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Stanley Kramer's 1959 antiwar movie looks like everything Kramer did: subtle as a car wreck but undeniably affecting. Gregory Peck plays a submarine commander looking for survivors in Australia after a nuclear holocaust. Ava Gardner is among them and, somewhat improbably under the circumstances, becomes his love interest. Fred Astaire and Anthony Perkins are among the characters awaiting death from the gradual spread of radiation from the north. One might scoff at Kramer's implicit finger-wagging about nuclear politics in this mad, mad, mad, mad world, but it is hard to stop watching this compelling drama all the same. --Tom Keogh ... Read more

Reviews (42)

An excellent movie, of it's own era.
I suspect that the reason so many ... customer reviews of On the Beach are negative is that the expectations of today's audiences, particularly younger audiences, are entirely different from when this movie was released, in 1959.

The movie is based quite closely on Neville Shute's excellent novel, with just a few differences. The rather strange denial of impending death, shown by most of the characters in the book, has been wisely omitted from the movie. The scientist, John Osborne, has had his name changed to Julian in the film, and is given more depth, beautifully played by Fred Astaire.

I think today's movie goers have difficulty relating to this movie because it is not an action movie and it is not a science fiction movie. Yes, it deals with the last survivors of a nuclear war as they await their own deaths. But the genre of science fiction films requires that the heroes and/or heroines confront the Problem and conquer it, whether that Problem be giant ants, invading Martians, or mutant carnivorous plants. In On the Beach, it is made plain from the beginning of both the book and the movie that there will be no triumph or escape. Instead, the theme is the maintaining of human decency and integrity in the face of imminent death. This is not the sort of stuff for young audiences raised on Bruce Lee movies.

I think it is important, too, that today's young movie-goers watch this movie with the idea firmly in mind that people in 1959 believed that they might very well be the last generation of human beings, before a nuclear holocaust wiped us all out. I was nineteen when I first saw the film, just after its release to theaters and long before the advent of VHS and home video. It was powerful stuff back then, and I don't think there's any doubt that it was an important element in the nuclear disarmament movement.

I highly recommend this movie. The acting and direction are excellent, and it deals with powerful themes. But keep in mind that you'll be watching a film from another era, when books and movies were deliberately slower paced and the depth of characterization was considered to be much more important than fast paced action.

Brilliant Human Story
To me, the poignance of On The Beach lies not in it's anti-nuclear war message, which mercifully was proved wrong by events in the real world (Julian's speech railing against the idea that nuclear weapons could keep the peace is the one dated part of the film. It's now evident that the reason why there never was another ground war horror on the order of WWI and WWII was *because* of the atomic bomb) but in it's human elements, and exploring how people react to the reality that life is fast coming to an end for all of them. In this instance, a nuclear war is simply a convenient duex ex machina to see how ordinary people react to the trauma facing them. There are fine performances all around, but to me the real strength of the movie is Ava Gardner's touching performance as Moira Davidson. Indeed, there is an almost eerie autobiograhic quality to it since Gardner had many things in common with her character.

I think sooner or later, people will look back on "On The Beach" and realize that it's timelessness lies in it's exploration of the human condition and not it's political statements which in my opinion are no longer relevant to the real world.

Worth viewing, even if not realistic
On the Beach fails the realism test in two ways: scientifically and behaviorally. The first is forgivable; 40+ years ago, there was less understanding of what nuclear war would do the planet. But the second aspect -- human behavior -- is where the story fails. The idea that people would get up, wash and shave and dress, go to their jobs, peacefully obtain their rations of food and so on, with a cloud of certain death getting closer every day... it just doesn't ring true. Looting, pillaging, murder, and general anarchy seem much more likely.
Nevertheless, the movie -- while very melancholy (or depressing, as many reviewers have said), is worth watching. (Especially, as some have noted, for Astaire's performance).

the ultimate Cold War film
This is the film that for me captures the terror I felt as a child, growing up at the height of the Cold War; it is bleak and intense, with scenes that are forever etched in my mind. It's one of the great films of that era ("Seven Days in May" and "Fail Safe" are others) that I can watch repeatedly, and their power and impact are never diminished.
Based on Nevil Shute's best seller, and brilliantly directed by Stanley Kramer, the use of sound effects combined with Ernest Gold's Oscar nominated score is very effective. Sometimes the simplest noise set against complete silence is ominous, and gives the feeling of the desolation of empty cities.
As time runs out, people try to avoid the "morbid discussion" of what awaits them, and some make the most of those precious days, weeks and months, like the elderly scientist Julian (in an exceptional performance by Fred Astaire), who completes his dream of being a race car driver.

Both strong and tender, Gregory Peck is fabulous as Dwight Towers, the commander of a submarine, who has trouble accepting that he is alive, while his family are victims of the "monstrous war". The woman who falls in love with him is Ava Gardner, who has spent far too much time being consoled by a bottle of brandy. The plot is filled out by Anthony Perkins and Donna Anderson, a young couple facing the fact that their baby has no future.
In the late 50s and early 60s, the scenario in this film was all too real; we face other dangers now, but there was something truly chilling about those Cold War years, and this film vividly brings back the memory of them. Total running time is 134 minutes.

The end of the world as we know it...
An unforgettable movie that is as important and as powerful today as when it was first released.

Shute took his title from a stanza from T S Eliot's The Hollow Men:-

In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river...

The tumid (swollen) river is metaphorical, as is the beach, given that Eliot's bleak, desolate landscape is a spiritual one, as in his classic work, The Wasteland.

Shute's movie is utterly compelling all the way through, partly due to the subject matter, helped along by a stunning cast, and very capable production and direction.

The scene in which the Sub arrives in the US to check on the erratic morse signal was actually shot in Australia, as they could not obtain permission to film it in the US.

There was a very creditable 2000 Showtime version with Rachel Ward and Armand Assante, which was truer to the book, although set closer to present time, but the Peck version is still the definitive one.

You cannot top this movie for dramatic content, brilliantly delivered by Peck, Gardner, Perkins and Astaire above all.

Yes, this could still happen, and yes, nuclear deterrence may well have worked so far, but I always remember a line from Bob Dylan's "If God's On Our Side", which goes...

If God's on our side,
He'll stop the next war...

Maybe he did.

Peace y'all. ... Read more

Reviews (33)

A Classic 'disaster'...
The most catastrophic earthquake hits Southern California, levels Los Angeles and with it, changes the lives of all people who live there. 'Grand Hotel' formula with larger than life acting, plus some of the most chilling special effects ever filmed. Earthquake still remains one of the most successful disaster movies in film history. Charlton Heston plays the construction engineer, Ava Gardner is his spoiled, rich wife & George Kenedy plays the tough cop. Also starring Lorne Greene, Genevieve Bujold, Marjoe Gortner, Lloyd Nolan, Barry Sullivan, Victoria Principal & Richard Rowntree watch out for Walter Matthau in a cameo role.
An average DVD presentation, the PAL version released in some European countries is much superior than this one (with Charlton Heston & Ava Gardner on the cover) & includes 4.1 Sensurround & presented in 2:35:1 Anamorphic Widescreen.

Thrills, Chills, and Fun!
"Earthquake" was a late entry into the early '70s Disaster film mania, and the audiences had become a little jaded after whetting their appetites on "Towering Inferno" and "The Poseidon Adventure." But hey! "Earthquake" has its own charms and some surprisingly good special effects.

Charlton Heston is in his stone-faced glory playing a heroic engineer who is trying to save Los Angeles from a devastating 7.2 earthquake. Dams break, buildings tumble, glass flies, panic and hysteria reign. Beautiful Ava Gardner ... plays Heston's spoiled, expensive wife. To give Heston the proper angst, he has reluctantly fallen in love with the nubile Genevieve Bujold who fetchingly needs rescuing quite often. The ending surprised me; I wonder if Charlton insisted upon it.

