Reviews (107)

A Cry for Freedom
Even though the story of SPARTACUS takes place in ancient Rome, the film itself is a profoundly contemporary work of the time that it was made; the eve of the Civil Rights movement in the US, and at the end of the HUAC witch hunt in Hollywood.

The chief engineer of this project is producer Kirk Douglas who portrayed the salve hero, but the wisdom behind all that is screenwriter Dalton Trumbo, black-listed in Hollywood, worked under various pseudonyms during the fifties for films such as ROMAN HOLIDAY, here properly restored to his rightful position of one of the best screenwriter in the business, with his own name credited on screen. The original novel is also written by another black-listed writer, Howard Fast, who claims that the idea of writing a film about the slave revolt came into his mind during the time that he spent in prison.

So the message that its story carries is unviersal, and even contemporary: man's struggle for freedom, striving for human equality, the solidarity of all that are oppressed disregarding their creed, birth and color of skin--the gladiator whose death triggers Spartacus' revolt is portrayed by Woody Strode, afro-american actor and a regular of John Ford's movies. The film embraces humanity, freedom to chose the way he wants to live, the freedom to trust one's friend, even the freedom of sexuality --Spartucus and his lover Varinia are never legally married, but she gives birth to his son--, and the freedom and passion to sacrifice oneself for the sake of his pears and the great cause of human freedom.

One the other hand, the film strongly accusse the corruption of power, the decadence of those who have power, and the rise of fascism. Democratic politician Charles Laughton, with all the virtues and vices that a regular politician has, taken over and eventually eliminated by seemingly much "cleaner" military leader Laurence Olivier. Needless to say, the clashes performed by those two great actors is a great excitment to watch.

Kirk Douglas gives one of his most convincing performances as the revolutionary leader of slaves, Jean Simmons plays his innocent, healthy and strong partner with a healthy sensuality, and Tony Curtis gives credibility to Spartacus' surrogate son who represents culture and education; they are not barbaric slaves, they can be as cultured as their masters are, and even better because they are true, honest humans as opposed to the corrupted masters whose wealth and culture are based on oppression of other humans.

To simply put, SPARTACUS is a fine example of how a good entertaining movie can carry a powerful message; when it truly suceeds, it'a great joy to watch.

This fully packed DVD is a re-issue of Criterion's celebrated LaserDisc edition. Added to a interesting commentary track by the filmmakers including Douglas and Peter Ustinov who won an oscar for his performance, there is another track on which Dulton Trumbo's notes to the rough cut of the film is read--a great lesson to all those who wants to learn how to write a film. Othe supplements includes a hillarious interview with Peter Ustinov, a lot of scketches and stills, and more. It's a great DVD. Please enjoy it as many times as you want.

note: the superb package design is a reproduction of the original poser art created by Saul Bass. The poster is also among the suplements of this DVD.

Strong story, weak depth, but epic & entertaining
Based on the novel by Howard Fast, Spartacus recounts the life of a slave turned gladiator turned freedom fighter. The story of Spartacus begins with him as a free spirited Thracian slave in 70BC. Spartacus is trained in a gladiator school, where he meets and falls in love with the slave girl Varinia. He then leads the other gladiators in revolt, and assembles a huge army of thousands of slaves to challenge the might of Rome. The ending is tragic, but not without hope. Spartacus was in fact a historical figure and the movie's story of his squashed rebellion against Rome - including the crucifixion of 6000 survivors - is largely rooted in truth.

The movie can best be described as epic. On a grand scale, the Roman empire is brought to life, with its corrupt aristocracy and its simple lower class. The epic battle scene which forms the climax of the movie features 1000s of extras, and although it is sometimes hard to tell who is on which side, the effect is magnificent and grandiose. Despite the action scenes, the movie is surprisingly introspective at times. Unlike modern efforts such as Gladiator, Spartacus is not an action movie as such, and fans of contemporary action movies not surprisingly find it disappointing. Spartacus' struggles are just as much emotional as they are physical. But to me this is a strength and not a weakness: the shortcoming of most modern action movies is not present here because the characterization is superb.

Even though the movie is not gory (although it is bloody at times), the adult themes make it unsuitable for children. For instance, successful gladiators are given women to have their way with them. And on numerous occasions, although nudity is not shown it is strongly implied and barely concealed. The implication of bisexuality (in a scene not present in the original) and promiscuity is also strongly evident as part of the corruption in Rome. But it also touches Spartacus. In a rather daring move for the 1960s, Spartacus and his woman Varinia conceive a child out of wedlock, which is presented as natural and good. Spartacus' fight for freedom apparently includes sexual freedom. Its hardly surprising that these two fall in love in a rather sappy love-at-first-sight Hollywood romance, where they don't even know each other as yet. Ultimately it is not only Rome that chases gold, girls and glory without morals, but Spartacus himself is not really much different.

But it is not only the moral ambivalence of this movie that disturbs me, but also its underlying political themes. How is Rome presented? As totally corrupt, with no redeeming qualities. "If a criminal has what you want, you do business with him." How are the slaves presented? As noble and good. "We're brothers." The army of slaves proceeds in a carnival like atmosphere, and the producers present lots of images of joyful children and exuberant elderly as part of their number, to arouse sympathy for their cause. But isn't this rather a cliché? It is, but that's the whole point. Aristocratic Rome is presented as evil, and the oppressed lower class need to be liberated from her corrupt rule. The rich are all evil, the poor are all good. Sounds familiar? It's a defence of the brotherhood of communism. Ultimately the movie endorses peasant revolt as a legitimate option, and advocates rebelling against authority. Rather than rendering to Caesar what is Caesars, it encourages open rebellion, in order to usher in a new political system of brotherhood and freedom from repression. Sound too far-fetched? Here's the clincher: Howard Fast, author of the novel on which this movie was based, was a devout and committed member of the Communist Party of the USA, and for many years his works were black-listed. The story of Spartacus may be rooted in history, but Howard Fast has reinterpreted it as a defence of his own political communist ideals. Rome represents Western Capitalism, and the slaves represent the oppressed peasant proletariat. Spartacus' defence of liberty, equality and fraternity is in fact anachronistic.

So sure this is an epic movie. At the time of its production in 1960, Spartacus was the most expensive movie ever made. With a cast of star actors, especially the compelling performances of Kirk Douglas as Spartacus, Laurence Olivier as Crassus (the influential Roman senator), Peter Ustinov as Batiatius (the bumbling and greedy owner of a gladiator school), and Charles Laughton as Gracchus (the corrupt and scheming Roman senator), it's no wonder it won four academy awards. But the fact that Spartacus is an epic movie does not disguise the fact that it is not deep. Any deeper themes that the movie does have to offer are communist and hedonistic, and this ideology mars the story. This may be a movie that rivals the grandeur and scale of Ben Hur, but thematically, it doesn't come close.

Even so, it's still worth a look. Even if one cannot share the cause of Sparticus and political ambitions it embodies, one has to admire the spirit in which Spartacus fights for his cause: it is a losing battle, and yet with dignity and fervour he fights for what he believes is right - a quality to be coveted. And it's ironic that if you can overlook the weaknesses of its depth, the strength of this movie lies in its superficial story. It has comedy, tragedy, triumph, romance, action, intrigue, and an epic scale. As entertainment, it's an enduring epic that still can be enjoyed today.

3 Stars For 3 Outstanding Performances...
Kubrick replaced Tony Mann on directing duties for this brave, but lumbering costume epic which is ultimately propped up by three beautiful performances. Peter Ustinov(won the Academy Award for Best Supporting Actor for his work here), Charles Laughton(should have been similarly nominated)& Laurence Olivier all do incredible work under the guidance of a very young Kubrick & all deliver what comes very close to their best work. Their presence is notable chiefly for the fact that without them, SPARTACUS would never have been the extraordinary spectacle it surely is. Kirk Douglas gives a brooding(& lifeless)performance in the title role, ultimately undermining any sequence not containing the three aforementioned thespians. Jean Simmons, as the love interest, is similarly uninteresting & while undeniably beautiful, fails to evoke for the viewer the love & devotion she receives from Douglas & ultimately Olivier. Pre CGI, it comes armed with some beautifully choreographed & violent battle sequences, but for those looking for an earlier version of Ridley Scott's GLADIATOR, this one may come off a little old-fashioned. It is worth noting(& you'll learn this from the wonderfully insightful 1992 Ustinov interview[his impersonation of Laughton is a riot]contained in the bonus material)that Ustinov rewrote all the scenes he plays with Laughton. It should come as no surprise to the discerning viewer, they are easily the best moments in the film.....

