Reviews (6)

Excellent early depiction of Chicano life
Very interesting to see 1942 Hollywood's depiction of Chicano life.The neighborhoods looked realistic enough, like an earlier version of Mi Familia's barrio.
Spencer Tracy was excellent as Pilon. Unfortunately, a real lack of Latino actresses and actors at the time.

Actually a decent adaptation of Steinbeck's novel
John Steinbeck's novel was adapted to the big screen in this 1942 film directed by Victor Fleming. "Tortilla Flat" is a small fishing village in which there is not much money and actually working is the last thing anybody wants to do. Danny (John Garfield) inherits two houses and tries to woo the lovely Dolores Sweets Ramirez (Hedy Lamarr). His friend Pilon (Spencer Tracy) moves in with several of his friends (Akim Tamiroff & Sheldon Leonard). Pilon plans to rob "The Pirate" (Frank Morgan) of his money, until he learns the money is being saved to buy a candlestick for St. Francis. Pilon's interest then turns to Dolores as well and the contest is on to see who will end up with the lovely lady. This is actually a decent adaptation of Steinbeck's novel, which manages to capture some of the earthy, amoral spirit of these Mexican-Americans without slipping into caricature. Morgan received an Oscar nomination for Best Supporting Actor for his performance, the best in the film. The screenplay by John Lee Mahin and Benjamin Glazer deserves special mention for actually providing some continuity to the incidents from Steinbeck's novel.

An Outstanding Translation from Book Form
It's true that it's nearly impossible to make John Steinbeck's stories into movies. I had the advantage of having read Tortilla Flat before seeing this movie version. In cinema you have the visual facet of storytelling. You cannot go verbatim into film. Some things get mis-translated. Those who had a hand in making this film knew exactly where to take it. That or it was plain old blind luck. I could tell they knew the story well. They knew how to retell it in movie form. That was their strength. Black and white is like alchemy for many nowadays, but back then it was already a refined art. For the whole movie i hadn't noticed that it was in black and white. You don't yearn for color when all the elements of lighting, composition, tonal range, everything, tricks your mind into perceiving color. All of the characters were engaging and alive. The story took me in, into Monterey. It's a story of people who have very little, but in their friendships are more well off than the very wealthy. If you watch this movie before you read the book, it is just as well. You won't miss much by not reading the book. The movie is that good.

IT HAPPENED IN MONTEREY
This simple Steinbeck story takes place in the Monterey, California of the early forties. A little slow and drawn-out, the story involves Tracy and Garfield and their paisano friends and their adventures. Garfield's inheritance of two houses bring him instant respectability yet estranges him from Tracy and his other pals. Both Tracy and Garfield vie for the affections of lovely Lamarr and become near-enemies in the process. An entertaining little picture which has Garfield unfortunately miscast as Danny (his Spanish accent was pretty unconvincing) and the part lacked the dynamism for which Garfield was famous for.

I read the book, too-- this is a movie! MGM's masterpiece
I read the book also like the critic below me but this is a film and one of MGM's finest. It is a wonder to behold. Spencer Tracy's performance as the hapless Pilon is a highlite and John Garfield as Danny is a performance to treasure. Buying this movie off of Amazon was a refreshment. It has always been one of my favorite films and will always be. The comments below mine is from an old book-crone from a person who spends time looking at the negative points of the film and cannot sit back and enjoy a real classic.

Victor Fleming's direction ("Gone With the Wind", "The Wizard of Oz") is truly fashioned in its true existential film about the life of the "paisanos" and Hedy Lammar's performance as "Sweets" Ramirez is her best. See this movie. ... Read more

Amazon.com

Based on an obscure crime novel titled Tucker's People, Abraham Polonsky's Force of Evil has attained classic status since its release in 1948, when film noir was thriving on the fringes of the Hollywood studio system, where the shadowy attributes of noir were allowed their fullest expression. Which is to say, this gritty drama is drenched in greed, cynicism, and corruption of the soul, as embodied by John Garfield in one of his most memorable roles. He's perfectly cast as Joe Morse, a lawyer whose connection to a ruthless racketeer has nearly destroyed his sense of morality. His participation in a rigged numbers racket could prove disastrous for his high-strung older brother (superbly played by Thomas Gomez), whose small-time policy bank stands to go broke when the rigged numbers pay off--a financial windfall for Joe's powerful boss at everyone else's expense.

Joe's corruption is tempered only by remnants of guilt and his redeeming attraction to Edna (Marie Windsor), his brother's secretary, whose common decency gnaws at Joe's rotten conscience. But before Joe can rise from his self-made hell, Force of Evil takes him to the darkest pit of tragic humanity--a downward spiral perfectly expressed through George Barnes's exquisitely stark cinematography. In style and substance, this is quintessential noir, its plot unfolding with uncompromising toughness and intelligence. More's the pity, then, that director Polonsky was later victimized by the Hollywood blacklist, curtailing a promising career for two decades until Polonsky directed Robert Redford in 1969's Tell Them Willie Boy Is Here. It seems only fitting, then, that Polonsky's remarkable debut is now recognized as one of the finest dramas of its kind. --Jeff Shannon ... Read more

Reviews (10)

An Inside Look At Big City Corruption
Abraham Polonsky's 1948 film Force Of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez)who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson), Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client, mob boss Frank Tucker ( Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete texture and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time had captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are distinctly culled from Force of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker, the mob boss's wife. Upon release, Force of Evil was relegated to B status, but recently and rightfully so, it has been reevaluated as one of the most influential crime noirs in American cinema.