"Earthquake" delivers. If your expectations are for deep characterizations and startling ambiguities; you will be disappointed. If you want a couple hours of thrills and mindless fun, "Earthquake" will satisfy. My only complaints are the overly long set-up before the earthquake begins and a vague sadness that I haven't the facilities for "Sensurround."
-sweetmolly-Amazon Reviewer

Goodtimes doesn't 'make' movies. Oh, and this one is awful
Goodtimes is a small VHS/DVD distributor, usually of long forgotten bad movies and that's why their sooooooooo cheap.
Of course you get what you pay for.
And what do you expect with Charlton Heston?
Eventually all 'Chuck's movies' will wind up in the Goodtimes bin!
Because Charlton Heston can't act his way out of the proverbial paer bag.
Chuck once had muscles (just like Popeye) and his biceps got him into the movies. But he always needed to be stuck in big budget epics like this brain fart. Why? Because if you pay attention to all the DTS Dolby stereo High definition yaddas then you won't notice the huy can't act!
Even most Hollywood reviewers who like the poor big dumb fella have written that this is one of his worst.
Yuk

It rumbles!
The old vhs video did not rumble. This DVD RUMBLES! It shook the house. Thanks for restoring the "sensurround"

The only decent dvd made by Goodtimes Video
This classic movie was somehow given to the "Goodtimes Video Company" that is know for releasing horrible picture quality on their dvds. "Earthquake" however is decent. The picture quality is as good as the vhs video release and the only bonus to this dvd is the fact is is in widescreen format. Goodtimes Video Company is the worst company to buy from in my opinion. I avoid buying from Goodtimes like the plague. I would say this dvd is excellent quality comparred to anything else I've seen from Goodtimes besides "Airport 75". The quality of picture is just like the video. No new enhancments or re digitalized or anything. The picture is as good (if not a touch better) than what you'd see on vhs or television, so it is worht buying for a low cost.The sound quality SHOULD'VE been redone in DTS or Dolby Digital just because of the old Senssurround that went with this movie. However the sound quality on this dvd is in mono, the quality is not that bad for what you've heard before on vhs or television. I would say, if this is the only release on DVD available, it is worth buying if you loved this movie.The ONLY other dvd release by Goodtimes Video that was done ok was "Airport 75". ALL other dvds released by this company have been horrible and not worth a nickle. "Airport 77" was absolutly horrendous to watch on their dvd. Bad picture (dark) and had a soundtrack suppossedly called Dolby Digital that in my opinion was a lie because all I heard was mono.Anyways, "Earthquake" was an ok buy at a low enough cost. ... Read more

Reviews (22)

Close, but no cigar
I have seen both this film and its 1936 predecessor of the same name, and a number of film critics and viewers believe the remake to be inferior--I suppose it's because this one seems to lack the freshness, spunk, and level of poignancy. Also, in the earlier version you had greats such as Irene Dunne, Paul Robeson and Helen Morgan who can never be outdone. However, this later film has a power and charm all its own. "Show Boat" is a lavish technicolor extravaganza about the life and times aboard a Mississippi riverboat. Howard Keel with his deep, rich baritone is perfect as the reckless and restless gambler Gaylord Ravenal, as is lovely Kathryn Grayson with her delightful coloratura soprano voice, as Magnolia Hawks, the sheltered good girl who falls for Gaylord like a ton of bricks, only to be brought (unintended) heartbreak and despair by him. However, the one who steals the show by far is gorgeous Ava Gardner as Julie Laverne (cast among much indignant hullaballo as replacement for an ill Judy Garland), the mulatto conflicted between two worlds. In previous films she was for the most part wasted in, one never really got a glimmer as to her abilities (an exception being "The Killers"), but in this film Gardner is amazing as she displays the emotional range and depths she was fully capable of when given the chance. Her performance here is heartbreaking and utterly poignant, especially when she sings (it's dubbed, but that hardly matters) "Can't Help Lovin' That Man of Mine" in a period of content and romantic bliss, and "Bill," by which time her character is in a heartbroken, destructive decline--those are scenes not soon to be forgotten. The story appropriately ends with the haunting image of Gardner/Julie's haggard yet breathtaking face emerging from the shadows as she bids a distant farewell to the showboat. Go and watch this film if you love MGM musicals--it's one of their best with sumptious color, fine performances, and plenty of memorable songs.

I LOVE THIS MOVIE, AND SO WILL YOU
So what if this isn't very faithful scriptwise. The story they did have, plus the music, plus the singing, kept me glued to my seat, unable to take my eyes off it. Not since West Side Story has a movie musical had this effect on me. I suppose that if you grew up seeing the stage play, you might be taken aback by the cuts, but how many of you would really be willing to sit and watch a movie for the four hours that the original play takes? You can't even sit through Gone With the Wind without taking a little "intermission." The singing is incredible. I love to hear Kathryn Grayson hit those oh-so-high notes, and I love to hear Howard Keel, well, anytime. After hearing the soundtrack I was kind of mad that they didn't let Ava Gardner do her own singing, but her wonderful performance makes you forget about it. One reason I am glad they changed the story for the movie is when we see Julie at the very end. It's the kind of bittersweet finishing touch that gets ya choked up no matter how many times you see it. So buy this movie, gosh darnit, and be prepared to sit back and enjoy a cinematic masterpiece.

OL' MAN RIVER KEEPS ON ROLLIN' ON DVD
"Show Boat" was Jerome Kern's immortal gift to the Broadway stage. An instant hit upon its initial release, the movies just couldn't wait to capitalize on its success. The plot concerns a river boat performer who just happens to be mulato(Ava Gardner in this version) (a big "No, No" in the old south and it gets her broomed). On board is also Magnolia (Kathryn Grayson), a naive child who discovers her own heart break when she marries gambling scallywag, Gaylord Ravenal (Howard Keel). This version of the stage play tempers the racial undertones with more baritone and schmaltz than was previously showcased or, for that matter, necessary. Nevertheless, the results a la MGM's sterling production values, is astoundingly beautiful. Marge & Gower Champion, Joe E. Brown and Agnes Moorehead also headline.
TRANSFER: VERY NICE! A clean, bright, bold and beautiful print that is long on quality and short on digital anomalies. Blacks are solid and deep. Colors are rich and vibrant. Very few scenes illustrate that the original film elements are sixty years old. Though there is some minor pixelization and edge enhancement neither distract from your viewing enjoyment. The audio is mono but remarkably well balanced.
EXTRAS: Sorry. Not a one!
Bottom Line: Must have!

Does anyone have a torpedo handy?
Oh, oh Kathryn Grayson--you are so far from anything resembling the character of Magnolia, it is almost comical (I can't write her off totally as a movie star, because she was actually good once...ONCE: in "Kiss Me Kate"). Anyway, onto this turkey. Like almost all 1950s musicals from MGM, it is colorful nothingness. There is no edge, no wit, plenty of misguided "style" and heaps of artificiality. There is not once convincing moment in this film, all it has going for it is beautiful color (and this DVD is indeed a wonderful transfer). Lets not forget that the 1936 version--with its to-die-for cast--was withdrawn from circulation for decades because MGM wanted this to be the ONLY version available. Perish the thought! Even the small Show Boat sequence in the film "Till The Clouds Roll By" is more memorable than this.

Show Boat(1951)
Excellent Service, excellent condition, just as promised.Thank you VERY much! ... Read more

Reviews (1)

Beautiful music, romance and troubled times in one's life.
A wonderfully written story about a Spanish painter, Francesco Goya,and his viewpoint of life during the Spanish Inquisition, and his obsession with an intriguing and beautiful woman, the Countess of Alba. This is a movie worth seeing. It tells of life during the inquisition , of trying to stay in favor with the courts and also keep their social standing even when associating with the common people. Beautiful Spanish music makes you feel as if you are there. This movie has a combination of love and romance, jealousy, hatred and death and combined together makes a very good story. Anthony Franciosa and Ava Gardner were very believable in their portrail of these characters. They draw you into the story and make you feel as if you are a part of it all. ... Read more

Reviews (12)

You will really feel the heat with this movie!
This version of the Long Hot Summer is an excellent adaption of the earlier movie with Paul Newman and JoAnne Woodward. Don Johnson is perfectly cast as Ben Quick and James Gammon is appropriately smarmy as his dad. Cybill Shepard, William Russ, Jason Robards, Judith Ivey, and Ava Gardner are also well cast in their roles. You start to sweat right along with the characters as their relationships heat up. Don Johnson just oozes sex appeal in every scene. It is easy to get lost in their portrayals, you will want to order a mint julep and sit on the veranda before the night is over!