Divine Right of Kings
Sparticus represented more than a gladiator-slave uprising. Sparticus represented the Italian's people dissatisfaction with the Roman Senate and the general corruption and impotence within the Senate.

Citizens once had a voice with the Senate and the Senate listened keeping the republic free. Now, the Senate caved to the demands of the dictators and military commanders and installed for the first time an Emperor giving him six legends too suppress the slave uprising.

In the end the slave and citizen uprising could not resist the Roman legions. Many of the people joining Sparticus were discontent citizens of Rome and individuals from countries that did not like Rome. Originally, the republic which was composed of strong free men. The military started the slow strangulation of the republic by replacing it with an empire. Julius Caesar was introduced as the shadow of the wings of power. Crassus was depicted as the total dictator who put oppressive demands on Rome and the Senate as the body that had lost its power. The Senate historically would have debated the issues and objected to outrageous demands. Instead, the Senate allowed the Emperor to rule Rome and the Emperor established the laws and source of the law and executed the law. The Emperor had power too repeal old laws and establish new laws, in place of the old ones. The punishments for violation of the law could be death and probably a Roman death on the cross demonstrating the Emperors absolute power. The Citizen did what they were told and they did not act without permission. Secret police reported any activity that could bring punishment on the citizen. The laws were supposedly designed to bring security. As the Emperor distrusted and feared the people this only accelerated the downfall of Rome.

The notion of divine right of kings was established. Taxes imposed on the people support the huge military appetite generated as Rome conquered many European countries. The government would become an autocracy and the Emperor the supreme commander.

Sparticus hoped to flee Rome, negotiated with pirates too build ships using gold taken during conquests that would take them from the tip of Italy away to a promise land. Instead, the pirates betrayed Sparticus and did not build the ships allowing the Roman legends to trap Sparticus from the South pushing him towards Rome and forcing a confrontation in the fields close to Rome.

Sparticus was defeated, his men cruxified along the way to Rome, when captured his men coined the phrase "I am Sparticus" when asked who was Sparticus. Sparticus wife would become a member of Crassus Heirloom yet the Senator would arrange for her escape and continue with his own suicide and Sparticus son would remain free.

Good movie, bad transfer
It should be noted that the reviews on this page refer to two different versions of the Spartacus DVD. This review refers to the Universal single disc edition, not the Criterion two-disc release.

While both versions of the film are the same, this version is devastated by a bad transer: both sound and picture quality are seriously lacking - even as far as a blue edge to blacks, including the widescreen matting, and blue fades in parts of the film. The sound is poorly balanced - voices are too quiet, music too loud. I was contantly turning the volume up and down throughout. So much for "fully restored."

If you are interested in quality and really like this movie I would skip this version and go for the Criterion release, which many other people own and have approved. ... Read more

Reviews (8)

Intense Relationship Between Teacher and Student
Bette Davis stars as Miss Moffat, who inherits a home in a Welsh mining town and decides that she will educate the young, especially the boys, who are otherwise doomed to a life in the mines. One student, played by John Dall, gets her attention when he reveals depth beyond what she expected, and before long, they are working hard towards getting him a scholarship to Oxford. However, the housekeeper's conniving daughter threatens to ruin everything. Davis is very good as the crusading, very emotionally controlled middle-aged teacher, only once in a while letting us see her act. The supporting cast are all good, with Dall especially strong as the student fighting against his background. There is the occasional moment of stiff dialogue, but there are also some terrific lines as the intense relationship between teacher and student is explored. Irving Rapper doesn't have much punch as a director in this or any of his other films that I have seen, but the story is the kind that will draw you in and having you rooting for the underdog.

DAVIS WILL SAVE US.
Bette Davis does a commendable job portraying L.C. Moffat, the prim, spinsterish English school teacher who comes to the small village of Glensarno, Wales to claim a house she's inherited. Moffat is appalled at the lack of education received by the young men who live in ignorance and squalor in the mining community, so she decides to set up her own school and teach what she can to those who are willing to learn. Miss Moffat's prize pupil is Morgan Evans (John Dall, his debut) who shows natural intelligence, perhaps genius...Rosalind Ivan does well as Watty, the reformed shoplifter who has become an activist in a militant religious group. Joan Lorring also made her debut in the movies playing - with considerable skill - Bessie, Watty's strumpet daughter who eventually complicates matters with her feminine "charms". Davis is so terribly noble and plays the martyr with such conviction that you are only subconsciously aware of the sexual undercurrent between the student and teacher; her devotion to Evans is at once gently heartfelt and and poignantly bitter. Mildred Dunnock borders on being a pain as the prim Miss Ronberry and Rys Williams is adequately square as Mr. Jones, the shop clerk. Nigel Bruce does well enough as the pompous Squire, a landowner who is ultimately "won-over" by the "charm" of Miss Moffat (did she resort to using clever psychology perchance?).

Welcome to Wales (California)
The movie opens as the Welsh miners return from a day in the pits. One wonders why they aren't all carving out for themselves careers in the arts, since the combined force of their voices as they merrily sing their way across hill and dale rivals the Mormon Tabernacle Choir for sound. Of course, if you happen to live in Wales, this kind of virtuosic performance would probably be a fact of everyday life to you. As would those strained, tortured accents. Rhys Williams has a few amusing moments, but one worries about his apparent identity complex-he can't seem to make up his mind whether he is Welsh or Irish, so he throws in a little of both just to be sure. Similarly, John Dall (who would nowadays be largely forgotten were it not for his role as one of the notorious killers in Hitchcock's 'Rope') tries desperately to convince Bette Davis that he is just a poor kid who all his life knew nothing other than impoverished village life in the heart of Wales, but his accent gives him away-he was obviously brought up in America, with brief stints in Ireland and Scotland, before being transported to his current locale.

Mocking aside, this is a good movie. We can forgive Hollywood for the awful attempts at Welsh accents (any Americans reading this review are probably sitting there bemused, thinking, What, so they don't really talk like that in Wales? Yeh, sure-and all the Londoners I know sound just like Dick Van Dyke). It is a moving story of an early feminist who takes it upon herself to educate the deprived children of a small mining community. She faces opposition from the local Squire (the ever-loveable Nigel Bruce) and from the ignorant masses (don't worry-they grow to love her), but still bravely ploughs on to introduce the town to the joys of Shakespeare, the benefits of arithmetic, and the charms of good grammar. She takes a young lad (Dall) under her wing and in him recognizes the seeds of a genius, so sets about gaining him a scholarship at Oxford. The picture ends on a good note with a little melancholy thrown in for good measure. It is actually a very thoughtful story, that set me thinking about sacrifice, servanthood and dedication. Production values are generally high, and the whole thing is played out with a good sense of humour and at a nice pace.

A COMPELLING DRAMA WITH A GIFTED CAST...
This is a great, old style drama which sees Bette Davis in the role of L.C. Moffat, an English school marm who has inherited a house in Wales. Highly educated for her time, Ms. Moffat, moved by the squalor, poverty and ignorance of an illiterate people, takes pains to start up a local school, much to the consternation of the local yokels. Soon her efforts bear fruit, as she comes upon a diamond in the rough in the form of Morgan Evans, an orphan who is struggling to survive in the mines, but is gifted with a native intelligence and sensitivity which belies his surroundings. Well acted by John Dall, Morgan has glimpsed the world outside his rural village through the magic of the books provided by Ms. Moffat. It is she who is enlarging his world view. Enlisting the aid of the local squire, she grooms Morgan for a scholarship at Oxford.

Ms. Davis gives a compelling performance, as does the rest of the cast. The movie is a wonderful portrayal of the relationship that has formed between a very special teacher and a gifted student, who, but for that teacher, may never have realized his potential. Ms. Davis always plays strong, stalwart women with a cutting edge to them, and in this role she plays true to form. She is absolutely magnificent. John Dall is superb as the coltish Morgan Evans. Nigel Bruce is perfect as the pompous, but kindly, local squire who is manipulated by Ms. Moffat to sponsor Morgan in his bid for Oxford. Joan Lorring is wonderful as the sly and lascivious cockney girl, Bettie Watty, who almost derails Morgan's future when she become pregnant with his child. Rosalind Ivan is marvelous as Bessie's mother, Mrs. Watty. Rhys Williams and Mildred Dunnock are superlative in their roles of the assistant school teachers, Mr. Jones and Ms. Ronberry. This is truly a movie well worth having in one's collection.

