive meaning--is brilliant. When describing herself, Gilda says, "If I'd been a ranch, they'd have named me the Bar Nothing." All men want to possess her, and yet possession is the one thing she won't allow.

Rita Hayworth as Gilda is simply stunning. There's no other word that I can use. When she's in a scene, she takes over--with her body, her movements, and her reckless approach to life. When she enters Ballin's sharply controlled existence, chaos rules, and she sends out shock waves of desire to all who see her. Hayworth performs a semi-striptease during a song, and she removes one item of clothing. The crowd roars with delight, and the men in the audience have to be physically restrained from ravishing her on the spot. Amazing stuff. For film noir buffs, I recommend this film. It's highly entertaining, full of great-one liners, and Rita Hayworth is nothing less that magnificent. The DVD was marvelous quality and well worth the purchase--displacedhuman.

Rita Hayworth stars as GILDA, with her 2 GAY boyfriends!
.
I remember the first time I saw this noir classic as a teenager and thinking how wonderful it was that a film had been made in the mid-1940's that actually featured a plot about two gay men and their diva girlfriend.

Years later, I read an interview with Glenn Ford in which he said that everyone who worked on the film knew there was an obvious gay storyline, but that due to the film being made in the 1940's, they had to be very subtle in their interpretations of gay lovers on-screen. It's still obviously clear that George Macready is Glenn Ford's rich and not-so-charming sugar daddy. Both leading men wear so much product in their hair and are so well dressed and manicured, you just KNOW they can't be straight!

It doesn't take a genious to figure out that the two leading men are more than just good buddies. When Mundson first presents his new wife Gilda to his male lover Johnny, he says "Quite a surprise to hear a woman's voice in my house, isn't it Johnny?" Well, you can tell by the look on Johnny's (Glenn Ford) face just how surprised he is!

Gilda is the perfect trophy-wife for any gay man in the 1940's who's running a gambling casino and who needs the perfect "beard" to keep up a straight appearance. Gilda is just so fabulous that any gay man would love her... except of course for Glenn Ford, whose insanely jealous of his boyfriend's new diva; for reasons that are never made quite clear in the film. (Probably due to heavy post-production censoring, of which much was done by the notorious Hayes Office that censored all films of this era.)

In fact, Gilda is so fabulous, that not only does Mundson marry her, but when he "dies" in the film, Gilda is then married by Mundson's lover Johnny! (Of course neither marriage is ever consummated - a fact made quite clear in the film.)

Gilda is so diva-esque, she's almost a drag queen! The gowns, the shoes, the hair! FAB-u-lous! The ad-line for the film stated: "There never was a woman like Gilda". Of course there never was a woman like Gilda. Gilda wasn't supposed to be like any real woman, she was a fabulous cartoon. While there may never have been a woman like Gilda, we had the closest thing: Rita Hayworth.

Of her own real-life problems with men, Rita was quoted as saying "All the men I knew went to bed with Gilda and woke up with ME." Who could live up to the reputation of Gilda, the character of whom "there never was a woman like"? Poor Rita!

Watch this film with a "queer eye" and you won't see any "straight guy" in the storyline. Snaps for good gay cinema of the forties!

P.S. If they ever decide to remake this film, I would recommend that they cast TV's "Will & Grace" lead stars Deborah Messing as Rita Hayworth and Eric McCormick as Glenn Ford. They would be PERFECT cast in these immortal roles! (Deborah Messing is SO Rita Hayworth, and she plays off McCormick just as Rita played off Glenn Ford. The casting would be ingenious!