A Look At Big City Corruption
Abrabham Polonsky's 1948 film Force of Evil is drenched with cynicism, corruption, greed, and love. Capturing the lure of noir, Force of Evil is a violent ballet which depicts the struggle of two brothers vieing for a rung on the urban ladder of existence. Joe Morse ( John Garfield) is a Wall Street lawyer with connections to an underworld kingpin. Morse is not content with being a straitlaced lawyer. Longing for a big score he becomes embroiled in a plan to drive the neighborhood number rackets out of business. Morse's greed is compromised by his protective instincts for his older brother Leo ( Thomas Gomez) who happens to operate one of the small policy games. Morse's morals and emotions are further stirred by Doris ( Beatrice Pearson) , Leo's secretary who innocently is scarred by the veil of crime. A dichotomy emerges as each brother's values about life come to the surface. Gomez is outstanding and upstages Garfield in a memorable performance. Although Leo runs a small numbers operation, he is a proud and honest man that remains loyal to his workers. He has provided poor neighborhood people with jobs and extra income and justifies the numbers racket as a simple five and dime game that might bring a windfall to a blue collar laborer. Conversely, Joe has it all- Wall Street law office, secretaries, and expensive suits. Yet Joe's success is partly due to his representation of his most influential client-mob boss Frank Tucker (Beau Bridges). Joe cannot break his ties with the mob and instead becomes more involved with them. Polonsky's location shooting in Manhattan adds the concrete testure and intimidation that shadows the film. In one scene, John Garfield's lone figure walking along a desolate Wall Street, with Trinity Church looming in the background creates a sense of urban alienation. Polonsky's camera work when Mr. Bower is shot is riveting. No film up to that time captured the brutality and urgency of mob gunmen at a hit scene as did Polonsky. That scene alone bridges some of the influences that Martin Scorsese speaks about in the film's prelude. Characters, scenes, and emotions from Mean Streets, Raging Bull, and Goodfellas are evident in Force Of Evil. Also Jeff Shannon's review incorrectly states that Leo Morse's secretary is played by Marie Windsor. The beautiful, buxom fixture of many noir films, Windsor played the role of Edna Tucker,the mob boss's wife. Upon release, Force of Evil was deemed a B crime flick. Recently, and rightfully so, Force of Evil has been re-evaluated as one of the most influential crime noirs in Amercian cinema.

One of Garfield's best films is thankfully on dvd!
This was one of John Garfield's final films before he was wrongfully "blacklisted" & it's easy to see why it was a "major influence" on director Martin Scorsese's crime dramas. Garfield plays a wise young Wall Street lawyer who works for a mob boss in order to make money "the easy way". However, when Garfield forces his older (& weaker) brother to join the crooked organization, problems quickly arise, & there's plenty of backstabbing & double-crossing involved! I'll admit the movie starts off a little slow, but Garfield's incredible acting had me hooked in no time. The photography in this gripping film noir is simply amazing, & although Garfield's the only "big star" the cast is very good. Unfortunately, the dvd has absolutely no special features, not even a trailer or cast bios. Oh well, this classic is so awesome that I'm satisfied with the dvd release. Maybe someday a special edition will be released. If you're a John Garfield or film noir fan than this is a definite must!

Classic Garfield Noir
Force of Evil is a fine example of 1940s film noir. Polonsky's direction is crisp and the pacing perfect throughout. John Garfield turns in an above average performance as Joe Morse, a lawyer turned enabler for mob boss Ben Tucker, who is played by a not entirely convincing Roy Roberts.

Force's plot turns around the effort of Tucker and Joe Morse to monopolize "policy" (i.e., the numbers racket) in New York, and Morse's effort to keep his brother, who runs a small-time numbers bank, from being crushed in the process. It is the brother-to-brother aspect of the plot that provides the real juice for this noir, with Thomas Gomez turning in a riveting performance as Joe's brother, Leo Morse. The female lead, Doris Lowry, is played well by Beatrice Pearson, but, in the end, the character stands to serve only as a sounding board for Joe as he struggles with what he has done to himself, and to his brother.

Technically, it looks as though Artisan, a perennial purveyor of poor quality dvds, has finally gotten a release right. The transfer here is crisp with solid blacks and a serviceable grayscale. The only obvious flaw on the disc can be found in the chapter selections, where the stills for the last two scenes are reversed. The audio is quite acceptable, and the score for this work is incrementally more memorable than most. As for features on this dvd, there are none -- it's the film, and just the film. However, because Artisan must learn to walk before it runs, the absence of special features is forgivable in light of the effort Artisan has finally put into getting the film right.

All things considered, I recommend this dvd to those wondering what film noir is all about, and strongly recommend it to confirmed fans of the genre. If you know what noir is about, and are not a fan, this dvd is decidedly not for you.

fine noirish effort
Not quite on a par with the best film noirs such as Touch of Evil, Double Indemnity, and Sunset Blvd., FORCE OF EVIL is still a fine film starring John Garfield. Garfield is an attorney, caught up in a drama with an older brother, the numbers racket, and a life spiraling out of control. Excellently made, it only lacks in topnotch performances.

Truly this is not a film noir, because our protagonist is corrupt from the beginning. Still, it often gets classified as a noir; it has much in common with the famous film noirs, and I would recommend it to any fan of the noir genre, as well as fans of 1940s cinema.