Another look at a great actress
It is only when an actress takes the risk of portraying a character whose persona does not already reside wholly within her but must be constructed from experience and talent, can one be classified as a truly great actress. Davis's portrayal of the caring school teacher is believeable and touching, in part because she has an edge to her that makes one believe that she could live this rather harsh existence in Wales with pride and dignity. I find it refreshing to see a performance which is risky for the perfomer because everyone grows from it and the fan gets a new glimpse of real talent. I will always hold this performance of Davis's as a most special one because, although one senses she can bite if needed, the dialogue is not her typical "chip on the shoulder" jargon. Lovely movie, great story, refreshing performances. ... Read more

Reviews (14)

Terrific Little Gem !
Over the years, I had seen the striking, lurid poster for "Gun Crazy" in various film books ( nicely rendered on the DVD cover ), but I had never actually seen the movie. Well, the movie knocked me out ! This has to be one of the greatest "B" movies of all time. It was also briefly titled "Deadly is the Female", very "film noirish" and appropriate.

I will not reveal too many details about the plot--other reviewers have covered it extensively ( perhaps in some cases too extensively ). Bart Tare ( John Dall ) has had a passion for guns his whole life. At a carnival, he meets a sideshow sharpshooter from London, Annie Laurie Starr ( Peggy Cummins ). They are soon sharing not only a passion for guns, but an intense passion for each other ! Falling under the spell of this charismatic, young blonde--who craves excitement, action and the finer things in life--Bart is drawn into a cross-country crime spree that escalates from robbery to murder.

As one of the best "femme fatale" types in film history, Peggy Cummins gives a rivetting performance. You can't take your eyes off her, as she fanatically plunges down a road from which there is no return, taking the man she loves with her. Her character steals money--Ms. Cummins steals the movie ! As Bart, John Dall is rather stoic and one-dimensional until later in the film, when he realizes the harm he is causing others, including those who were close friends. His performance really picks up in the later scenes. Incidentally, Bart as a youth is played by Russ Tamblyn, later to spark a number of movies with his dancing and acrobatic skills.

The other "star" here is the Director, Joseph H. Lewis. His approach is refreshing and innovative. I particularly liked the scenes where you--the audience--are in the back seat of the getaway car during a heist. You cannot help but wonder how much later films like "Bonnie and Clyde", "Badlands" and "Natural Born Killers" were influenced by this low-budget masterpiece ?
I also liked the way that Lewis depicts the sexual overtones of his characters and situations, remembering that this film was first released in 1949.

Concerning the picture quality of the DVD, I see that one reviewer had some problems with the image. Personally, I found the black and white picture to be crisp and clear, especially for a film now 55 years old. The optional comments of author/film buff, Glenn Erickson, are a very nice bonus.

"Gun Crazy" provides further proof that, whether it's the 1940s or 2004, you don't need big budgets and "superstars" to make a memorable film. If you have a taut script, a talented director and even one terrific performance, you can come up with a winner. Thank you, Warner Bros !

"She ain't the type that makes a happy home."
In "Gun Crazy" Bart Tare (John Dall) is raised by his big sister Ruby, and she blames his very early obsession with guns on the fact that "Bart needed a man around the house." But whatever the reason behind Bart's obsession, the fact is that he feels the need to always have a gun in his possession. After stealing some guns from a local shop, Bart is sent off to reform school. Following a stint in the army, Bart returns home. Both of his childhood friends are settled in solid careers--one is a policeman, and the other is a newspaper reporter. Bart's plans are vague. He's now a marksman and has vague plans of getting a job with Remington.

One night, Bart's friends drag him off to a carnival, and there Bart meets a British carnival sharpshooter, Laurie Starr (Peggy Cummins). Laurie's baby-face sweet looks cover a heartless killer whose desire for money exceeds all else. The chemistry between Bart and Laurie is immediate. Unfortunately, Laurie wants to live the high life, and so they embark on a life of crime.

For film noir fans, this is a must-see classic. Peggy Cummins is great as the evil Laurie Starr whose overpowering need for wealth and riches (without working for it) pushes weak-willed Bart into an action-packed life of crime. Of course, things spiral into an inevitable conclusion, but the ending, in spite of its predictability, remains riveting. The film is also known as "Deadly is the Female"-displacedhuman.

The Real Deal
If you like low-budget 1949-era noir B movies you will love this one. It has everything that makes that style appealing: good lines, slightly overdrawn characters, simple morals, interesting exterior photography, etc. What a find!

Gun Crazy
I had heard a lot about this movie but after watching it I wonder what all the fuss is about. The characters were not quite believable as hoodlums and I lost interest it them about half way into the movie at about the same time the movie should have been ending.

Beautifully crafted...but not quite right.
First of all, Gun Crazy is astonishing for a low budget B movie. The care, craft and detail are truly impressive.

But something's a little "off". After two viewings I came to the conclusion its the actors themselves. The terribly underrated John Dall is handsome, tall and well spoken. In an era when being smart was more important than how much you can lift he would have been perfect for all sorts of roles.

Peggy Cummins is short, cute but hardly striking, and (although she was apparently from England) speaks as if she's from Queens. At any minute I expected her to blurt out "So how youze doin?"

The problem for me is how this very smart, charming, classy guy is supposed to make a string of bad choices that will ruin his life...all to win the love of this little zero-ette. The fact that they both like guns is not enough. If he had been pulled into this by a Lana Turner or a Yvonne DeCarlo it would all make sense. ... Read more

Amazon.com

An experimental film masquerading as a standard Hollywood thriller. The plot of Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone's back or moved behind a lamp. In later years Hitchcock wrote off the approach as misguided, and Rope may not be one of Hitchcock's top movies, but it's still a nail-biter. They don't call him the Master of Suspense for nothing. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. --Robert Horton ... Read more

Reviews (90)

Rope
"Rope"

For it's time Alfred Hitchcock's suspense film, "Rope" was a masterpiece in it's own right, this is true today as well. The movie brings together elements of suspense of how it feels to commit a horrendous crime along with the excitement of getting away with it. Or so "Brandon" (played by John Dall) and his unwilling assistant "Philip" (played by Farley Granger) think. The two friends commit this crime because they want to prove that they have the intellectual capability to commit the perfect murder. This mind set was shared by their former prep school teacher "Rupert" (played by James Stewart). The difference between Rupert and his apprentices is his ultimate inability to act upon these extreme principals. Brandon and Philip mastermind the plot to kill a mutual friend, David in the opening scene of this film. To add to their "amusement" they hide the dead body in a trunk in the room where a party is later held for Mr. Kentley, David's father. Brandon and Philip also decided to serve the dinner from the chest where the body is hidden. Throughout the entire party the father and other acquaintances are wondering where David is and are concerned that something has happened to him. All the while Brandon is keeping his cool playing along with keeping the murder a secret perfectly. This cannot be said for Philip however. He has been sweating bullets since the guests have arrived to the party.
The technology of this film is not up to present-day standards. The aspect of the film is not particularly to my liking; however Hitchcock uses may other aspects of film making to his advantage. His use of music in the opening scene sets a gloomy mood immediately and makes you suspect that something bad is going to happen or already has happened. Towards the end when Philip is playing the piano and making many mistakes, something he never does also helps set a certain mood that Brandon and Philip are getting closer and closer to being caught by Stewart. Though this film is set in one main room, Hitchcock uses is continuous shot method of camera work to get a sense of what the characters are thinking or feeling. Granger does a wonderful job of playing the unwilling participant in this film. He is constantly fidgeting and sweating with anticipation and worry, while Dall remains calm and collected he unsuccessfully tries to settle Granger down throughout the film until the very end. All the guests seem to be ignorant of anything being wrong except for Rupert. As Rupert plays the character with a remarkable curiosity he is always wondering why Philip is acting so upset and worried. Rupert does a wonderful job at wearing Brandon and Philip down to the breaking point.
While "Rope" may not be the technological masterpiece of present day films, it is very well crafted and stands the test of time to remain on of the greatest suspense films of all time. Who would expect anything less than that from Alfred Hitchcock?