Oh yes, it's good!
I happened to catch this movie on TV and fortunately for me, taped it. I loved the scenes between Judith Ivey & Don Johnson - in the store & by the river - best love scene I have EVER seen. The scenes between Jason Robbards & Don Johnson makes you feel like you are listening at the door on the veranda. The music is wonderful, different, haunting and adds so much - the direction and shots and the passion - they're all there. I watch this movie once a summer - when it is very hot out. Wish I could see it on the BIG screen.

Don Johnson Hot and Sexy!
I remember watching this movie on NBC. I was in fifth grade and drooling over this sex symbol. Don Johnson played a drifter Ben Quick, who was mysterious and trouble to some of the residents in the small town. Varner, played by the late Jason Robards, was a man who was respected in his community. He liked Quick. Varner had a daughter Noel, who was aloof and would later find herself in the arms of Ben Quick. Sybil Shepard was Eula Varner, the wife of Jody Varner. She cheated on Jody with another man. When she showed up beaten, Jody was quick to believe Ben did it. When the murder of her lover and a fire occurs, Ben is the first suspect.
Ben, being a drifter, attracted women because of his physique and cool attitude. Don Johnson has sex appeal and a collective attitude that made him good for this role.

Long Hot Summer-Remake
Over the years I have ocassionally seen Long Hot Summer with Don Johnson and have enjoyed it tremendously. He and Ivey did a tremendous job together and I felt the match was perfect. The tension between the two kept the movie very interesting. I liked it so much that I've recently bought both the original version and the remake. When I watched the original with Paul Newman and Joanne Woodward I was a little disappointed in it. Although I like both Paul Newman and Joanne Woodward I felt their acting in this movie had a little to be desired. Maybe for that time it was good, but after having already seen the remake first I didn't think the original was as good. Definitely purchase the remake and you will enjoy it thoroughly.

even better
I have seen both verson's and as much as I love paul newman I liked the remake better. Don Johnson makes you feel his torment in a way that Paul Newman did not. Judith Ivey was good as the love interest because she was not beautiful. In the original the the brother and the boy friend were play by actors that I like, but their personalitys were too strong for the roles they were playing. The longer running time let the writer develope the chactors better and let the plot, relationships, and suspence build gradually. ... Read more

Reviews (2)

Dated, but Not bad
I agree with the proir reviewer's thoughts,..."Tam Lin" IS slightly dated & a bit "artsy" in places, & does provide a glimpse of 60's/70s swinging London (Yes-ala Austin Powers in spots!) However, it worth a view for fans of Gardner's, due to view her extrodenary stunning Bueauty in 1969! She was well directed by McDowall-her sceans are timeless. She has stunning costumes, dialog, & lighting! Her sceans in the movie, make it worth watching, for fans of Ava's!
Especially nice, is the last 2 minutes of "Tam Lin" where Ava & her new catch are on a jet leaving town!! Worth watching through to the end to see Ava Gardner looking both strong, bueatiful, & sadly vulnerble in this final quick scean on the jet!
A strange, yet interesting movie, & a must see for fans of Ava Gardner!

much berated film needs a second look
This film got shot down when it opened, so much so, the late Roddy McDowell never directed another film.

It is dated, and some of the work it too artsy, but I really think this film deserver a closer look because it works on several levels. Based on the poems by Robbie Burn (Tamlin) and Sir Walter Scott (Ballad of Tam Lin) it was called Ballad of Tamlin, Tamlin and the ridiculous Devil's Window, and has roots in ancient Scottish Folklore. I think the dated hip 60's look even now works for the film, for it gives a slice of time, just as the poems reflect their periods.

Ian McShane is gorgeous as the young man caught in the web of the Faery Queen (the timeless Eva Gardner) who maintains her youth like a black widow, by surrounding herself with the young and refusing to admit her ageing, until she sacrifices the willing, king sacrifice. This goes back to the king sacrifice ritual and pre-christian times, for the sake of renewal. In distant history, a renewal was of crops meant to sustain the people, in this instance, a renewal is her eternal beauty. Things are moving along until the virgin (Stephanie Beacham)comes along and entrances Tamlin with her simply purity. When the Faery Queen sees she is losing power over her young lover, she decides it is time to sacrifice him and only the pure, true love of Beacham can save him.

This movie is pure pagan lore, the crone face of the goddess equated with winter's fight against the virgin face of the goddess ie spring, and the male caught between them. McDowell did a wonderful job putting this ancient lore in the very definitive period of the swinging 60s, pulling excellent performances out of Gardner, McShane and Beacham that are textured in emotions and nuances.

So I think it is time to take a fresh look at a film that was misunderstood from the start.

Won't be to everyone's tastes, but for the fans of McShane, McDowell or Gardner, for those interested in lore (for those that even like Austin Powers movies...lol) take a walk in the 60's wildside....or for those just wishing to see a Carnaby Street Time Capsule!!! ... Read more

Reviews (31)

Wonderful telling of Genessis
I do not understand why most critics have very few good things to say about this movie. Okay, maybe the atmosphere is a little dead at times, and perhaps there could be more dialogue, but overall this is one of the most beautiful biblical stories I've ever seen. A superb cast - including Michael Parks as Adam, Ulla Bergryd as Eve, Richard Harris as Cain, George C. Scott as Abraham, and Ava Gardner as Sarah - bring warmth and sensitivity to the familier stories. John Huston's somewhat comical portrayal of Noah is definitely the highlight of the film. I first saw this movie when I was very young. I now own it and watch it often. The script sounds like it was taken directly from the Bible itself. The opening dialogue is, of course, "In the beginning..." The creation scenes which follow are simply magnificant. And the music which coincides with it is just beautiful. Right now I have that image of the birds in flight and the raging sea waters. The one scene which gets me every time ( and which I keep rewinding to see ) is the scene with Hagar and Ishmael in the desert. The spring of water bursting up through the ground at Hagar's feet is one of the most moving moments in the entire movie. This film is definitely worth seeing. Never mind what the critics say.

The Bible As Film: A Worthy Retelling
1966: Huston's film covers the first twenty chapters of Genesis- from the Creation, the Flood to Isaac's near sacrifice. With lush cinematography, fine acting and superb music. Richard Harris, Ava Gardner, George C. Scott and Peter O'Toole are among the cast. In the 60's, and in fact years before in the 50's, the bible dramas were quite popular and appealed to many audiences who had undergone war and conflict from home- it was the turbulent 60's after all. The Ten Commandments and Ben Hur were transcendent films only a couple of years before.

Making a film about the first book in the Bible, the most mysterious and most alluring, Genesis, must not have been an easy task for director John Huston, nor was it easy enough for actors portraying biblical characters. But this film is exquisite, well-done with fine performances by the actors, most notably Richard Harris as Noah and George C. Scott as Abraham. The actor and actress playing Adam and Eve are just as most of us imagine them to be - gorgeous in the nude, walking around a beautiful, semi-tropical garden and being seduced by the apple in a tree which a treacherous snake deceived them into eating.

The film goes on to describe the biblical scenario established before the Flood, of humankind's lechery and vice in Sodom and Gomorrah, and God's wrath resulting in destruction. Very powerful imagery and very fine interpretation. It is not just a Christian or Catholic film, it is a film worth watching just for the moving drama. After all, life is but a drama, a film of which we all take part of. The music to this film is also very inspiring, although subtle and haunting. "The Bible.. In The Beginning" (as this film is often called) makes a great assignment to watch in a college or high school in which students read the Bible as a form of literature and work of human history, mainly that of the ancient Hebrews.

Almost perfect
I liked the movie in all parts except for two. I'll start with the positive things.

Another reviewer mentioned it was a little slow in the beginning, and that is true, but if you can be patient, you can get into it.

The Ark scenes were great -- a little humor never hurt anyone.

Sodom and Gomorrah was icky. Probably they did a good job of recreating what it was like, but really, I don't want to see all of that. If a couple quick shots were removed, this scene would be good.

Abraham goes on this weird monologue sort of thing, that I didn't really get. I am engineer, so perhaps I just don't appreciate the drama of it.

FIRES BELOW .....
EXCEPT for the MAGNIFICENT score by TOSHIRO MAYUZUMI ... this one does not quite hold up as it was promised. Granted ... it IS different ... lots of hoopla during the filming - after all we would be seeing Adam & Eve [variously] buffish ...

BUT the producers must have spend quite a fortune on EYE MAKEUP .... Ye, Gods, even the kids are sporting green or vaguely lavender eye-shadow - as for NIMROD's golden brows!