I loved it. 90 minutes well spent, and I'm recommending it to all my friends.

five stars ... Read more

Reviews (12)

An Absorbing Study of Anti-Semitism
"Gentleman's Agreement" tells the story of a Gentile writer (Gregory Peck) who poses as a Jew in order to get a good 'angle' on the issue of anti-semitism in Post WWII American society. His method proves almost too effective and causes problems for his young son, played by a very young Dean Stockwell, and in his relationship with a young woman (Dorothy McGuire), who finds out that she's not as liberal as she thought. Peck and McGuire are fine in their leading roles, but the film gains great depth from its outstanding supporting cast. This includes Anne Revere as Peck's no-nonsense mother, Albert Dekker as a tough, plain-speaking magazine boss, Celeste Holm as a fashion writer with a keen insight into human foibles, and Sam Jaffe in a memorable cameo as a distinguished scientist with a sharp sense of humor. The most compelling of the supporting performances, however, is that given by the great John Garfield. He plays Peck's life-long friend, who has just returned from war-time service in Europe. His role is actually not much more than a cameo, but his performance is the soul of the film. With painful clarity, he tutors his old friend in what it's like to be Jewish in a way that comes from his own lifetime of experience. He's not bitter or strident. On the contrary, he relates his advice and anecdotal evidence to Peck in a way that is heart-felt, insightful, and matter-of-fact. "Gentleman's Agreement" may not be the definitive treatment of this important social issue, but I think the film holds up very well after more than a half-century. The picture won Academy Awards for best director (Elia Kazan), best picture, and supporting actress Celeste Holm. It's not a perfect film, but its heart is definitely in the right place. This picture can be a rewarding experience for movie fans who appreciate fine acting and serious story-telling.

Stuffy Oscar Winner gets same transfer second time around!
In "Gentleman's Agreement" Gregory Peck stars as Philip Green/Greenberg, a reporter impersonating a Jew in order to gain first hand knowledge into anti-Semitism. At first, snubs seem quite subtle and harmless. But as the film progresses the seething underbelly of dissension against the Jewish faith begins to rear its ugly head. Dorothy McGuire costars as Kathy, his waspish girlfriend who struggles with her own built-in anti-Semitism. John Garfield offers a startling and poignant cameo as Dave Goldberg, while Celeste Holm turns in another fine performance as Anne Dettrey, the only cast member seemingly untouched by prejudice. The film also costars Anne Revere, as Philip's mother, and Dean Stockwell as his son. Despite excellent source material from the novel by Laura Z. Hobson, and the directorial reigns handed over to one of Hollywood's best, Eli Kazan, the resulting film is heavy-handed and tiresome in spots. The plot never quite surpasses its very theatrical staging and the performances, particularly McGuire's are stiff and uninspiring.

Fox already released this title as a movie only disc, without the making-of featurette. Now, as part of its Studio Series "Gentlemen's Agreement" continues to suffer from digital anomalies which plagued the original transfer. However, whereas the old transfer seemed to falter during the latter half with excessive film grain and shimmering of fine details, it is the first hour or so of this re-release that is riddled with edge effects, aliasing, pixelization and digital grit. As far as extras are concerned, this DVD offers little more than a brief back story featurette, audio commentary and theatrical trailer.

Superb DVD presentation of classic film
Kudos to Fox Home Entertainment for a very satisfying DVD presentation of "Gentleman's Agreement," the 1947 Best Picture Academy Award winner. The film itself is deserving of all of the accolades it received, both upon its initial release, and in all the years since.

I'm assuming that most of the people considering a purchase of the DVD have already seen the movie, so I'd like to focus here on the incisive commentary by Richard Schickel, long-time film critic for Time magazine. Stars June Havoc and Celeste Holm are also heard on the track, recorded separately, and while their remarks are interesting, this is Schickel's showcase, and he runs with it.

As it happened, I wound up listening to this commentary over the course of three nights. This kind of gradual exposure allowed me to really absorb Schickel's observations.

The critic is no sycophantic fan of "Gentleman's Agreement." While he admires its aims, and much of its execution (primarily the achievements of director Elia Kazan), he has some reservations about the script, and some of the acting.

He demonstrates a complete understanding of the conventions of 1940s studio filmmaking, but doesn't always accept the necessity that "Gentleman's Agreement" had to adhere to those norms. I didn't always agree with Schickel's criticisms of the film, but they certainly made me think, and I never found them off-putting.

Schickel wisely underscores the contribution of John Garfield, whose training in The Group Theater gave him a more realistic acting style than anyone else in the film. "Garfield seems to be acting in an entirely different movie," Schickel says, and it is not a criticism. The Garfield performance leads on a direct path to Marlon Brando's Stanley Kowalski in "A Streetcar Named Desire," also directed by Kazan, and Schickel makes this clear. It is at this point that he makes the single most fascinating statement in the entire commentary, which I won't spoil for you here. Suffice it to say that it's something that may strike you as intuitive, but put into this context, becomes something of a revelation.

I've seen Web-based reviews of this DVD that criticize Schickel for doing too much plot summary. I disagree; he doesn't merely give a blow-by-blow account of what's hapening. He mentions plot points, but goes on to offer an opinion about how well the moment is conveyed, or about what real-life parallels the film is touching upon, or something else that is valuable to the viewer.

DVD commentaries just don't get much better than this.

The other extras on the disc, among them an AMC backstory presentation and a selection of 1947 newsreels, are nice additions.