Another techincal and dramatic masterpiece by Hitchcock
Rope is an amazing, amazing film. Don't miss it. It may seem a bit slow for some, but Hitchcock enthusiasts will love it. James Stewart is a bit miscast for Rupert Cadell (he looks a little young), but his performance is as memorable as always. John Dall does well as the psychotic murderer with theories of superiority, but his stutter becomes a bit frustrating. Philip (Farley Granger)does well as the slowly maddening co-murderer (if i may call it that) of David, becoming overridden by guilt during the course of the party. I've heard this film is loosely based on the Leoplad and Loeb murders and adapted from a play. THIS MOVIE MUST BE WATCHED SEVERAL TIMES TO NOTICE THE SUBTLE BLACK HUMOR BETWEEN THE GUESTS OF THE PARTY. HITCHCOCK'S TELLTALE SYMBOL CAN BE SEEN IN A NIGHT SCENE IN A NEON SIGN THROUGH THE WINDOW.

Measure your words carefully. They may be taken seriously

Director: Alfred Hitchcock
Format: Color
Studio: Universal Studios
Video Release Date: May 23, 1995

Cast:

James Stewart ... Rupert Cadell
John Dall ... Brandon Shaw
Farley Granger ... Phillip Morgan
Cedric Hardwicke ... Mr. Kentley
Constance Collier ... Mrs. Atwater
Douglas Dick ... Kenneth Lawrence
Edith Evanson ... Mrs. Wilson
Dick Hogan ... David Kentley
Joan Chandler ... Janet Walker
Alfred Hitchcock ... Man walking in street after opening credits
The Three Suns ... Group cast appearance (radio sequence)

Two young men decide to kill a friend for kicks. ala Leopold and Loeb, because one of them, Brandon Shaw (John Dall) thinks he is a superior human being, and above the rules, and the victim is inferior and therefore fair game. He quotes a former professor, Rupert Cadell (James Stewart) who has verbalized such a proposition in class.

They do, indeed, strangle the other young man, David Kentley (Dick Hogan), place his body in a trunk, and then throw a party to which they invite Bentley's parents, his girl friend, Prof. Cadell and others, and serve food and drinks from the trunk in which the body lies. Cadell, a bright man, realizes that something funny is going on and investigates.

This is an entertaining movie. Hitchcock. the director, admitted that he made the film on a lark, and that it was not a serious endeavor, but given his genius it came out very well anyway. It rates 4 stars with me, at least.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

"I Hope You Like What You See!" -- (You Will, Via This DVD!)
"Rope" debuted in theaters in August of 1948, and represented the first movie shot in COLOR by Director Alfred Hitchcock.

James Stewart, Farley Granger, and John Dall are the stars here, with Stewart (as always) giving a flawless, effortless-looking performance. I really liked all the character portrayals in this film. Murderers Granger and Dall exhibit just the right mix of "Will we get caught?" angst and the cockiness and sheer gall of those that murder simply for the sport of it.

Although not one of the "higher profile" Alfred Hitchcock entries, I think "Rope" is, in fact, one of his better films. It's certainly unique, style-wise, being filmed in ten-minute, continuous takes, giving it a "seamless" uninterrupted look.

There has been much talk about the supposed "homosexual overtones" between the two murderers in "Rope". Now while I know this to be the director's intention, if I hadn't read about it after seeing the movie, I would never have thought those two male characters were supposed to be homosexual. In my view, *nothing* that is said or done in the film particularly points to this conclusion. I suppose it's designed to be there, but "just beneath the surface". But, I looked at the two killers as merely being close friends. I don't really know why the sexual orientation subject even has to enter into it. And, really, it *doesn't*.

"Rope" is unique in another fashion as well -- Hitchcock's "cameo". Unique because we get not one, but TWO, "Hitch" cameos in this picture. Right after the opening credits, we see Alfred walking on the sidewalk below. With cameo appearance #2 (which was originally intended to be his lone cameo) coming 55 minutes into the fairly-short 80-minute film. This second cameo is not of Hitchcock "in the flesh". Instead, the director inserted the image of a flashing neon sign outside one of the windows of the apartment. This sign depicts the famous Hitchcock "profile". A very inventive cameo indeed (rivaling his "newspaper" appearance in "Lifeboat" for the most creative, IMO).

As with a much-later Hitchcock picture, "The Birds", "Rope" has no music score to aid the story and move it along (save the opening theme music and the piano-playing of Farley Granger's character). An entire movie void of music is something that I don't imagine too many directors could pull off. But Hitchcock, in "Rope" and "The Birds" (which was fifteen years later), did it quite successfully.

This Universal single-disc DVD offers up a fine-looking and very clear Full Frame picture (1.33:1 aspect ratio). Colors do look a tad dated, though. But, overall, "Rope" looks excellent here! The soundtrack on the disc is in Mono (Dolby Digital 2.0).

The disc's Menu system is simplistic and easy to use (which is OK by me). When the Main Menu is on screen, the theme from Hitch's TV series, "Alfred Hitchcock Presents", plays. This is nice, but I wonder why they didn't use the "Rope" opening theme music for the Menu?

Although not officially labelled as one of Universal's "Collector's Editions", this "Rope" DVD could very well have been so designated. This disc has very nearly as many Special Features as the other Hitchcock "Collector's" packages. Here's a gander at the "Rope" bonus supplements .................

>> A 32-minute documentary, "Rope Unleashed", covering the making of this motion picture. Included here is an interview with actor/writer Hume Cronyn, who collaborated on the "Rope" screenplay. Sadly, not too very long after filming the interview for this DVD, Mr. Cronyn passed away, in June 2003. Many backstage pictures are mixed in with the interview segments, including some eye-opening pics of the color camera equipment of the era. Color cameras during those days were more than "bulky" -- those babies were humongous! And via some still photos we can see just how cumbersome those cameras were, circa 1948.

>> The Original Theatrical Trailer for "Rope". -- I absolutely love this unique trailer. It really (in a way) serves as a "deleted scene" from the movie. And shows us the film's murder victim ("David Kentley") before he falls prey to his killers' rope. The trailer has David (played by Dick Hogan) and his fiancee, Janet (Joan Chandler), sitting on a park bench, talking about their upcoming engagement. It's just a short scene, but sets up some of the plot points very nicely in just a few seconds. After David kisses his betrothed and leaves the park, this becomes more of a "conventional" trailer, with star Jimmy Stewart appearing on camera to narrate. Video quality for this color trailer is a bit splotchy and blurry in places, but still certainly in watchable condition. I think the introduction of the murder victim in this "added" scene was a very clever idea by the filmmakers. Trailer length = 2:25.

>> A very nice Photo Gallery (which has many behind-the-camera images).

>> Some text screens with film notes and cast bios. (There's a kind of funny little mistake in the DVD's bio of John Dall. Dall's character is referred to as "Shaw Brandon" on the text screen, instead of the correct name, "Brandon Shaw".)

Alfred Hitchcock directed more than 50 films -- with "Rope", his first venture into the world of "Technicolor", resting among my personal "Top 10 Hitch Flicks". This Universal Home Video DVD comes recommended by this Hitchcock enthusiast.

Tense and Unusual HItchcock Classic
Brandon (John Dall) and Philip (Farley Granger) are two rich, educated young men who think very highly of themselves indeed. At college, they were taught by Rupert Cadell (James Stewart) who, having read a little too much Nietzsche, explained to them there that, for truly superior people, murder need be no crime. They have taken this ugly lesson just a little too much to heart and so, just for fun, they kill their friend David. Then, his body hidden in a chest, they hold a dinner party for his parents, his girlfriend, the girlfriend's ex-boyfriend and Cadell himself. David is invited too, but of course, he doesn't show up. But Philip, especially, is decidedly nervous and, as the evening progresses, Cadell starts to smell a rat...