AVA GARDNER does shine as SARAH - unafraid of unflattering lighting or angles, but she was and still is quite special, and GEORGE C. SCOTT does have a few pithy moments .... the make-up though! BRINGING UP THE REAR - so to speak is Peter O'Toole as Triplet, blue-eyed Angels of Wrath [!], Richard Harris - star rising ["This Sporting Life"] as Cain, Zoe Sallis as the 'other woman' in Abraham's life, Stephen Boys [utterly wasted] as Nimrod, John Huston as a bemused, befuddled and bewildered Noah [nice comic turn though], and somewhere in there a Young Franco Nero!

COSTUMING is dreadful - pity for this almost completely Italian Production. And the famous SODOM AND GOMORRAH sequence? Pale Fellini or is it George Romero? The styrofoam blasted 'Wife of Lot' - really!

WISH the score was available on CD - MAYUZUMI went on to score Huston's "Reflections in A Golden Eye" - somewhat better fare.

DVD sound is VERY ODD - stereo? Color is quite washed out too - pity - this one could be wonderfully restored in full 5.1 or even DTS - it is as close to an epic as we'll ever come!

if adam & eve were this dull, they 'd never have multiplied
thank god (pun intended)that the bible characters werent really this over inflated and boring because if they were, they would have never had the energy to recreate, to be fruitful and to multiply.
the where would be?
if disney or some other company were to take their fairy tales this seriousely they be laughed off the planet. ... Read more

Reviews (25)

Stark yet poetic rendering of Williams' last masterpiece
This is arguably the last of Williams' great plays. On Broadway Bette Davis essayed the role given to a gusty, gutsy Ava Gardner in the film- a role Bette Midler would be ripe for today. The day scenes are shot quite starkly, grainily, realistically. The night scenes are shot in a luminous/poetic style. John Huston's direction contrasts these characters' realities with their dreams - the essence of Williams' writing. Burton is excellent as is Gardner, but the finest work is that of Deborah Kerr in her last great performance as Hannah Jelkes, a woman who has put her own life aside to aid her dying grandfather, "the world's oldest living poet," in completing his last opus. Her scenes with Burton and Gardner are exquisite.

Totally Excellent !!
Great play ... Great acting ... Great direction ... although nobody won Oscars. Who cares? John Huston wisely filmed this in stark black and white reflecting its somber tone. Burton gives the performance of lifetime as Shannon at the end of his rope, and Kerr is fantastic, as always, imbuing a tender role with even more humanity. T. Williams' play, one of the best from America's best playwright, has everything. Conflict, strong characterization, wisdom, and of course humor. Some of the coarseness of the play has been excised (Shannon's), thus making him a more sympathetic character, but this does not hurt the movie. Huston sticks pretty much to the actual play, except for the ending, which was not in the play. However, this does not really hurt the film. Anyway, buy this film and enjoy it again and again. Your life will be richer for it.

WAY Behind Schedule
THIS MOVIE IS SO BEAUTIFULLY FILMED IN BLACK AND WHITE, IT LITERALLY CRIES OUT FOR A CRISP, CLEAN, SHARP DVD TRANSFER. LESSER MOVIES ARE ALREADY OUT ON DVD, WHILE THIS ONE SEEMS CONDEMNED TO LANGUISH IN THE ETERNAL MURKINESS OF VHS....A VIEWING EXPERIENCE TANTAMOUNT TO DRINKING DON PERIGNON OUT OF A DIRTY TIN CAN. TSK TSK.
PUT IT OUT ON DVD; IT DESERVES TO BE SHOWCASED IN GORGEOUS QUALITY. WE ARE ALL WAITING!

Where is this LONG OVERDUE DVD???
This is truly one of the most amazing films you will ever see!!!It touches on "The Truth" and something much bigger/more acknowledging than perhaps we as human beings can understand in this lifetime-and does so with a magnificence and grace much more effective than almost anything I have ever seen. Although released in 1964, the messages of tolerance to other people, restoring faith, rising above our own potential self-destructivness, and MOVING ON WITH LIFE couldn't be more poignant for todays audience (perhaps even more striking and PRESCIENT!!). I agree with one previous reviewer- that it is comparable to the emotional depth/intellectual magnitude of a Bergman but perhaps much more easily digestable for a "pop-cultured" American audience-and that is truly unusual if nonexsistnat for an American Hollywood-type film. And Yet all the magic ingredients of A Hollywood Moneymaker are here...BIG STARS: Richard Burton, Ava Gardner, and Deborah Kerr (all of whom in my opinon deserved Oscars for their performances here), DIRECTED BY ONE OF HOLLYWOODS BEST/MOST SOUGHT AFTER DIRECTORS: John Huston BRILLIANT AND SMARTLY WRITTEN BY ONE OF THE BEST AUTHORs/ and POPULAR PLAYWRITES EVER!: Tennessee Williams. Their looks like there will be a 2005 re-release of this film but they NEVER LIVE UP TO THE ORIGINAL and I also agree that with one reviewer who states this is a film that was meant to be seen (and is much stronger) in its original black-and-white. I WILL NOT, (and I repeaat NOT)BUY the 2005 rerelase but I would however, dish out BIG MONEY for the original 1964 release of this film on DVD. This is truly one of the most powerful and worthwhile films you will ever see with performances by all players that are equally as strong!!! SO I REPEAT, WHERE IS THE DVD OF THIS BRILLIANT 1964 GEM??? MGM-PLEASE GET YOUR ACT TOGETHER!!!

A wonderful story. Great acting

Format: Black & White
Studio: Warner Studios
Video Release Date: November 18, 1992

Cast:

Richard Burton ... Rev. Dr. T. Lawrence Shannon
Ava Gardner ... Maxine Faulk
Deborah Kerr ... Hannah Jelkes
Sue Lyon ... Charlotte Goodall
Skip Ward ... Hank Prosner
Grayson Hall ... Judith Fellowes
Cyril Delevanti ... Nonno
Mary Boylan ... Miss Peebles
Fidelmar Durán ... Pepe
Emilio Fernández ... Barkeeper
C.G. Kim ... Chang
Roberto Leyva ... Pedro
Eloise Hardt ... Teacher
Gladys Hill ... Miss Dexter
Barbara Joyce ... Teacher
Billie Matticks ... Miss Throxton
Betty Proctor ... Teacher
Liz Rubey ... Teacher
Bernice Starr ... Teacher
Dorthy Vance ... Teacher
Thelda Victor ... Teacher

If you have failed to see this film, you have missed a good one. Burton plays a defrocked Episcopal priest, Rev. Shannon, who was locked out of his church because of "sins of the flesh."

Taking a job with a tour-bus conductor, billed as "reverend," he runs afoul of a young girl, Charlotte Goodall) (Sue Lyon) who has designs in his skivvies. Her protector, Miss Fellowes (Grayson Hall) has her own designs on young Miss Goodall, and is intent on getting Shannon fired from his "bottom of the barrel" job. Enter beautiful Ava, a widow friend who owns a lush tropical resort hotel.

You will love this film--especially the poetry (Cyril Delevanti).

Joseph (Joe) Pierre

... Read more

Reviews (12)

Action-packed film is entertaining and satisfying
55 Days at peking surprised me. Though not having the best of titles, I thought this was going to be a romance centered around the Boxer Rebellion. Instead, the film is more along the lines of Zulu, featuring constant large scale sieges and fast-paced action.

55 Days is not perfect by any means. The political talks drag a bit and at 2 and a half hours the film goes on a bit longer than it really needs to. The use of American actors as Chinese characters is also quite distracting and occasionally produces some unintentional laughter.

Still, the film is entertaining and absorbing. Charlton Heston, Ava Gardner, and David Niven all deliver good performance. The battle scenes are the film's most memorable aspects and they are very well made, especially for its time. The film was obviously made at a large budget so the film, in technical terms, is superior to a lot of similar action films of its time. Those looking for a companion piece to Zulu might find 55 Days worth watching.

A Well-Made But Biased & Politically-Dated Film
When I first saw this film as a child, I was offended by it, being an Asian-American of Filipino/Chinese descent. However, seeing it now, with the understanding that this film was made during the height of the Cold War & the beginnings of the War in Vietnam, I can understand why it was made (though I still don't agree with it's political point of view!)