An interesting look at anti-semitism
Winning the best picture Oscar for 1947 comes the story of a journalist who poses as a jewish man for six months to find out how deep anti-semitism runs in New York City. When the film came out, it was considered controversial. I say more power to the film and was glad it was made. However, keep in mind the film is over 55 years old and while the issue of racism is valid even today in some parts of the country, it comes across as somewhat outdated. The saving grace is the script. It manages to inform without pontificating and really hits on a surprising amount of aspects. Example of a great exchange:
"Why, some of my best friends are jewish"
"And some of your best friends are methodist also. But you don't make a point of saying that, do you?"

The romance between the two leads is strained and the chemistry works better when thay are odds with each other. This is the first time I've seen a movie with Dorothy McGuire and while I'm sure she is good in other films, she comes acroos as wooden here. Particularly in contrast to Celeste Holm, who eats up the screen.

I also liked the back story behind the movie. There is an interesting AMC featurette included on the special edition. It very informative and the story of what happened to actor John Garfield is tragic. While this film does not resonate as a "classic" it is a very enjoyable, watchable film. Those collecting Oscar pics or who want a relativley tame film (by todays standards) about the aspects of racism could do worse.

Groundbreaking Look At Prejudice
Elia Kazan's 1947 film Gentleman's Agreement is the story of a journalist who is employed to write a series of articles on the scourge of anti-Semitism in America. The journalist, Phil Green, is played by Gregory Peck and in order to get his information first hand, he poses as Jew. He encounters all forms of prejudice and his blooming romance with the niece of his publisher takes a hit. Kathy (Dorothy McGuire) insists that she harbors no ant-Semitic feelings finds that through her association with Green, that such prejudices bubble underneath the surface. John Garfield gives a standout performance as Green's lifelong friend, Dave Goldman, who has experience prejudice his whole life and has learned to be philosophical about man's failings, but still is willing to fight against blind ignorance as noted in a gripping scene where he is denied a room in a swanky hotel by an unbearable snooty desk clerk who refuses to admit the reason he won't give Dave a room is that he is Jewish even though it is obviously apparent that is the reason why. Celeste Holm won the Best Supporting Actress award for her role as a fashion writer and socialite who is attracted to Green and heavily pursues him. The film was ground-breaking at the time of its release as it was the first Hollywood movie to tackle anti-Semitism head-on. Prior to World War II, it was an unspoken rule that anti-Semitism could only be hinted at even if a film like The Life of Emile Zola was about it. But over the years, the film has lost a lot of its power and it isn't aided by the fact that many of the characters are stock profiles that exude a one-dimensional feel. Despite that fact, it still is an important film and one that can still teach a lesson as well as entertain. Mr. Kazan won the first of his two Best Directing Oscars and the film won Best Picture in 1947. ... Read more

Reviews (7)

Violence and Humiliation
Edward G. Robinson gives one of his most vivid characterizations as Wolf Larsen, captain of the "Ghost". Robinson is hated by his entire crew, since he employs violence and humiliation to keep the men in line. Among the crew is fugitive John Garfield, who fits right in since most of the crew is made up of society's losers. Writer Alexander Knox and convict Ida Lupino are also taken aboard and they also fall victim to Robinson's cruel ways. The only way out seems to be escape or death. Garfield and Lupino are intense as usual and well-matched, although their relationship develops quicker than the story gives it time to grow. Knox is convincing as the intellectual writer who analyzes the captain and also learns about himself under extreme conditions, but he doesn't have much screen presence. Supporting players Gene Lockhart and Barry Fitzgerald have some excellent moments, with Fitzgerald a particular surprise, cast against type as one of the ship's most disagreeable characters. But it's Robinson who towers above everyone else as the cunning, cruel Wolf Larsen, one of his best performances. Director Michael Curtiz keeps the suspense up, giving the film a dark, disturbing quality. The script is literate, the music effective, and the characters are well drawn and performed. It's a very solid film.

JACK LONDON CLASSIC.
Jack London's exciting tale of the sea and of the nefarious Captain Wolf Larsen makes for a riveting, atmospheric high-seas adventure. Adapted for the screen by Robert Rossen, the story plots the course of three civilians who find themselves on board the aptly-named turn-of-the-century schooner "Ghost" helmed by the tyrannical Larsen. Edward G. Robinson, in a dynamic and complex portrayal, plays the hardened captain who finds it's "better to reign in Hell than serve in Heaven". As the newest members of this "hell ship", a lovely Ida Lupino and a handsome John Garfield are both fugitives from the law; and Alexander Knox is the idealistic writer forced to face the barbaric side of human nature. Gene Lockhart does well as the drunken ship's doctor and Barry Fitzgerald is especially memorable in a surprisingly effective and offbeat characterisation as the vile cockney cook with an annoyingly sardonic laugh. This rather underrated film which was directed by the notoriously tyrannical Hungarian Michael Curtiz is definitely worth viewing: THE SEA WOLF remains a rip-roaring action film which gives berth to both high adventure and intelligent characterisations - a classic of its kind.

Florid Melodrama
A script by Robert Rossen is only one reason to see this film. E.G. Robinson delivers a forcefull performance as Wolf Larson.

Aboard for the ride are a young Ida Lupino, John Garfield, Alexander Knox, Gene Lockhart and Barry Fitzgerald. There are a handfull of actors who we dont mind if they soemtimes give an "over the top" performance because the viewer knows how much into the character that actor is.Robinson was one of these actors ( Laughton, O, Brien etc) .

In addition, Mr. Garfield never gave a mediocre performance in any of his films so you know that you can take your eyes off him when he is in frame. Even more, Garfields modulated voice made his characters more real than most. Jack London via Michael Curtiz ..and thats pretty good .