"Maybe That Stands for Something"
Rita Hayworth went down in Hollywood history as the Love Goddess. Her title role in *Gilda* (Columbia Pictures, 1946) leaves no doubt why. Yet here she is much more than a sex symbol. For one thing, Rita was a seriously talented actress. For another, she was one of the best dancers in films. To this day her performance in *Gilda* remains unrivaled as a combo of skill, sensuality, sensitivity, and sheer drop-dead pulchritude. Columbia's catchy ad-phrase for the film was, "There never was a woman like Gilda." You'd better believe it. Glenn Ford perfectly fills out the character of Johnny Farrel, the young gambler who hates to love femme fatale Gilda. In return, Gilda loves to hate Johnny. George MacReady offers an outstanding performance as murderous Ballin Mundson, the man Gilda fears.

If you like movies that challenge the viewer to figure out hidden meanings, then *Gilda* is for you. "Maybe that stands for something," Rita-as-Gilda says near the beginning; "Maybe that means something," she says near the end. Halfway through she says, "Any psychiatrist would say that means something." The question of interpretation hangs over the entire film, loaded as it is with symbolism and double-entendres.

On the other hand, you can ignore the subtext and enjoy *Gilda* as a noirish romantic mystery-thriller. It's a beautiful flick to look at in black and white, and it's never boring, even all the decades since it was made. Some reviewers say the plot is difficult to follow. I don't agree; the story is both logical and economical. But that may be because I understand *Gilda* to be a dramatized introduction to the psychological concepts of C.G. Jung. Never mind. If you like your movies to be just movies, *Gilda* tastefully blends ingredients from *Casablanca*, *The Maltese Falcon*, *Notorious* and *The Big Sleep*, then stirs in its own original sauce. In my opinion, it's an improvement upon those classics, as fine as they are by themselves.

I wouldn't call *Gilda* a true film noir, for the reason that at the end the male and female leads are triumphant instead of tormented. Great films of the 1940s that had real "noir" (black) denouements are *Criss Cross*, *Detour*, *Double Indemnity*, *Scarlet Street*, *The Killers* and *The Postman Always Rings Twice*. Still, on their way to a happy ending Johnny and Gilda pass through a landscape that is darker and more suggestive of spiritual abandonment than most '40s film noirs dared explore. At the same time, because of the intense chemistry between the leads, *Gilda* sizzles hotter than any film of that period I can think of.

Love the music too. Five stars. They just don't make 'em like this any more. ... Read more

Reviews (1)

Branded
If you enjoy good OL westerns this is one of the most entertaining. Good story, one of Alan Lad's best westerns. ... Read more

Reviews (7)

A great film noir
Great performances in the classic thriller from the 40's. There is good chemistry between Lake and Ladd. It is a whodunit that will keep you guessing. A must for any collection of movies from that era.

Strong Supporting Cast
Alan Ladd and Veronica Lake star in this remake by Paramount of the Hammett classic. Brian Donlevy has the role of Paul Madvig, the political boss. The script is not too faithful to Hammett's original work but I still recommend the movie. William Bendix and Joseph Calleia round out a strong supporting cast.

My favorite Ladd/Lake vehicle, good book adaptation
There are many reasons to check out this film. First, it is the second and best on-screen teaming of Alan Ladd and Veronica Lake (they were first paired in This Gun For Hire with Ladd playing the bad guy) Second, it is based on a novel of Dashiell Hammett whose exterior narration style transfers very well to screen. Third, it's just a good 40s whodunit.

The book is toned down but for the most part its satire of politics is allowed to remain intact. Most of what gets eliminated are subplots and partying which, though interesting, do not add to the story much. The movie is much leaner but less complex than the book but it is still faithful to the overall spirit.

Alan Ladd plays a tough guy/toadie to a local politician, Madvig, who has his fingers in a few too many pies. Madvig falls in love with Veronica Lake and burns a few political bridges to win her hand. Lake is the daughter of a senator, one of Madvig's political rivals. All seems to be going well until Lake's no good brother is found dead in a gutter and all fingers point at Madvig. The only person who seems to care about proving him innocent is Ladd. Even Madvig seems determined to get himself convicted. Ladd becomes obsessed with finding out the truth and goes through beaurocratic red tape, underworld sleaze, a torture session and his own feelings for Lake to find out who the real killer was.