Technically, this is one of Hitchcock's most consciously experimental pieces of film. There is no music at all, except over the credits and in a couple of scenes where Philip plays the piano. And it is made to at least appear to have been shot in a single very long take. In fact it is not and there are a few cuts that maintain an appearance of seamlessness by taking place as the shot passes across some dark surface like the back of a jacket. This contributes nicely to the tension. It does has a certain awkward consequence however in that the action is thereby set in real time and it takes some suspension of disbelief to accept that a society dinner party might last about 45 minutes from start to finish. (It also means that, whether you think this is a movie worth buying or just one to rent, it would be particularly criminal to watch it on TV with commercial interruptions.) Another nice technical touch exploits the location of Brandon and Philip's apartment high in New York and close to some neon signage. For much of the film it is daytime outside but in the scenes towards the end as a climax approaches, a surreal, nightmarish atmosphere is created by the slow by constant modulations of colouring of the light that result.

This is Hitchcock's first movie collaboration with James Stewart who does an excellent job playing a smart intellectual type who gets a nasty shock when he finds two of his students putting into action the clever sounding but disgusting ideas he thought he was so smart in expounding. It's a rather nice study in the perils of a shallow predeliction for novel, supposedly "advanced", moral thinking. (Brandon and Philip, arrogant patricians killing for fun, will have recalled to an American audience of the time the famous '20s case of Leopold and Loeb.) The movie is a interesting moral fable and also a nice, if slightly stagy thriller. It's not one of Hitchcock's greats but it's certainly no dud. There are no high-drama moments of nailbiting suspense but instead a constant uncomfortable tension as social events unfold in an apartment where only two of the participants know there is a fresh corpse in the cupboard just under all those fancy dinner goodies and their nerves are starting to fray... ... Read more

Amazon.com

An experimental film masquerading as a standard Hollywood thriller. The plot of Rope is simple and based on a successful stage play: two young men (John Dall and Farley Granger) commit murder, more or less as an intellectual exercise. They hide the body in their large apartment, then throw a dinner party. Will the body be discovered? Director Alfred Hitchcock, fascinated by the possibilities of the long-take style, decided to shoot this story as though it were happening in one long, uninterrupted shot. Since the camera can only hold one 10-minute reel at a time, Hitchcock had to be creative when it came time to change reels, disguising the switches as the camera passed behind someone's back or moved behind a lamp. In later years Hitchcock wrote off the approach as misguided, and Rope may not be one of Hitchcock's top movies, but it's still a nail-biter. They don't call him the Master of Suspense for nothing. James Stewart, as a suspicious professor, marks his first starring role for Hitchcock, a collaboration that would lead to the masterpieces Rear Window and Vertigo. --Robert Horton ... Read more

Reviews (90)

Rope
"Rope"

For it's time Alfred Hitchcock's suspense film, "Rope" was a masterpiece in it's own right, this is true today as well. The movie brings together elements of suspense of how it feels to commit a horrendous crime along with the excitement of getting away with it. Or so "Brandon" (played by John Dall) and his unwilling assistant "Philip" (played by Farley Granger) think. The two friends commit this crime because they want to prove that they have the intellectual capability to commit the perfect murder. This mind set was shared by their former prep school teacher "Rupert" (played by James Stewart). The difference between Rupert and his apprentices is his ultimate inability to act upon these extreme principals. Brandon and Philip mastermind the plot to kill a mutual friend, David in the opening scene of this film. To add to their "amusement" they hide the dead body in a trunk in the room where a party is later held for Mr. Kentley, David's father. Brandon and Philip also decided to serve the dinner from the chest where the body is hidden. Throughout the entire party the father and other acquaintances are wondering where David is and are concerned that something has happened to him. All the while Brandon is keeping his cool playing along with keeping the murder a secret perfectly. This cannot be said for Philip however. He has been sweating bullets since the guests have arrived to the party.
The technology of this film is not up to present-day standards. The aspect of the film is not particularly to my liking; however Hitchcock uses may other aspects of film making to his advantage. His use of music in the opening scene sets a gloomy mood immediately and makes you suspect that something bad is going to happen or already has happened. Towards the end when Philip is playing the piano and making many mistakes, something he never does also helps set a certain mood that Brandon and Philip are getting closer and closer to being caught by Stewart. Though this film is set in one main room, Hitchcock uses is continuous shot method of camera work to get a sense of what the characters are thinking or feeling. Granger does a wonderful job of playing the unwilling participant in this film. He is constantly fidgeting and sweating with anticipation and worry, while Dall remains calm and collected he unsuccessfully tries to settle Granger down throughout the film until the very end. All the guests seem to be ignorant of anything being wrong except for Rupert. As Rupert plays the character with a remarkable curiosity he is always wondering why Philip is acting so upset and worried. Rupert does a wonderful job at wearing Brandon and Philip down to the breaking point.
While "Rope" may not be the technological masterpiece of present day films, it is very well crafted and stands the test of time to remain on of the greatest suspense films of all time. Who would expect anything less than that from Alfred Hitchcock?

Another techincal and dramatic masterpiece by Hitchcock
Rope is an amazing, amazing film. Don't miss it. It may seem a bit slow for some, but Hitchcock enthusiasts will love it. James Stewart is a bit miscast for Rupert Cadell (he looks a little young), but his performance is as memorable as always. John Dall does well as the psychotic murderer with theories of superiority, but his stutter becomes a bit frustrating. Philip (Farley Granger)does well as the slowly maddening co-murderer (if i may call it that) of David, becoming overridden by guilt during the course of the party. I've heard this film is loosely based on the Leoplad and Loeb murders and adapted from a play. THIS MOVIE MUST BE WATCHED SEVERAL TIMES TO NOTICE THE SUBTLE BLACK HUMOR BETWEEN THE GUESTS OF THE PARTY. HITCHCOCK'S TELLTALE SYMBOL CAN BE SEEN IN A NIGHT SCENE IN A NEON SIGN THROUGH THE WINDOW.

Measure your words carefully. They may be taken seriously

Director: Alfred Hitchcock
Format: Color
Studio: Universal Studios
Video Release Date: May 23, 1995

Cast:

James Stewart ... Rupert Cadell
John Dall ... Brandon Shaw
Farley Granger ... Phillip Morgan
Cedric Hardwicke ... Mr. Kentley
Constance Collier ... Mrs. Atwater
Douglas Dick ... Kenneth Lawrence
Edith Evanson ... Mrs. Wilson
Dick Hogan ... David Kentley
Joan Chandler ... Janet Walker
Alfred Hitchcock ... Man walking in street after opening credits
The Three Suns ... Group cast appearance (radio sequence)

Two young men decide to kill a friend for kicks. ala Leopold and Loeb, because one of them, Brandon Shaw (John Dall) thinks he is a superior human being, and above the rules, and the victim is inferior and therefore fair game. He quotes a former professor, Rupert Cadell (James Stewart) who has verbalized such a proposition in class.

They do, indeed, strangle the other young man, David Kentley (Dick Hogan), place his body in a trunk, and then throw a party to which they invite Bentley's parents, his girl friend, Prof. Cadell and others, and serve food and drinks from the trunk in which the body lies. Cadell, a bright man, realizes that something funny is going on and investigates.

This is an entertaining movie. Hitchcock. the director, admitted that he made the film on a lark, and that it was not a serious endeavor, but given his genius it came out very well anyway. It rates 4 stars with me, at least.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

"I Hope You Like What You See!" -- (You Will, Via This DVD!)
"Rope" debuted in theaters in August of 1948, and represented the first movie shot in COLOR by Director Alfred Hitchcock.

James Stewart, Farley Granger, and John Dall are the stars here, with Stewart (as always) giving a flawless, effortless-looking performance. I really liked all the character portrayals in this film. Murderers Granger and Dall exhibit just the right mix of "Will we get caught?" angst and the cockiness and sheer gall of those that murder simply for the sport of it.

Although not one of the "higher profile" Alfred Hitchcock entries, I think "Rope" is, in fact, one of his better films. It's certainly unique, style-wise, being filmed in ten-minute, continuous takes, giving it a "seamless" uninterrupted look.

There has been much talk about the supposed "homosexual overtones" between the two murderers in "Rope". Now while I know this to be the director's intention, if I hadn't read about it after seeing the movie, I would never have thought those two male characters were supposed to be homosexual. In my view, *nothing* that is said or done in the film particularly points to this conclusion. I suppose it's designed to be there, but "just beneath the surface". But, I looked at the two killers as merely being close friends. I don't really know why the sexual orientation subject even has to enter into it. And, really, it *doesn't*.