Man's true nature?
Edward G. Robinson's Wolf Larsen is a self-educated man, a sadistic genius who has developed the humiliation and manipulation of his fellow man into a science. He is the alpha male in a crew whose willingness to exploit any sign of weakness in order to gain advantage places it barely above the level of the animal. Onto his ship come a trio of castaways, whose various fates among Larsen's men we follow. Particularly interesting is Larson's relationship with the writer Humphrey Van Wyden, portrayed by Alexander Knox. Van Wyden understands exactly what kind of man Larsen is and refuses to play the syncophant. Larsen listens to, and even invites, his criticisms with all the fascination of a man seeing himself in the mirror for the first time.

Full Sea Locker?
Edward G. Robinson delivers as the infamous Wolf Larson in this tale of the sea.

Ida Lupino and John Garfield offer strong support in this film. Gene Lochart plays the drunken doctor aboard and becomes a victim of the sadistic Wolf Larson. Robinson was always terrific in these roles..and in others like it (The Red House) ... Read more

Reviews (5)

2 hours and 7 minutes!
That is the main problem of this movie, it dragged on. It would have been better at 90. Not to say it didn't have its highlights. Among them were the lovely Dinah Shore singing three numbers, a Spike Jones performance with cowbells, and a suggestive Eddie Cantor number. The best thing for me was the pairing of two of my favorite actors S.Z. Sakall and Edward Everett Horton. They made a good team. Another problem I had with this movie were the scenes of Eddie Cantor in the mental hospital. They were uncomfortable.

Cutting Loose
A number of Warner Brothers' top stars get a chance to do something different in this wartime musical. Dennis Morgan, Joan Leslie, and Eddie Cantor star as ... performers trying to get into an all-star performance that will feature some of the top stars of the day. This plot serves as a link to various numbers performed by actors not usually seen in musical rolls. That's the fun of this film. Errol Flynn's considerable charisma is on display in his bar room Cockney song which also demonstrates his physical agility. Bette Davis puts in a game effort singing "Their Either Too Young Or Too Old", which also includes her being thrown about in a dance number. Alexis Smith also gets tossed around, lifted, and twirled in another dance number. Olivia de Havilland, George Tobias, and Ida Lupino are jitterbugging twits in a number that shows de Havilland's sense of humour and willingness to look silly. Ann Sheridan sings to a group of girls about love, looking very beautiful as she does so. Alan Hale and Jack Carson do a long duet, while a very awkward John Garfield sing-speaks "Blues in the Night." Humphrey Bogart has an amusing bit where the always amusing S.Z. Sakall browbeats the tough guy. Perhaps best of all is a rousing all-black number featuring Hattie McDaniel that is full of energy. Thank Your Lucky Stars isn't a great musical jammed with memorable songs. It's memorable because of the performances of its non-musical cast. The connecting plot is passable and sometimes interferes with what the audience really wants to see, but not enough to be a liability. Fans of film will want to see this one at least once. It's one of a kind.

Get it for the star power alone!
I don't own this video yet, but I will. I recently saw this movie on a cable channel and it was spectacular. They never said the title of it, but I managed to find it here on Amazon.com and will be ordering myself a copy of it. It's fantastic! I don't think I've ever seen Bette Davis sing in a movie before. And the "Ice-Cold Katie" number with Hattie McDaniel and other stars is incredible...I don't recall ever seeing an all-black musical number performed on this scale in a movie of this era (1943).

They don't make 'em like this anymore!
This is pure entertainment, such as you never see in any modern film. Eddie Cantor stars in his duel role, including one that hates him. Spike Jones is classic, and the full cast is loaded with talent. You'll laugh your guts out. My family goes crazy over it. We wore our first copy out!

A great example of 50's star studded film magic.
Well, how many fifties stars do you remember or know of? In Thank your lucky stars you should at least recognise one or two of them. The big name line up consists of (but not only) Olivia de Havilland, Errol Flynn and features a wonderful cameo by Bogey himself, although he isn't quite acting like the seasoned gumshoe that we're used to seeing. The storyline rattles along at quite a pace with the main plot concerning a stage production being put on, and of course the obligatory love interest thrown into the mix as well, but the real reason that this picture is such a little gem are the number of fun bit parts played by some of Hollywood's all time greats, any fan of the genre should sit back and enjoy. ... Read more

Amazon.com essential video

The greatness of John Garfield was that he was a tough guy who wasn't afraid to wear his sensitivity on his sleeve. What makes this such a great film is that director Jean Negulesco and his two writers (including Clifford Oddets) construct a complex web of ambiguity around Garfield's own torment. He's a violin virtuoso from the slums of New York who rises to the top with the assistance of socialite Joan Crawford (who was never better). There's a sexual intensity to his art that she wants to possess, and there's a vulnerability behind her lacerating façade that he wants to expose. They play each other like a couple of virtuosos, stripping each other's spirit away. What helps transcend this depression-era class struggle is its cool sophistication. It's a sublime noir about loneliness. Everyone knows his dream has hit a dead end, except Garfield. He refuses to give up, even after his soul is long gone. --Bill Desowitz ... Read more

Reviews (20)

Nothing Good Can Come Of This Relationship
In HUMORESQUE we see a dedicated young musician (John Garfield) meet a wealthy possessive woman (Joan Crawford) who takes an obsessive interest in him and his career as a violinist. We know that nothing good can come of this relationship and we are surely looking at a tragedy in the making. In spite of all the warning signs we feel compelled to watch this movie to the end.