First, for general viewers who just want to see a well made, big-budget war picture with hints of romance, then this movie does deliver on that level. Charleton Heston is excellent as a flawed, temperamental loner & professional soldier who falls for Eva Gardner, a "fallen woman" of Russian nobility, while the foreign "legations" in Peking (what we would today call "embassies") are under attack by the Boxer Rebels (I Ho Chuan Society) during the rebellion of 1900 in China. David Niven is likeable as the British ambassador, even though he does come off as a bit pompous. The sets & costumes are well-done (especially when you consider that this film, set during the last days of the Ching Dynasty in China, was actually shot in Spain!), & the battle sequences are realistically staged. (For martial-arts buffs, there's even a martial-arts demonstration during the birthday of the English Queen!) So, if all you're looking for is a fast-paced war picture with great costumes & macho action performances, then, on that level only, this film delivers.

If you're a history buff, however, then this film definately is not for you! For one thing, all of the major European characters, (whose point of view this movie favors) are fictional characters. The only real-life historical figures are the ruling Manchus (played by caucasian actors in "Asian-face!") & the Japanese Colonel Goro Shiba. (He & the other Japanese are played by real Asian actors. I guess during the Cold War, the Japanese were our allies against "the Red Menace", thus worthy of respect, while the Chinese, who were Communists, were not worthy of respect when portrayed on film. But then, this movie also features the Russians in a positive light, so go figure!) There is also a scene where the German minister is killed on the street by a mob of crazed Boxers, but in real life, the real German minister was shot by a Chinese officer (one man!) who was sympathetic to the Boxer cause. This film also carefully omits the subsequent rape & sacking of Peking after the defeat of the Boxers, though focusing heavily on the Boxer's depredations against Christians & foreigners. (True history is balanced, not one-sided.) Lastly, according to this film, the British & Americans were in charge of the relief efforts during the siege. Actually, the Germans, under von Waldersee, were the real leaders of the International Relief Force sent out to defeat the Boxers & rescue the besieged legations.

Finally, for Asian-americans & viewers interested in serious political debate, this film is also a no no! The most obviously offensive aspect of this movie is the white actors playing Chinese (though again, this was made in 1963), but the other offensive aspect is that this film favors the colonialists' point of view! (The basic point of 55 Days is, colonialism is good & whenever natives fight back, they deserve to be supressed! It's the same kind of thinking that got us involved in Vietnam.) This movie was made during the beginnings of our involvement in Southeast Asian politics & it's obvious that this "historical" drama is really a pro-Vietnam propaganda film disguised as an epic action-movie!

Okay, the "Boxers" (or I Ho Society) were not saints. They did murder a lot of innocent people in their anger over the semi-colonialism imposed by the West & Japan on China during the 19th Century. But this film shows only one point of view. (A bad story-telling style for a supposedly "realistic" war picture.) However, for viewers who want to get a balanced point of view in one film about the Boxer Rebellion, well, good luck! Chinese movies on the subject tend to do the exact extreme political opposite of 55 Days (which is just as bad!) And remember, though there are historical inaccuracies in 55 Days, Chinese movies (or more accurately, Hong Kong movies) can be just as inaccurate about their own culture! Check out any of the '70's Shaw Brothers kung-fu films if you don't believe me!

So in closing, personally, I would recommend watching this film, but only if you understand it's (many) flaws. For a truly balanced perspective on the subject, after watching 55 Days At Peking, check out The Boxer Rebellion/Bloody Avengers, a Shaw Brothers kung-fu flick about the Boxer Rebellion which exaggerates the Chinese p.o.v. at least as much (if not more) as 55 Days exaggerates the European/Japanese p.o.v. The real-truth lies right in-between these two films. Be sure you get the letter-boxed version of 55 Days, because the pan & scan really cuts out some important details (more so than other films.)

OK action film marred by some faults
"55 Days at Peking" is a decent action film for a war genre fan or maybe some one who wants to see a different time period in a film. The film is pretty decent as far as its genre goes, but there were some problems in the storyline that made me give it no higher than three stars.

The first problem I had with this film was the inclusion of the mandatory American hero. It seems quite often whenever some thing is set in a foreign land and involves foreign - and is made in America - there HAS to be an American lead. Most of the other nationalities play a mostly minor role save for David Niven's character, who feels like a historic individual. I'm not saying the Americans weren't at Peking, but Charleton Heston's character feels a tad too cliche.

The second problem I had was the love story. It takes up a good part of the film and slows it down...in fact it very nearly made me lose all interest in this movie. Doesn't really do much to the story and leaves some holes open. Even when Ava Gardner's character meets an unfortunate circumstance, I couldn't feel sorry for her. I didn't care too much since the whole thing felt like a typical forced movie romance.

Finally, there are some historical inaccuracies. The battle didn't quite happen as the movie portrays it. These mistakes are all fairly minor, I suppose, and some might just flat out ignore it since the battle (and war, really) isn't well known.

On the whole, it wasn't that bad. There are some great battle scenes including a charge up a ramp behind a wheeled defense, firing shots through sliding windows, and the climactic assault with a huge artillery tower - this last part is my personal favorite, and for what it's worth I thought it was a pretty cool scene.

If you're a fan of to-the-last-man movies like the (superior) "Zulu" then you'll probably like this movie. Yes, some might not have compassion for the defenders since them being rescued meant an end to China's real independance, but I guess you really can't like the Boxers for trying to annihilate a group that includes women and children. Even if the Imperialists were morally bad guys, I can't hold compassion to the Boxers for their terrorist tactics. But enough of this...if you like this type of film, rent this and check it out.

Exciting epic produced on the grand old scale
"55 days at Peking", has certainly in the years since it's release in 1963 come in for it's share of flack over its romantisizing of history, fictional characters and depiction of Chinese nationals. In reality however I feel you must look at this film first and foremost as the first class piece of entertainment based on historical events it was intended to be. I certainly appreciate the great effort and attention to detail that was lavished on this stunning recreation of the events surrounding the Boxer Rebellion of 1900 in Imperial China.

As an ardent student of chinese history in general I can see that the focus is upon the foreigners that were present in China at that time and that the Chinese point of view is rarely explored in detail. However what must be appreciated in this Samual Bronston production is the vivid recreation of Imperial China, the earnest performances by the leads, exquisite costumes, the excellent action scenes, and sublime musical score by the famed Dimitri Tiomkins which all add up to an engrossing two and a half hours of viewing. Charlton Heston as Major Matt Lewis the tempremental soldier for hire, David Niven as the upright British Ambassador Sir. Arthur Robertson and especially the ever beautiful Ava Gardner as the "scandalous" Russian Baroness Natalie Ivanoff all lend a commanding presence in their roles. Ava Gardner as the "woman of ill repute" who falls for Heston's no nonsense Major during the seige of the foreign legations during the rebellion and ends up paying for her devotion with her life has I feel never been better. Ava proves her often underestimated talent here as she develops from shallow society lady out for a good time, into a human being who learns the value of self sacrifice for something you believe in. The wonderful Victorian costumes which suit her so well also emphasize what a great beauty she was in her movie heyday. The main criticism of this film has always been directed at the depiction of Chinese characters by caucasian actors. I feel that there is little to get offended by here as in particular the depiction of the Dowager Empress Tzu-Hsi is actually done in a much more favourable light than how the woman actually was in real life. I feel Flora Robson lends a commanding presence as the Dowager Empress and her Chinese makeup, far from being offensive is fascinating and superbly done. Robert Helpmann also shines in his sinister role of Prince Tuan, the empress's chief advisor and evil genius. They are actors playing roles just like any other performer that portray a character not of his or her own nationality and they should be rightly seen as just that.