"Rope" is unique in another fashion as well -- Hitchcock's "cameo". Unique because we get not one, but TWO, "Hitch" cameos in this picture. Right after the opening credits, we see Alfred walking on the sidewalk below. With cameo appearance #2 (which was originally intended to be his lone cameo) coming 55 minutes into the fairly-short 80-minute film. This second cameo is not of Hitchcock "in the flesh". Instead, the director inserted the image of a flashing neon sign outside one of the windows of the apartment. This sign depicts the famous Hitchcock "profile". A very inventive cameo indeed (rivaling his "newspaper" appearance in "Lifeboat" for the most creative, IMO).

As with a much-later Hitchcock picture, "The Birds", "Rope" has no music score to aid the story and move it along (save the opening theme music and the piano-playing of Farley Granger's character). An entire movie void of music is something that I don't imagine too many directors could pull off. But Hitchcock, in "Rope" and "The Birds" (which was fifteen years later), did it quite successfully.

This Universal single-disc DVD offers up a fine-looking and very clear Full Frame picture (1.33:1 aspect ratio). Colors do look a tad dated, though. But, overall, "Rope" looks excellent here! The soundtrack on the disc is in Mono (Dolby Digital 2.0).

The disc's Menu system is simplistic and easy to use (which is OK by me). When the Main Menu is on screen, the theme from Hitch's TV series, "Alfred Hitchcock Presents", plays. This is nice, but I wonder why they didn't use the "Rope" opening theme music for the Menu?

Although not officially labelled as one of Universal's "Collector's Editions", this "Rope" DVD could very well have been so designated. This disc has very nearly as many Special Features as the other Hitchcock "Collector's" packages. Here's a gander at the "Rope" bonus supplements .................

>> A 32-minute documentary, "Rope Unleashed", covering the making of this motion picture. Included here is an interview with actor/writer Hume Cronyn, who collaborated on the "Rope" screenplay. Sadly, not too very long after filming the interview for this DVD, Mr. Cronyn passed away, in June 2003. Many backstage pictures are mixed in with the interview segments, including some eye-opening pics of the color camera equipment of the era. Color cameras during those days were more than "bulky" -- those babies were humongous! And via some still photos we can see just how cumbersome those cameras were, circa 1948.

>> The Original Theatrical Trailer for "Rope". -- I absolutely love this unique trailer. It really (in a way) serves as a "deleted scene" from the movie. And shows us the film's murder victim ("David Kentley") before he falls prey to his killers' rope. The trailer has David (played by Dick Hogan) and his fiancee, Janet (Joan Chandler), sitting on a park bench, talking about their upcoming engagement. It's just a short scene, but sets up some of the plot points very nicely in just a few seconds. After David kisses his betrothed and leaves the park, this becomes more of a "conventional" trailer, with star Jimmy Stewart appearing on camera to narrate. Video quality for this color trailer is a bit splotchy and blurry in places, but still certainly in watchable condition. I think the introduction of the murder victim in this "added" scene was a very clever idea by the filmmakers. Trailer length = 2:25.

>> A very nice Photo Gallery (which has many behind-the-camera images).

>> Some text screens with film notes and cast bios. (There's a kind of funny little mistake in the DVD's bio of John Dall. Dall's character is referred to as "Shaw Brandon" on the text screen, instead of the correct name, "Brandon Shaw".)

Alfred Hitchcock directed more than 50 films -- with "Rope", his first venture into the world of "Technicolor", resting among my personal "Top 10 Hitch Flicks". This Universal Home Video DVD comes recommended by this Hitchcock enthusiast.

Tense and Unusual HItchcock Classic
Brandon (John Dall) and Philip (Farley Granger) are two rich, educated young men who think very highly of themselves indeed. At college, they were taught by Rupert Cadell (James Stewart) who, having read a little too much Nietzsche, explained to them there that, for truly superior people, murder need be no crime. They have taken this ugly lesson just a little too much to heart and so, just for fun, they kill their friend David. Then, his body hidden in a chest, they hold a dinner party for his parents, his girlfriend, the girlfriend's ex-boyfriend and Cadell himself. David is invited too, but of course, he doesn't show up. But Philip, especially, is decidedly nervous and, as the evening progresses, Cadell starts to smell a rat...

Technically, this is one of Hitchcock's most consciously experimental pieces of film. There is no music at all, except over the credits and in a couple of scenes where Philip plays the piano. And it is made to at least appear to have been shot in a single very long take. In fact it is not and there are a few cuts that maintain an appearance of seamlessness by taking place as the shot passes across some dark surface like the back of a jacket. This contributes nicely to the tension. It does has a certain awkward consequence however in that the action is thereby set in real time and it takes some suspension of disbelief to accept that a society dinner party might last about 45 minutes from start to finish. (It also means that, whether you think this is a movie worth buying or just one to rent, it would be particularly criminal to watch it on TV with commercial interruptions.) Another nice technical touch exploits the location of Brandon and Philip's apartment high in New York and close to some neon signage. For much of the film it is daytime outside but in the scenes towards the end as a climax approaches, a surreal, nightmarish atmosphere is created by the slow by constant modulations of colouring of the light that result.

This is Hitchcock's first movie collaboration with James Stewart who does an excellent job playing a smart intellectual type who gets a nasty shock when he finds two of his students putting into action the clever sounding but disgusting ideas he thought he was so smart in expounding. It's a rather nice study in the perils of a shallow predeliction for novel, supposedly "advanced", moral thinking. (Brandon and Philip, arrogant patricians killing for fun, will have recalled to an American audience of the time the famous '20s case of Leopold and Loeb.) The movie is a interesting moral fable and also a nice, if slightly stagy thriller. It's not one of Hitchcock's greats but it's certainly no dud. There are no high-drama moments of nailbiting suspense but instead a constant uncomfortable tension as social events unfold in an apartment where only two of the participants know there is a fresh corpse in the cupboard just under all those fancy dinner goodies and their nerves are starting to fray... ... Read more

Reviews (11)

Saturday matinee delight.
A Greek fisherman named Demetrios rescues a shipwrecked princess. He helps her return home and finds himself a slave in the advanced civilization of Atlantis. Due to arrogant corruption and moral laxity, the country is an abomination before heaven. Unexpected religious overtones enter the story. Impending doom hangs heavy in the air. The birds and animals flee the approaching destruction. Eventually, the earth moves, thunder crashes, and the volcano rocks-n-rolls. Others complain that this is an inferior effort from director George Pal. Comparisons aside, this is a good fantasy adventure story. The MGM production values are above average for this type of film. The animal men are demonic in their transition from human to animal. Demetrios's ordeal of fire and water is exciting. Take a basic sci-fi plot of a lost civilization, add "The Island of Dr. Moreau," mix with "Spartacus," splice in some costume spectacle, enhance with crisp color photography and you have this movie. In fact, the director uses footage from historical film epics in the explosive and fiery climax. The death ray is lethal, albeit primitive. There is an unfortunate lack of a Ray Harryhausen type rampaging monster. The grim visage horned idol just sits there when special effects could have done wonders. Bottom line, this is a "G" rated adventure story fine for family viewing. Baby boomers may recall seeing this film back in the early '60s at a Saturday matinee double feature teamed with some Italian spear and sandal epic. Nostalgia rules. ;-)

ATLANTIS, THE LOST CLASSIC
I have a particular warm spot in my heart for the films of George Pal, and ATLANTIS, THE LOST CONTINENT is my favorite. To me, the movie is what I call the "Ultimate Saturday Afternoon Matinee". It's got everything - a brave Greek hero, a beautiful Atlantean princess, the "House of Fear", the "Trial of Fire and Water" in the colliseum, a gigantic crystal death ray and an apocalyptic finale!!! Does our hero survive or perish on the doomed continent? Your in for a treat finding out! With great production and a marvelous music score by Russel Garcia. *****

Not quite up to the producer's standard
Producer/director George Pal is responsible for two of filmdom's best sci-fi/fantasy films: 1953's "The War of the Worlds" and "The Time Machine" from 1960. Because of the excellence of those productions, it is inevitable that anything else done by Pal would suffer in comparison.

"Atlantis, the Lost Continent" sports some of the producer's trademark state-of-the-art special effects (the Nautilus-like ocean craft and the use of other superbly crafted miniatures). However, the film's shortcomings lie in the cast.