The acting of both Garfield and Crawford is superb. The role of Helen Wright seems to be the perfect vehicle for Crawford. Oscar Levant excells as a pianist and Garfield's friend. The rest of the strong supporting cast includes J. Carrol Naish, Joan Chandler and Tom D'Andrea. Garfield's violin is played by Isaac Stern.

HUMORESQUE received an Oscar nomination in 1946 for Best Scoring of a Dramatic Picture. Jean Negulosco directed many other fine movies during his career including JOHNNY BELINDA, ROAD HOUSE and THREE COINS IN THE FOUNTAIN.

A ROMANCE TO DIE FOR...
This is a superb melodrama about a young man, Paul Boray, from the wrong side of the tracks, who plays a mean violin, and the unhappily married society matron, Helen Wright, who becomes his patron and then his lover. John Garfield is well cast as Paul Boray, the ambitious violinist. Joan Crawford does a star turn as the glamorous and beautiful patron of the arts, who underwrites Boray's big break and ends up falling passionately in love with him. Theirs is a turbulent relationship. He is singularly devoted to his music, and she is an alcoholic, plagued by self-doubt. They are star crossed lovers whose romance is destined to end tragically.

The film has a magnificent musical score courtesy of violinist virtuoso Isaac Stern. Pianist Oscar Levant is a double threat in this movie, as he, too, does a star turn as Boray's best friend, acting as a comedic foil. He also dazzles on the ivories, playing away so that the viewer wonders why he, too, does not have some society dame underwriting a show for him, such is his talent. All in all, a well cast and well acted film. Fans of Joan Crawford and all those with an appreciation of classical music will especially enjoy this well made film.

Playing second fiddle to Beethoven's ghost
That sentiment sums up the frustration and disappointment of Helen Wright [Joan Crawford] about her love for and obsession with violin virtuoso Paul Boray [John Garfield] in an excellent film blessed with great acting and beautiful music. Mrs. Wright becomes Boray's patron and gives his career a financial boost but becomes hopelessly drawn to her protege as his concert career takes off. The two principals circle each other warily, sizing up the other and lashing out verbally with accusations of ingratitude and selfishness with Boray holding fast to his dedication to his music while Mrs. Wright begins a slow but steady decline into drinking and depression. Boray's tunnel vision concerning his instrument does not allow him to appreciate the love Gina [Joan Chandler] has for him, nor can he grasp his mother's sage counsel and warning about his involvement with a married woman. The film has generous servings of music by Sarasate, Dvorak, Lalo and a brief but excellent recital of Franz Waxman's adaptation of "Carmen".

Crawford & Garfield in top form!
Terrific movie and Joan's worthy follow up to "Mildred Pierce." Everything's terrific about this one, so curl up on the sofa and settle in for a first class melodrama.

Joan Crawford's finest film and performance.
Not only was Joan Crawford at the height of her beauty and glamour when she made Humoresque - she was also at the height of her acting ability, having just won the Oscar for Mildred Pierce. It would be unfair to say Humoresque is a better film than Mildred Pierce, considering how different the two films are. Mildred Pierce was gritty and dark and strived for harsh realism. Humoresque is romantic and tragic - beautifully written, acted, and filmed. There are moments in movies that linger in your mind a long time after viewing.. The finale of Humoresque is one of those moments. I'm certain I will never forget Joan Crawford's melancholy walk along the sea shore in the moonlight. It is one of the most artistic scenes ever captured on film...and all the emotion Joan goes through is genuine and deep. It is definitely a glimpse through to the heart of Joan Crawford, vulnerable and beautiful, defiant and strong. For in real life, Joan Crawford was never loved. And her character in Humoresque was, as Joan described, "a woman with too much time on her hands and too much love in her heart." Perhaps that was the real Joan Crawford, a woman clinging to her career and the fans that loved her, when nobody else did. People have long criticized Joan Crawford, but who would you be if nobody loved you? ... Read more

Amazon.com

There was no better director than Howard Hawks at depicting groupaction. Because of his sense of character and pacing, Air Force transcends its propaganda purpose. It's well crafted all the way around, from the acting to the writing to the aerial fighting to James Wong Howe's painstakingly striking cinematography. A B-17 takes off from San Francisco in December of 1941 headed for Hawaii only to witness the Pearl Harbor attack from above, so it lands and takes off to thwart an oncoming attack. Reassigned to Manila, the crew (which includes the always cynical John Garfield, Gig Young, Arthur Kennedy, George Tobias, and Harry Carey) is thrust into the thick of battle. Incidentally, Hawks enlisted William Faulkner to rewrite a death scene that resulted in a sublime sense of honor. He also added some epigrammatic polish to some dialogue, such as Tobias's dismissal of California: "The sun shines and nothing ever happens, and before you know it you're 60 years old." --Bill Desowitz ... Read more

Reviews (8)

A Top War Film
The legendary Howard Hawks directed this WWII classic about the Mary Ann, a B-17 bomber lead by Captain John Ridgely and featuring crew members Gig Young, Harey Carey, Arthur Kennedy, Charles Drake, George Tobias, Ray Montgomery, and John Garfield. On a routine mission to Hawaii, the crew arrives just hours after the Pearl Harbor attack and find themselves thrust into war. Other stops include Wake Island and the Philippines. Of course, one of the purposes of this film was to rally the American spirit, and it features some of the anti-Japanese dialogue you'd have to expect. But the film succeeds beyond the propaganda value. The action sequences are well filmed and exciting, with terrific aerial action and some good ground sequences, too. The camraderie amongst the crew is credible. Each member has his own small "back story" as you would expect, but these fine character actors make it all very believable (Harry Carey is a particular standout). This film is a true WWII classic.