"55 Days at Peking", while certainly not historically accurate contains an exciting fictional story woven into historical fact. This does not necessarily make it a bad drama or production and indeed here we are treated to a great story full of action, romance and a vivid retelling of a dramatic story from a "human level" as was probably witnessed by those that lived through it. The depiction of the rise of the boxers into a violent nationalist movement, the actual rebellion and siege of the foreign legations in Peking resulting in much bloodshed and destruction , the vivid and beautiful recreation of life in the decadent Ching court under the Grand Dowager Empress, are all beautifully played out in a eye popping and engrossing drama. Samuel Bronston who was responsible for some great early 1960's epics such as "El Cid", and especially the classic "The Fall of the Roman Empire" here excels himself in recreating the times in 19th Century China. The sets are sumptous with Peking being magically brought to life on sets created in Spain.Rarely nowadays do yuo see such an allout effort in mounting a top class production. The Ching court as depicted here, while not up to later "The Last Emperor", standards is still wonderful and really portrays the beauty of court life that hid so much that was wrong with the ruling system in China at the time. Rarely have more vivid depictions of the lives of ordinary Chinese been portrayed and the rebellion sequences are second to none in their raw energy, savage depiction of the loss of life and the destruction caused.

"55 Days at Peking", is not perfect by any means but I feel it has been unfairly condemmed by the supposed political correctness movement. I really enjoy historical dramas, even of the romanticised kind and Charlton Heston and Ava Gardner really maintain your interest through the long running time with their excellent work in this film. Long before computer generated special effects this film sees one of the great sets built for a film during the 1960's and for that alone it is worth seeing apart from all its other good qualities. Enjoy a journey back to grand old film making of the old school when Charlton Heston and Ava Gardner do battle against the boxers in "55 Days at Peking".

Excellent only for critical analysis
This film has only one redeeming quality- it provides an excellent opportunity to discuss bias, historical perspective, director's artistic liscence, and distortion of historical events. I viewed this film knowing that the Chinese, poorly portrayed by Americans or British, were being presented from a completely demeaning perspective that simultaneously plays the Americans as the savior heros. I plan to use this in my 7th grade social studies class to demonstrate exactly how a series of events as complex and consequential as the Boxer Rebellion can be recreated so completely and utterly wrong. Watch this as you would a Disney film like Mulan, knowing that it will only get the gist of something, and not provide any reliable characters or history. ... Read more

Reviews (4)

Star triangle highlights an African safari
A great white hunter finds himself in a love triangle with a lusty, earthy brunette and a prissy, proper blonde who just happens to be married in this beautiful Technicolor adventure filmed on location in several African countries. Clark Gable is in top form as the fearless hunter who knows natives, the jungle and animals but is not as confident when it comes to relationships with women. Gable's Vic spars on good terms with Ava Gardner's Kelly but falls hard for Grace Kelly's straitlaced Mrs. Nordley who smolders inwardly with sexual desire ignited by the virile master hunter. Gardner's likeable Kelly makes a play for Vic but he's too smitten with Mrs. Nordsley to really notice her. The vast, beautiful vistas of the "dark continent" are a viewer's delight and the percussive instruments and plaintive chants of the warriors from the various tribes add realism and urgency to an excellent film.

African love story
Mogambo was essentially a convoluted love story set against the glorious and picturesque backdrop of the African savannah.

A somewhat aged looking Clark Gable in his typical macho style played Victor Marswell a safari leader and procurer of wild animals for zoos and circuses based in Kenya. Arriving at Gable's complex unexpectedly in search of a recently departed maharajah is the raven haired beauty Ava Gardner. Gardner, a wordly chorus girl from New York and Gable imediately hit it off. Things are proceeding swimmingly until the arrival of the next safari clients, the Nordleys. Professor Nordley played by Donald Sinden is an anthropologist interested in gorillas. His wife the prim, proper and lovely Grace Kelly rues her loveless marriage and is smitten with Gable. Gable returns her advances and soon we are in the midst of a love quadrangle.

The heat is turned up as the group goes on safari to gorilla country and passions percolate. All the while they are fleeing from hostile natives, chasing a plethora of wild and exotic animals and travelling through some of the most scenic country imaginable.

The interplay among the main characters as well as the supporting cast was very amusing. The settings and cinematography was first rate. The satisfying conclusion ties up the plot into a neat little package.

Simply wonderful!
Mogambo is a must-see! I didn't think it was going to be so great, I was just going to see the film because Clark Gable was in it. But Ava Gardner was magnificent, she was sexy and beautiful. Grace Kelly was great for the role as the married gal. Clark Gable was of course the hunk that everyone loves! The film keeps you in your seat from the first scene to the last. Just watch it, you'll love it!

African adventure with Gable and Grace.
If Clark Gable had not been a star before Mogambo, he would have been afterward. This is the kind of stuff that creates action heroes. You name it, it's got it ... adventure, romance, and intrigue. Sadly, it's the kind of picture which could never get made today. The characters in this story are the real thing ... the plot doesn't have to develop their personalities. It's a bigger-than-life scenario with ole big ears as the great white hunter, and the future Princess as the impressionable wife of an anthropologist. The only twist is that before the dashing couple arrives, another flame ignities our hero's fire. When they throw the whole gang into an ill-timed safari, all you-know-what breaks loose. The action doesn't interfere with the plot, and vice versa. Just about the time you think it might becoming a love story, it's action time. The movie keeps you interested from the first shot to the happy ending. What would you expect from a Gable and Grace movie? ... Read more

Reviews (15)

What kinda answer is that against a 10 million dollar gross?
I'd not heard anything about this Bogart film before; as such, I wasn't expecting much. What a mistaken assumption! What a wonderful though tragic film!

It's fairly rare to see a film with an intelligent script and believable characters; the Barefoot Contessa has both.

Ava Gardner is beautiful, classy, and self-assured; she has high expectations for life and is not willing to settle for less. Humphrey Bogart does well as the character we might expect: a wise and worldly director/writer--the tough guy with a heart who befriends Gardner--the woman every man wishes he could have. Edmond O'Brien is brilliant as the PR flack to two men who can buy anything--except Maria Vargas (Ava Gardner). O'Brien is the crass American, always running his mouth, always looking at the money angle.

This film takes some broad swipes against big money and high society while retaining faith in big dreams. It has some of the most true-to-life dialogue I've heard in a long time. It is an unsung treasure.

Bogart as Oracle, Gardner as Screen Goddess
Joseph Mankiewicz was a dialogue master as well as a brilliant director, as evidenced by hits such as "All About Eve" and "A Letter to Three Wives." He is on top of his game once more writing about a familiar area, the world of film, in "The Barefoot Contessa." This film is the number one showcase vehicle in the career of the astoundingly beautiful Ava Gardner, cast in this drama as Maria Vargas, a dancer from Madrid who is discovered by film director Bogart on behalf of his then producer boss, Warren Stevens, a humorless, ruthless financial giant modeled somewhat on the persona of Howard Hughes. From there she goes on to a brief and meteoric career as an international film star before meeting an untimely death at the peak of her beauty and screen renown. Mankiewicz pulls out all stops to display her beauty at every angle, showcasing that beautifully chiseled face accented by the elegant cheekbones.

Bogart plays the role of a world-wise oracle, delivering pungent Mankiewicz one-liners, along with snappy first person narration. He serves as a surrogate father for the restless Gardner, who detests the superficilialities of the film world. A free spirit, she loathes stardom's confinements of living in a glass house, seen by all. Bogart serves as a convenient buffer from Stevens, who Gardner, as well as everyone else, detests with a passion.

Eventually Gardner meets the handsome prince of her exotic dreams in Italian nobleman Rossano Brazzi, but the tragedy is that he is compelled to love her "with all my heart" and is unable to provide her with the kind of physical fulfillment she desires due to a war injury that has left him impotent. When she endeavors to fulfill his desire for an heir by having an affair with another man, he fails to see things her way and believes she has betrayed him when she had launched the affair to please him. Disaster results.

Fans of Edmond O'Brien, who performed with great accomplishment in the film noir classic "D.O.A." as well as in many other films, were overjoyed to see this fine actor honored with an Oscar for Best Supporting Actor in playing nervous, palm-sweating public relations man Oscar Muldoon in "The Barefoot Contessa." O'Brien is at his best in reading Stevens, who had treated him as hired baggage, the riot act when he is offered a position by a South American playboy with designs on Gardner.

a great romantic and dramatic film!
This is a must see. Humphrey Bogart and Ava Gardner make a great romantic couple. This film is beautiful and dramatic, as well as romantic. It's in color, which is even more wonderful. Ava's costumes are gorgeous.