While stars Anthony Hall and Joyce Taylor are good to look at and compliment each other, they just don't cut it in the acting department. In the aforementioned classic films, Pal had the fortune of having accomplished actors Gene Barry, Ann Robinson, Les Tremayne (all in "War..."), as well as Rod Taylor, Yvette Mimieux, and Alan Young in "Time".

The supporting actors of "Atlantis..." score a little better. Edward Platt, later to be "The Chief" on the 60's sitcom "Get Smart" and Jon Dall, veteran of Hitchcock's "The Rope" and the epic "Spartacus", do well in their respective roles of "Azor" and "Zaren".

The great mystery is why several actors' voices were dubbed by voice great Paul Frees (who provided the pre-credit narration). Frees, who also appeared in Pal's "War of the Worlds" as the newscaster reporting the impending A-bomb drop, was a staple for many animated features and had only one rival: Mel Blanc. To hear Frees's voice coming from at least three of "Atlantis's" characters is a wee bit disconcerting.

Another Great Matinee Fantasy
Anyone that enjoys the older fantasy films like "Jason and the Argonauts" or the old Hercules movies should enjoy this movie. It is a well made adventure with the lost city of Atlantis, a fish shaped submarine, mutated animal men, a giant, a crystal ray gun, and beautiful women. What more could you ask for a great Saturday afternoon matinee. Sure it may not be as entertaining to adults as it once was but the kids will certainly love it. The whole family can watch this one. This is at least a couple notches above the B movies. I am surprised this isn't out on DVD since I am sure it would sell. I can't beleive I am the only one that would buy it.

Atlantis the Lost Continent
I remember as a kid seeing "Atlantis the Lost Continent" along with "Giant of Marathon" with Steve Reeves in May 1961 at the Eastown Theatre in Detroit.
Two handsome leading men (Reeves and Anthony Hall) save their kingdoms from doom and gloom and win the love of a beautiful lady in the process.
"Atlantis" has been panned by critics over the years yet I loved this film as a 12 year old in 1961. It was science fiction at it's best with colorful costumes, ogres, wolf men, mad scientists, beautiful maidens and villains. How about the submarine shaped like a fish!!
Anthony Hall as the greek fisherman could have used a little weight training from Mr biceps - Steve Reeves - as he appears a little too thin for a hero. The staged scene of Demetrious on a boat with his maiden (Joyce Taylor - by the way what ever happened to her?) passing through the pillars of Hercules is hopelessly silly with fake water sounds and fog along with horned owls hooting! Best part of the movie is Demetrious's fight with a giant ogre in a pool of fire and water. The ogre appears to be about 350 lbs and Demetrious outmaneuvers him and lights his hair on fire with hilarious laughing from the massive crowd in the "coliseum"
Some spectacular special effects at the end of the film with Atlantis exploding and disappearing into the sea.
The laser ray gun turning hapless victims into skeletons excited the matinee crowd in 1961.
This is a fun film made at a time when fantasy films were in vogue such as "Seventh Voyage of Sinbad", "The magic Sword", and "Jack the Giant Killer" In fact Kerwin Matthews (Sinbad) would have probably been a better choice for Demetrious.
Enjoy this film with the kids and dont worry about swearing, beheadings, and explicit sex. Good family fantasy. ... Read more

Reviews (107)

A Cry for Freedom
Even though the story of SPARTACUS takes place in ancient Rome, the film itself is a profoundly contemporary work of the time that it was made; the eve of the Civil Rights movement in the US, and at the end of the HUAC witch hunt in Hollywood.

The chief engineer of this project is producer Kirk Douglas who portrayed the salve hero, but the wisdom behind all that is screenwriter Dalton Trumbo, black-listed in Hollywood, worked under various pseudonyms during the fifties for films such as ROMAN HOLIDAY, here properly restored to his rightful position of one of the best screenwriter in the business, with his own name credited on screen. The original novel is also written by another black-listed writer, Howard Fast, who claims that the idea of writing a film about the slave revolt came into his mind during the time that he spent in prison.

So the message that its story carries is unviersal, and even contemporary: man's struggle for freedom, striving for human equality, the solidarity of all that are oppressed disregarding their creed, birth and color of skin--the gladiator whose death triggers Spartacus' revolt is portrayed by Woody Strode, afro-american actor and a regular of John Ford's movies. The film embraces humanity, freedom to chose the way he wants to live, the freedom to trust one's friend, even the freedom of sexuality --Spartucus and his lover Varinia are never legally married, but she gives birth to his son--, and the freedom and passion to sacrifice oneself for the sake of his pears and the great cause of human freedom.

One the other hand, the film strongly accusse the corruption of power, the decadence of those who have power, and the rise of fascism. Democratic politician Charles Laughton, with all the virtues and vices that a regular politician has, taken over and eventually eliminated by seemingly much "cleaner" military leader Laurence Olivier. Needless to say, the clashes performed by those two great actors is a great excitment to watch.

Kirk Douglas gives one of his most convincing performances as the revolutionary leader of slaves, Jean Simmons plays his innocent, healthy and strong partner with a healthy sensuality, and Tony Curtis gives credibility to Spartacus' surrogate son who represents culture and education; they are not barbaric slaves, they can be as cultured as their masters are, and even better because they are true, honest humans as opposed to the corrupted masters whose wealth and culture are based on oppression of other humans.

To simply put, SPARTACUS is a fine example of how a good entertaining movie can carry a powerful message; when it truly suceeds, it'a great joy to watch.

This fully packed DVD is a re-issue of Criterion's celebrated LaserDisc edition. Added to a interesting commentary track by the filmmakers including Douglas and Peter Ustinov who won an oscar for his performance, there is another track on which Dulton Trumbo's notes to the rough cut of the film is read--a great lesson to all those who wants to learn how to write a film. Othe supplements includes a hillarious interview with Peter Ustinov, a lot of scketches and stills, and more. It's a great DVD. Please enjoy it as many times as you want.

note: the superb package design is a reproduction of the original poser art created by Saul Bass. The poster is also among the suplements of this DVD.

Strong story, weak depth, but epic & entertaining
Based on the novel by Howard Fast, Spartacus recounts the life of a slave turned gladiator turned freedom fighter. The story of Spartacus begins with him as a free spirited Thracian slave in 70BC. Spartacus is trained in a gladiator school, where he meets and falls in love with the slave girl Varinia. He then leads the other gladiators in revolt, and assembles a huge army of thousands of slaves to challenge the might of Rome. The ending is tragic, but not without hope. Spartacus was in fact a historical figure and the movie's story of his squashed rebellion against Rome - including the crucifixion of 6000 survivors - is largely rooted in truth.

The movie can best be described as epic. On a grand scale, the Roman empire is brought to life, with its corrupt aristocracy and its simple lower class. The epic battle scene which forms the climax of the movie features 1000s of extras, and although it is sometimes hard to tell who is on which side, the effect is magnificent and grandiose. Despite the action scenes, the movie is surprisingly introspective at times. Unlike modern efforts such as Gladiator, Spartacus is not an action movie as such, and fans of contemporary action movies not surprisingly find it disappointing. Spartacus' struggles are just as much emotional as they are physical. But to me this is a strength and not a weakness: the shortcoming of most modern action movies is not present here because the characterization is superb.

Even though the movie is not gory (although it is bloody at times), the adult themes make it unsuitable for children. For instance, successful gladiators are given women to have their way with them. And on numerous occasions, although nudity is not shown it is strongly implied and barely concealed. The implication of bisexuality (in a scene not present in the original) and promiscuity is also strongly evident as part of the corruption in Rome. But it also touches Spartacus. In a rather daring move for the 1960s, Spartacus and his woman Varinia conceive a child out of wedlock, which is presented as natural and good. Spartacus' fight for freedom apparently includes sexual freedom. Its hardly surprising that these two fall in love in a rather sappy love-at-first-sight Hollywood romance, where they don't even know each other as yet. Ultimately it is not only Rome that chases gold, girls and glory without morals, but Spartacus himself is not really much different.