interesting piece of WWII "propaganda"
"Air Force" is an interesting, if slightly inaccurate piece of Hollywood propaganda. Featuring John Garfield playing a typical Garfield character...pugnacious, but heroic at the end. Harry Carey does a turn as the sergeant with the heart of gold, and spends a good deal of the movie talking about his son. You get the usual mix of characters in a wartime film. Several questions arise about this movie though, not the least of which is, why is the "Mary Ann" flying over Battleship Row at night? My guess here is information about the attack on Dec 7, was still being withheld, and Hollywood was doing the best they could with what little information they had. There are the requisite scenes of aircrewmen firing .50 cal machine guns from the hip, and Japanese pilots slumping in the cockpits of their planes with blood running from the corners of their mouths. The scenes featuring the bombing of moving targets (ships)by B-17's is Hollywood fantasy at its best. All in all, this movie was designed to inflame the passions of the folks at home, and war bonds were probably sold in theatres showing the movie. Still, this is an entertaining little film if you suspend all knowledge of WWII that you may know. I have it in my collection, and pop it in the vcr every now and then to while away a couple hours.

Overrated propaganda piece
In 1943, the tide of WWII had turned, but things were still dark enough to warrant this propaganda film about a WWII bomber which comes close to singlehandedly winning the war. Taking off from California, ostensibly for Europe, a B-17 is sent instead to Pearl, arriving in time to witness the fiery aftermath of the Japanese sneak attack. In one of the most powerful moments of the film, crewmembers look down in silent fury at the fiery remains of what was supposed to be America's Pacific redoubt.

Unfortunately, "Air Force" seems to have been written only for powerful moments (and those in which our heroes poke fun at the Japanese), with the film's B-17 setting off to another rousing score every five minutes or so. Supporting the thin plot are the usual suspects, especially John Garfield as (you guessed it) he cynical individual who must learn to put his bitterness aside (for failing out of flight training) and learn to be a team-player. Further, though jibes at the those populating the axis are expected for WWII movie actually made during the war, "Air Force" goes further - raising the specter of Japanese-Americans working with the imperials to bring a crippled America even further down. By now ofcourse, we've long learned that Japanese-Americans were about as disloyal as wartime Italian or Gernman Americans (none of whom appear here as pro-Italian or pro-Nazi sympathizers or 5th columnists), and that much of the blame for the severity of the December 7th attack can be laid firmly on the poor planning, willful blindness and blatant prejudices of our leaders both elected and military. The Japanese are faceless and insidious - a far cry from Hawks' more sympathetic treatment of oppressed American Indians in "Fort Apache". It's sad to say that this film may be to WWII what "Birth of a Nation" was to the civil war.

By the end of the film, "Air Force" goes too far, with the crew of the B-17 lobbing bombs directly down the stacks of Japanese cruisers with pin-point accuracy. It's arguable that real B-17 pilots may not have appreciated Hollywood's glossing over how difficult it was for level bombers to score such direct hits (against moving targets protected by an umbrella of flak and fighters). Less of a sticking point is what went through the head of those who actually did fight the Pacific airwar, which was fought in the air, but otherwise bore little resemblence to that seen in the film. It's too easy to forgive "Air Force" for its war time faults, but great movies were actually made during the war, my favorite being "Action in the North Atlantic" with Bogart and Ray Massey, and "The Big Lift" which of course takes place after the war - during the Berlin airlift - but was mysteriously bereft of any cold-war hysteria.

GREAT!
I was impressed the very first time I saw this film, and I enjoy watching it every year. A fine cast makes it believeable. The early hours of world war two. This film truly shows how unprepared we were, but also shows the dedication of our american servicemen.

Excellent Movie
An accurate portrayal of how unprepreparred the US was as World War II began. Harry Carey as the gruff, wily, mechanical genius reminds me a a real B17 crew chief I once knew. ... Read more

Reviews (7)

a star is born
This was John Garfield's first part in a film, and it made him an overnight star; the audience loved him, and he broke the mold of the leading man image, with his surly arrogance, and brooding look. The film also changes tone from a sweet family film, to a melodrama, when he makes his entrance 1/3 of the way into the plot. He plays a talented but down-and-out pianist, a man whose attitude makes him a perennial loser.

Based on a Cosmopolitan Magazine story, "Sister Act", by Fannie Hurst, and directed by Michael Curtiz, it features the lovely Lane sisters, Gale Page, and Claude Rains, as a musical family that also includes May Robson as the very amusing "Aunt Etta".
Priscilla Lane is the sister with the central part, as she is the one in the love triangle between Garfield, and Jeffery Lynn. Lynn is excellent, and had the looks that the movie studio thought would assure him stardom, but though he was in several fine films, seldom had top billing in them.

Nominated for the 1938 Oscars in the categories of Best Picture, Best Supporting Actor (Garfield), Best Screenplay and Sound, it has a fine Max Steiner score, a few musical numbers, and wonderful performances. It is an entertaining classic which is sometimes touching, always charming, and a must for Garfield fans.

pre-Brando, pre-Dean, the 1st "rebel" = John Garfield
This was the first "Rebel Without a Cause" and it was released before World War II. "Four Daughters" came out in 1938. This was John Garfield's first movie role. When he first appears on screen, about one-third of the way into the film, the mood of this movie changes, big time. What was a light and simple movie becomes actually somewhat dark and even complex. Garfield creates a character on screen that captures your attention and keeps you guessing. The other key characters all seem to be living in a kind of fantasy world, the world of "Father Knows Best", while Garfield appears alone, dark and disconnected from everyone and living in the world we know today as film noir.