Excellent screenplay. Great acting. Fine directing.
This 1954 film was written and directed by Joseph L. Mankiewicz who sure does know how to make movies. In one of the very first scenes, Ava Gardner is dancing in a nightclub in Spain. We know she's great even though the camera isn't on her for one minute. All we do is hear the music and watch the faces of the people watching her. By the time we do see her, she's already in her dressing room. She's absolutely gorgeous and lights up every scene she's in. We see her character's rise to movie stardom and share the unfulfilled life she leads. And then, just when we think she's finally found happiness, tragedy strikes. It's a modern day classic drama with a story that pulled me right in.

Humphrey Bogart plays a movie director who befriends this "barefoot Contessa", nicknamed that because she was once so poor that she didn't have shoes. She prefers going barefoot and this theme is emphasized all the time, showing her barefoot whenever possible. Rossano Brazzi, who doesn't appear till late in the film, is cast as the true romance in her life. All of these actors do a good job, but I was particularly impressed with the performance of Edmund O'Brien, cast as a public relations man for a studio executive. It's a small part but I just kept thinking how good he was. Later I discovered that he won an Academy Award for this role.

It's the screenplay that moves the action. It never lagged and I sat there with my eyes glued to the screen wondering what would happen next. Considering that this is basically just a love story, that's saying a lot. I totally enjoyed the viewing experience. It's too bad though, that there were no features included on the DVD. It would have been nice to have a little more background. "The Barefoot Contessa" gets a high recommendation from me just because I enjoyed it so much.

Rich Tones and a Sad Tale
In the film, "The Barefoot Contessa," Humphrey Bogart indeed is a cynic from the very start. He niether likes his role of being a paid screenwriter on the payroll of a very moody boss and his talkative associate (Edmond O'Brien), nor does he enjoy exploiting himself. Ava Gardner as Maria is a very grounded dancer in Madrid, who cannot make up her mind between wanting stardom or wanting the simple life in her hometown. She is torn from the very start and feels she never quite belongs to the Hollywood scene. Nevertheless, all the men, except Bogart and O'Brien, are after her beauty and want a piece of her fragile being, only to end up a fatal end to her short life.

The story is rather complex and if you don't pay attention to each word, you may get lost with what exactly is happening. Each word the player says is meant completely, and the film is dependent on each charactors wordplay. The actor Edmond O'Brien, for instance, uses this method effectively and grabs every scene from the film that he's in. He was fantastic in it and probably was the most humble of the characters. He really deserved his Best Supporting Actor Academy award for 1954.

Ava Gardner, sorry to say it, was merely a ploy throughout the film to pretty much show the masterful direction of Mankanviez (sp?). She was marvelous, though, and completely made the film the success as it stands today. People watch it because of her screen presence, not to examine Bogart's duantless growl or O'Brien's snappy chit-chat; it's Gardner's presence and appeal that really brought the film into status.

Overall, if you get the DVD, the clarity is remarkable and you can really notice how well Gardner spoke, see every grimace of Bogart's usual snarl and hunched back, and see some wonderful panoramic views that only Technicolor could produce. This is worth the buy; for the story and script. ... Read more

Amazon.com essential video

This 1946 adaptation of Ernest Hemingway's short story adds well over an hour of new material to the original tale. The reason is, while director Robert Siodmak, star Burt Lancaster, and an outstanding supporting cast are faithful to Hemingway's work, his story only takes up about 15 minutes of screen time. Burt Lancaster plays the doomed man sought by hired guns in a small town. Hemingway's bruisingly concise dialogue makes an early sequence set in a diner quite unnerving, but after the killers dispense with their prey, Siodmak turns to an insurance investigator (Edmond O'Brien) who looks into the reasons behind the murder. An exemplary film noir (complete with a fickle femme fatale played by Ava Gardner), The Killers is all mood and fatalism. --Tom Keogh ... Read more

Reviews (12)

Siodmak Scores
Adapted from an Earnest Hemingway short story, The Killers is an exceptional noir classic, showcased by Burt Lancaster's screen debut and Ava Gardner's stealthy performance as a seductress. The film opens with two ominous hitmen driving into a small town who stop at the local diner. The title implies that the film centers on these two characters but the two hired guns only set up the realistic tone that pervades the film. At the diner, the henchmen interrogate, taunt, and intimidate the proprietor, a customer, and the cook. The opening sequence is tinged with deadpan dialogue, harsh lighting, and a foreboding warning that death is imminent. Charles McGraw and William Conrad play the torpedeos to the hilt. "Talk to me, bright boy, what do you think's going to happen? I'll tell you. We're going to kill a Swede. Do you know a big Swede named Ole Andreson?" (Lancaster). When a customer (Phil Brown) tries to warn the Swede of the impending doom, the Swede lying in bed can only lament that running will not solve his problem. Shortly after, the hitmen burst into the dingy boardinghouse room and blast away. The film then becomes a narrative flashback interspersed with an insurance agent's quest to unravel the circumstances of the Swede's demise. It seems that something far more dangerous than bullets killed the Swede years before- the unrequited love for a manipulative vixen named Kitty (Gardner). The film is brilliantly directed by Robert Siodmak who assumed direction from a disgruntled John Huston. Siodmak uses his European influence as he paints a canvass of dark moods and brushes in a desperate stroke of male vulnerability. The Swede may have been a tough boxer, but he is no match for the cunning Kitty. Edmond O'Brien turns in a credible performance as the insurance investigator who pieces together the events, places, and people that ultimately led to the Swede's death. All of Siodmak's ventures into the realm of noir were excellent (Cry of the City, Criss Cross, The Phantom Lady), but The Killers ranks as his crowning jewel.

Star-making vehicle
Bleak and darkly disturbing film-noir about a double-cross that really turns out to be a triple-cross in disguise. This is the film that made both Burt Lancaster (in his screen debut) and Ava Gardner stars and it is easy to see why by their sincere, solid performances. Ruggedly handsome Lancaster stars as Ole "Swede" Anderson, a former boxer turned criminal; gorgeous Gardner smolders opposite him as Kitty Collins, the duplicitous and manipulative vixen who gets under Swede's skin--with deadly consequences. Up to this point Gardner was wasted for years by MGM, her "home" studio, plodding thanklessly in bit parts and one-dimensional leads. It took a loan-out to Universal and a meaty, multi-dimensional part to finally make Gardner the star she deserved to be, and also revealed that there was some acting ability behind what surely must have been one of the most ravishing women who ever lived--the scene of her in a black satin dress and gloves is the stuff of male fantasies! (and probably a lot of women's, too!). Edmund O'Brien justifiably won an academy award for his portrayal of principled, meticulous insurance investigator. "The Killers" tells the tale of Swede's involvement with criminal kingpin "Big Jim" Colfax (Albert Dekker of "Dr. Cyclops" fame) and his merry gang in a masterminded payroll office heist. Kitty, who is Colfax's moll, deliberately misinforms Swede of the others' plan to cut him out of his share and convinces him instead to beat the others' at their own game and take off with the loot and her. Of course the lovestruck Swede agrees only to wind up the patsy when Kitty slips out with the dough and rejoins her lover Colfax--leaving Swede holding the bag. Wonderfully gritty B&W photography which serves perfectly to emphasize the doom and gloom of the situation, tight, briskly paced direction, stark realism, and the previously mentioned performances make this excellent viewing!

Cast Pins Story
Here's an example of an assortment of fine actors, and a dedicated and imaginative director, overcoming a sloppy script. Once the Hemingway material was used up the screenwriters emptied the sack of film-noir spare parts in an effort to keep this vehicle running: the fight game, the big heist, the prison cell buddies, the nightclub shootup, the chanteuse, the double-cross. But just watching the actors delivering their lines and director Robert Siodmak's lighting and camera work make it worthwhile. And you'll never see better black and white cinematography than here. Burt Lancaster is pretty awkward in his first film, but he gives a glimpse of the power and screen magnetism he later devleoped.

"Once, I did something wrong."
"The Killers" is based on an Ernest Hemingway story and begins with the cold-blooded murder of a humble garage attendant known as the Swede (Burt Lancaster). Two violent strangers arrive in the small town of Brentwood looking for the Swede. They lay in wait for him at a local diner, but when he doesn't show, they move on to his rented room. Even though the Swede has a brief opportunity to escape, he stays--waiting for death.

An insurance man (Edmond O'Brien) becomes intrigued with the case, and against the wishes of his superior, he begins an investigation. Just who was the Swede? Why did two professional hit men hunt him down? And why did the Swede accept his death as inevitable?