But it is not only the moral ambivalence of this movie that disturbs me, but also its underlying political themes. How is Rome presented? As totally corrupt, with no redeeming qualities. "If a criminal has what you want, you do business with him." How are the slaves presented? As noble and good. "We're brothers." The army of slaves proceeds in a carnival like atmosphere, and the producers present lots of images of joyful children and exuberant elderly as part of their number, to arouse sympathy for their cause. But isn't this rather a cliché? It is, but that's the whole point. Aristocratic Rome is presented as evil, and the oppressed lower class need to be liberated from her corrupt rule. The rich are all evil, the poor are all good. Sounds familiar? It's a defence of the brotherhood of communism. Ultimately the movie endorses peasant revolt as a legitimate option, and advocates rebelling against authority. Rather than rendering to Caesar what is Caesars, it encourages open rebellion, in order to usher in a new political system of brotherhood and freedom from repression. Sound too far-fetched? Here's the clincher: Howard Fast, author of the novel on which this movie was based, was a devout and committed member of the Communist Party of the USA, and for many years his works were black-listed. The story of Spartacus may be rooted in history, but Howard Fast has reinterpreted it as a defence of his own political communist ideals. Rome represents Western Capitalism, and the slaves represent the oppressed peasant proletariat. Spartacus' defence of liberty, equality and fraternity is in fact anachronistic.

So sure this is an epic movie. At the time of its production in 1960, Spartacus was the most expensive movie ever made. With a cast of star actors, especially the compelling performances of Kirk Douglas as Spartacus, Laurence Olivier as Crassus (the influential Roman senator), Peter Ustinov as Batiatius (the bumbling and greedy owner of a gladiator school), and Charles Laughton as Gracchus (the corrupt and scheming Roman senator), it's no wonder it won four academy awards. But the fact that Spartacus is an epic movie does not disguise the fact that it is not deep. Any deeper themes that the movie does have to offer are communist and hedonistic, and this ideology mars the story. This may be a movie that rivals the grandeur and scale of Ben Hur, but thematically, it doesn't come close.

Even so, it's still worth a look. Even if one cannot share the cause of Sparticus and political ambitions it embodies, one has to admire the spirit in which Spartacus fights for his cause: it is a losing battle, and yet with dignity and fervour he fights for what he believes is right - a quality to be coveted. And it's ironic that if you can overlook the weaknesses of its depth, the strength of this movie lies in its superficial story. It has comedy, tragedy, triumph, romance, action, intrigue, and an epic scale. As entertainment, it's an enduring epic that still can be enjoyed today.

3 Stars For 3 Outstanding Performances...
Kubrick replaced Tony Mann on directing duties for this brave, but lumbering costume epic which is ultimately propped up by three beautiful performances. Peter Ustinov(won the Academy Award for Best Supporting Actor for his work here), Charles Laughton(should have been similarly nominated)& Laurence Olivier all do incredible work under the guidance of a very young Kubrick & all deliver what comes very close to their best work. Their presence is notable chiefly for the fact that without them, SPARTACUS would never have been the extraordinary spectacle it surely is. Kirk Douglas gives a brooding(& lifeless)performance in the title role, ultimately undermining any sequence not containing the three aforementioned thespians. Jean Simmons, as the love interest, is similarly uninteresting & while undeniably beautiful, fails to evoke for the viewer the love & devotion she receives from Douglas & ultimately Olivier. Pre CGI, it comes armed with some beautifully choreographed & violent battle sequences, but for those looking for an earlier version of Ridley Scott's GLADIATOR, this one may come off a little old-fashioned. It is worth noting(& you'll learn this from the wonderfully insightful 1992 Ustinov interview[his impersonation of Laughton is a riot]contained in the bonus material)that Ustinov rewrote all the scenes he plays with Laughton. It should come as no surprise to the discerning viewer, they are easily the best moments in the film.....

Divine Right of Kings
Sparticus represented more than a gladiator-slave uprising. Sparticus represented the Italian's people dissatisfaction with the Roman Senate and the general corruption and impotence within the Senate.

Citizens once had a voice with the Senate and the Senate listened keeping the republic free. Now, the Senate caved to the demands of the dictators and military commanders and installed for the first time an Emperor giving him six legends too suppress the slave uprising.

In the end the slave and citizen uprising could not resist the Roman legions. Many of the people joining Sparticus were discontent citizens of Rome and individuals from countries that did not like Rome. Originally, the republic which was composed of strong free men. The military started the slow strangulation of the republic by replacing it with an empire. Julius Caesar was introduced as the shadow of the wings of power. Crassus was depicted as the total dictator who put oppressive demands on Rome and the Senate as the body that had lost its power. The Senate historically would have debated the issues and objected to outrageous demands. Instead, the Senate allowed the Emperor to rule Rome and the Emperor established the laws and source of the law and executed the law. The Emperor had power too repeal old laws and establish new laws, in place of the old ones. The punishments for violation of the law could be death and probably a Roman death on the cross demonstrating the Emperors absolute power. The Citizen did what they were told and they did not act without permission. Secret police reported any activity that could bring punishment on the citizen. The laws were supposedly designed to bring security. As the Emperor distrusted and feared the people this only accelerated the downfall of Rome.

The notion of divine right of kings was established. Taxes imposed on the people support the huge military appetite generated as Rome conquered many European countries. The government would become an autocracy and the Emperor the supreme commander.

Sparticus hoped to flee Rome, negotiated with pirates too build ships using gold taken during conquests that would take them from the tip of Italy away to a promise land. Instead, the pirates betrayed Sparticus and did not build the ships allowing the Roman legends to trap Sparticus from the South pushing him towards Rome and forcing a confrontation in the fields close to Rome.

Sparticus was defeated, his men cruxified along the way to Rome, when captured his men coined the phrase "I am Sparticus" when asked who was Sparticus. Sparticus wife would become a member of Crassus Heirloom yet the Senator would arrange for her escape and continue with his own suicide and Sparticus son would remain free.

Good movie, bad transfer
It should be noted that the reviews on this page refer to two different versions of the Spartacus DVD. This review refers to the Universal single disc edition, not the Criterion two-disc release.

While both versions of the film are the same, this version is devastated by a bad transer: both sound and picture quality are seriously lacking - even as far as a blue edge to blacks, including the widescreen matting, and blue fades in parts of the film. The sound is poorly balanced - voices are too quiet, music too loud. I was contantly turning the volume up and down throughout. So much for "fully restored."

If you are interested in quality and really like this movie I would skip this version and go for the Criterion release, which many other people own and have approved. ... Read more

Reviews (3)

Something Wonderful
It's wonderful whole new audiences are discovering the inimitable Deanna Durbin. This is my favorite of all her films. It's a strong story, with an excellent supporting cast and Deanna at her breeziest (she isn't Little Miss Fixit here). As for the music, "Something in the Wind" should have been a number one song but languished until many years later the Four Freshmen recorded it. Deanna does a lot of pop in this film in a lower register than her operetta/opertic performances and is saucy and persuasive. As usually, she's gorgeous and wears gorgeous fashions. And as usual she makes more of the script than was on paper. The something in the wind here is a delightful entertainment.

Deanna Durbin is feisty in this fun film!
"Something in the Wind" has to be one of Deanna's most underrated movies (the other being "The Amazing Mrs. Holliday"). Any fan of romantic musical comedies would love this fun-filled tale of a radio disc jockey (Durbin) who is kidnapped by a wealthy family under the impression that she is carrying their deceased patriarch's love child! This was definitely a change of pace for the usually sweet and innocent Deanna Durbin, whose long untapped comic abilities are finally put to good use. Her feisty character not only gets to sing more jazzy songs (including the toe-tapping "The Turntable Song," the sassy "You Wanna Keep Your Baby Lookin' Right" and the breezy "Something in the Wind") as well as opera (a powerful rendition of "Il Miserere" with Jan Peerce). With the always lovable Donald O'Connor (whose frenzied "I Love a Mystery" number is an obvious pre-cursor to his "Make 'Em Laugh" routine in the classic "Singin' in the Rain"), "Something in the Wind" turns out to be one of Deanna Durbin's best!

Pleasant, tuneful musical comedy.
Reviewers have not been kind to Deanna Durbin's post-1946 films so this may be the best of her last 3 or 4 films. The plot is silly and light as a feather but painless and on the plus side is a very good score by Johnny Green and Leo Robin, the manic energy of Donald O'Connor and Deanna, herself who is in very good form vocally. ... Read more