Alan Ladd does a great job in the strong-silent role. He is stoic without being cartoonishly so. (The injury makeup is so convincing that you want to flinch for him) Veronica Lake is also good but really isn't given much to do besides show up onscreen in a series of ever more outlandish hats. (I love 40s fashion!) She isn't given any really good scenes until the last third of the movie. The supporting cast is universally good, it includes former Nancy Drew actress Bonita Granville as Madvig's kid sister. (changed from daughter in the book to make up for the relative youth of the actor)

This is a good bit of film history and a very good mystery (you think you have it figured out when it suddenly takes another twist) It is also a chance to see one of the great 40s screen teams in action. A must for classic film noir fans, don't miss it

Fairly good adaption of an excellent book.
I was impressed how this movie stuck very close to the story and dark overtone of the book itself. I highly recommend the book, you will get a sense of Hammett's brilliance as a writer. The movie itself stands fairly well by itself. Alan Ladd plays the dark hero (Ed Beaumont, Ned in the book) and henchman of political magnate Paul Madvig. Madvig is currently busy on promoting his newest senator candidate into power. Madvig's sister however is secretly seeing the candidate's gambling, conniving son behind his back. After an ultimatum by Madvig to his sister, the senator's son is found shortly thereafter dead in the street. Thus the mystery begins. Veronica Lake (who is stunningly beautiful) plays the senator's daughter who Madvig is in love with. Won't go into more detail, but will say that it is well worth your time to both watch the movie and read the book. Crime noir at it's best.

William 'Billy' Benedict a bad guy? Never, well maybe
What ever happened to William Bendix "Boys' Night Out (1962) ASIN: 6302985293" and "Life of Riley Vol 02 (1953) ASIN: 6304212550"? I always thought of him as a good guy. Boy, this shatters my image of him.

They mention "the glass Key" at the beginning of the film as the key to a position. A warning says, "it is a glass key, be sure it does not break off in your hand."

This movie was supposed to be the one that made it for both Veronica Lake and Alan Ladd. I did not read the book but Dash-it-all Hammett is usually a lot darker and his characters are usually a lot sleazier. The only really dark scene was probably the encounter between Ed Beaumont and Jeff. The mystery was good. The who-done-it and why lasted up to the end. ... Read more

Reviews (2)

Superb little McCrea Western
Four Faces West is a superb little Western, and it is satisfying to see it released on DVD. McCrea, Frances Dee [his real life wife], Charles Bickford [Dee's father], and Joseph Calleia head a fine cast. McCrea is eminently believable; his trademark taciturn, self-effacing character is captivating--not a single shot is fired in the entire movie! Bickford's Pat Garrett is also a stand out. Now, let us hope that some of McCrea's other oaters get released---maybe RAMROD (with Veronica Lake), or the playful SADDLE TRAMP (with John McIntyre) and CATTLE DRIVE (with Dean Stockwell). And there is STRANGER ON HORSEBACK, another superb little Western....and RIDE THE HIGH COUNTRY, already on VHS, desperately needs DVD release.

great movies
I liked the movie and have been trying to find it for a long time . black and white but still a good movie. Joel McCrea is good as always in this western made in 1948.I have already bought it as soon as I saw it was listed in your western section.I was surprised to find it. ... Read more

Reviews (11)

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

Hollywood's version of the fight for Mexican independence
This historical drama, directed in 1939 by William Dieterle, tells the tale of Mexican Independence in terms of a political soap opera. Napoleon III (Claude Rains) appoints Maximilian von Habburg (Brian Ahenre) to be Emperor of Mexico. However, Maximilian and his wife Carlotta (Bette Davis) discover they face bitter opposition from the Mexican people, who obviously want the democratic government their President, Benito Juarez (Paul Muni) has been trying to establish. Maximilian is sympathetic, but the day he and his wife adopt a Mexican child as a sign of