Director Robert Siodmak never loses a beat in this excellent film noir. The plot moves seamlessly back and forth in time as the investigation into the Swede's past continues. This structure gives the film a very modern feel. Burt Lancaster is in his element here as the Swede--a professional boxer who is forced to start earning money a different way when his right hand is broken. I always find that Burt Lancaster has a sort of blustery presence which may or may not work--depending on the role he assumes. In "The Killers", Lancaster is believable as the boxer who falls for Kitty Collins (the sultry Ava Gardner). As the Swede, Lancaster is a little naïve and gullible, and this role works very well for him. Plus Lancaster is murdered in the opening sequence, and the rest of the film is spent on unraveling the mystery behind the murder. The segmented delivery of the film ameliorates Lancaster's screen presence. I found myself swept along with the investigation, and I certainly didn't guess the ending. This gripping film kept me intrigued from the very beginning, and I recommend it wholeheartedly--displacedhuman

The Swede Lives Forever
Edmond O'Brien, the King of Noir. Ava Gardner, like a porcelain goddess femme fatale. Burt Lancaster as the victim in waiting. Albert Dekker, the villain from "Kiss Me Deadly". What more do you want?
The climax in the roadhouse with accelerating piano notes will have you grabbing your chair, the curtains, and the carpet all at once. A great noir film that never loses its path or pace, it's about greed and lust and all the death that follows it.
Look for an appearance by William (Cannon, Jay Ward cartoons) Conrad as a brutal hit man. ... Read more

Reviews (6)

AVA - GODDESS OF LOVE
After being married to Jennifer Jones (who is/was my particular 1940's screen love goddess), Robert Walker stars opposite a very erotic Ava Gardner, described by film critics in "The Naked Contessa" (1954) as, "...the most beautiful woman in the world", so she was aptly cast to play Venus, the goddess of love, in this 1948 production.

Robert Walker plays Eddie Hatch a lowly paid window dresser at the store owned by Whitfield Savory II (played by Tom Conway - a relative of the suave George Sanders).Eddie is instructed to ensure that the curtain will not snag at the forthcoming unveiling ceremony of the recently acquired statue of Venus.When finished, he impulsively (he's finished the boss' drink) kisses the statue which promptly comes to life!! Eddie is to marry Gloria (Olga San Juan), who rather irritatingly, keeps reminding him they are to marry each other.They have drifted into their relationship and marriage just seems the next logical move - but who said love is logical!! However, Eddie's friend Joe, (Dick Haymes), is secretly in love with Gloria himself but he doesn't know it.Whitfield Savory II is likewise ignorant of his subconcious love for his efficient secretary, Molly Stewart, played by Eve Arden in one of her typical wise-cracking, comic roles; (see her as Mildred Pierce's efficient manager in the Oscar winning film of the same name (1945) opposite Joan Crawford.

I was mesmerized by Ava Gardner as she spreads her instinctive love to bring all these true lovers together, while working her magic on Eddie himself who is soon in love with her.She seems reluctant to return to Mount Olympus as she is having so much fun here on Earth.She loves helping people but when her task is over, Jupiter, the head of The Gods, (who communicates by thunderflashes), summons her back to Mount Olympus.Reluctantly her effigy returns as a statue at the store, much to the relief of the Whitfield Savory II who thought Eddie had stolen the statue whilst she is in her live alter-ego on Earth.This sub-plot gives rise to some comic Keystone Cops type chases especially when Venus comically turns one of the "gumshoes" into an owl, albeit temporarily as she loves everyone really!.Molly believes Eddie is innocent - good for her I say!

Watch out for Sara Algood who plays Eddie's landlady, (see her in previous roles as Mrs Beth Morgan in "How Green Was My Valley (1941) and as Mrs Maile in "Cluny Brown" (1946).The lovely song "Speak Low" is sung by Dick Haymes miming to his own recording while Ava effectivly mimes to another well matched singer's voice.Another song about men, sung in the ladies dressing room as a trio, featuring Ava, Olga & Eve.

The audience feels strong sympathy for Eddie and he is finally given his divine award (including a modest pay rise) when a very beautiful new store recruit called "Venus Jones" (Ava),appears in normal human form to him there.We have to assume this will eventually become another love match engineered by Mount Olympus!

I found this film hugely enjoyable as I love classic 1940's films having made them something of a speciality.It has fewer of the songs than in the original Broadway musical but this seems to fit the plot.It is a difficult title to find on video.I obtained mine by winning an e-Bay auction after searching on Robert Walker.

Could Venus Match Ava???
The raven-haired, green-eyed Ava Gardner, complete with the magnificent structure (bone and otherwise) is the perfect choice for the role of Venus come to life. Much is made of the predictability of the plot; this was the first time it was done as a sophisticated comedy, I believe. Many imitators would come later, including "Mannequin" in the 1980s, to much less effect. The score is scaled back quite a bit, but with very little loss. The wonderful Eve Arden gives her ultimate wise-cracking performance in this film, and she lights up any film she's in, but especially this one. My only gripe is the casting of aw-shucks cutesy Robert Walker. I'd rather have seen Dick Haymes, or Jimmy Stewart, or almost anyone else in the role of Eddie Hatch. (Hmmm ... Andrew McCarthy would have been great, if he were around then!) I think the rest of the cast is absolutely fine. Olga San Juan is a lovely, talented and underrated actress-performer, but her part in this seems somewhat thankless as the jealous, whiny, hissy-fit competing female. Tom Conway (George Sanders's brother, by the way) is a VERY suave, sophisticated "villain" of the piece. Though Ms. Gardner's voice is dubbed here, the haunting "Speak Low" gets my vote as one of the most beautiful ever written, WHOEVER sings it, and it is orchestrated and performed perfectly here. Overall, the film beautifully captures the things I've always loved about the 1940s. This is a film I watch very often. After seeing it on late-night television so often back in the 50s and 60s, it was a delight to learn that it was filmed in color. Pure escapism, but whoo-whoo-whoo's complaining, as Eve Arden might have wisecracked.

Hey, let's play a little game...!!
Nice light comedy with Ava Gardner at her most babilicious. She plays the Roman goddess of love, here on Earth to see what we mere mortals are up to these days. Suffice it to say, she gets a lot of action as all the guys drool each times she passes their way. Easy to recast for the present day: Joshua Jackson could play the hero, Eddie Hatch (originally played by Robert Walker), Liv Tyler --of course -- would be Venus (Ava Gardner), Janeanne Garafolo as the Jane Hathaway-like Molly Stewart (Eve Arden) and Renee O'Connor (Gabrielle from TV's "Xena") as Gloria, the other girl (originally Olga San Juan). It's too bad Tim Curry is too old to play Dick Haymes' part... at times he's a dead ringer, but perhaps Leonardo Decaprio or some other hottie could play the department store head, Mr. Savory (Tom Conway).

A good film!
I found this movie very entertaining. I especially liked Robert Walker in it.

spoken lowly of
This adaptation by director William A Seiter of the musical with music by Kurt Weill and lyrics by S J Perelman and Ogden Nash is generally considered a bowlderisation, with songs cut and Mary Martin's stage performance lost in favour of the usual Broadway to Hollywood compromises. However there can be no doubt that casting beautiful Ava Gardner as Venus, the goddess of love, is apt. Here Gardner is more playful than usual, and even making her chase a reluctant Robert Walker can be forgiven. Although it is thought that great beauties are all the more desirable when passive rather than active, Walker not realising Gardner's worth is true to the slapstick comedy tone. The idea of Gardner as a marble statue on display in the art gallery of a department store, brought to life by window dresser Walker's drunken kiss at midnight during a lightning storm, introduces the unrealistic romantic narrative, with songs that appear without the musical genre strictly being adhered to. If I am happy to not have I'm a Stranger Here Myself from the stage show, it's because I don't like the song anyway, and even when Speak Low is presented unsatisfactorily and that Gardner is dubbed whilst singing it, cannot detract from it being one of the loveliest melodies Kurt Weill ever composed. I like how it is used as a siren song, where Seiter intercuts between Gardner and Walker, and Dick Haymes and Olga San Juan, with Gardner and Haymes both singing to departed lovers in a duet. As the only one of the cast who appears able to sing, Haymes also gets the bulk of My Foolish Heart, even if given new lyrics and a generally unappealing rom