Clearly Brando, Dean, and those "rebels" that followed in the 1950's movies were copying the style, the mood, the look of John Garfield from this film. He was the first young movie "rebel" who is alone and searching for meaning in his life and having a tough time. What a surprise to find a dark character like this in a movie that starts off so happy and go-lucky.

Enjoy the film.

a great movie.
I very higholy recommend this one. Claude Raines plays the father of four daughters. It's romantic as well as dramatic. In my opinion John Garfield is the best in the film, and really makes the film worth seeing all the more. He plays a misunderstood and romantic composer.

A standout amongst the time period
So you start this movie thinking it's going to be another happy go lucky late 1930's flick with singing and romance. everything is going nicely, with everyone headed towards a predictable ending when all of a sudden, John Garfield shows up, exuding sex appeal and bringing in a character who seems awfully out of time, in a very good and interesting way. then you're watching a different movie. this flick is out of its genre, and what was an easily forgettable movie becomes something very different. Unfortunately, cooler heads prevail, and the young Lemp daughter, who followed her heart and ran off with Garfield's self loathing Mickey, returns to her safe home and the stable mediocre composer. Oh well. I love this movie anyway, for it's entertaining, if sometimes sad, story. A depression era picture in that it takes place in a happy town, with a happy family who are obviously not hit by hard financial times, (except for Mickey, but he's never had good luck anyway) and actually doing well. The story never gets too serious or realistic. Watch it for John Garfield. Some say he's the best part of the film (my view) or that he's the one thing that brings it all down, so there's a contraversy going on. Judge for yourself, or have a party and debate with friends. either way, the guy did go on to have a pretty excellent career, until he was labeled a communist and died prematurely of a heart attack. Check him out when he was new and different.

Three Lanes and A Page
Claude Rains stars as the father of four pretty, musically talented daughters who learn all about the complications of love. The Lane Sisters - Lola, Priscilla, and Rosemary, along with Gale Page, play the loving sisters. Of these, the non-Lane, Page, gives the best performance as the down-to-earth oldest sister, pursued by one man, but in love with another. It's a quiet, touching performance. The men in their lives are Jeffrey Lynn, Frank McHugh, Dick Foran, and John Garfield. Garfield is easily the standout among the boyfriends, his hardened-by-life musician a precursor to the Method actors of the Fifties. In a way, he clashes with the idealized family presentation and sweet goodness of this unbelievable family, yet it also helps to ground the film in reality. It is sentimental, but everyone performs earnestly and the music adds to the atmosphere. It's a very easy way to spend ninety minutes. ... Read more

Reviews (12)

CLASSIC FILM NOIR
Taken from the once-popular novel by James M. Cain, this story is steeped in repressed sexuality, involving a bizarre love triangle among two young lovers and an elderly husband played by Kellaway. Essentially, this film is more interesting for the visual and physical tension between Turner and Garfield than for any other single element. Scenes which stand out both visually and dramatically include the murder sequence in which the young lovers try to electrocute the old man and, of course, the famed scene in the car where Garfield strikes Kellaway with a whiskey bottle. Lana is cool and calculating as the frustrated young wife of the old coot and she made quite a sensation looking ravishing in her all-white wardrobe (notice how she contrasts with Garfield's dark, brooding look). This film was an important step in Turner's film career and one can see what all the fuss was about when seeing her in this. Garfield is natural and excellent as the young tough drifter. Hume Cronyn and Leon Ames score as the mercenary lawyers, however the script could have been a bit sharper at times (it should have been more similar to that of THE BIG SLEEP or THE MALTESE FALCON.

Super Sizzle
John Garfield and Lana Turner truly sizzle in this super-tough, ultra-dark film noir of a faithless wife who coaxes a lover into a murderous plot against her likable husband. Garfield offers a typically expert performance, while Turner--who is not usually noted for her dramatic talents--literally explodes in the sex-bomb role of the sultry but cold-hearted Cora. One of Hollywood's finest (if often overlooked) films of the 1940s, adapted in full-force from the James M. Cain novel. Hot!

LUVLUVLUVLUV this movie!!!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

LUVLUVLUVLUV this movie!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

Talky version of Cain's first novel
The best thing about this rather vapid 1946 production of the James M. Cain pulp novel/turned literature is Lana Turner as Cora, but not for her acting, which was ordinary, but because she looked so good. Director Tay Garnett had her in stunning, shapely white dresses, pants and uni's that showed off her figure, complemented by a platinum hairdo that in glorious black and white was so intense it was almost colorful. (People on the set may have needed to wear shades.) After she returns from her mother's funeral, Garnett has her in the blackest black from a black hat to her black shoes--heels, I should emphasize, since she was almost always in heels in the movie, even returning from the beach or crawling up a canyon in the Santa Monica Mountains, she was in heels.

John Garfield, who plays Frank Chambers as though wandering through the role (which is not entirely inappropriate), is sympathetic and has the kind of raw animal appeal that we would expect to see in Cain's depression-era antihero. But he too was not out to win any acting awards. Cecil Kellaway, who plays Nick (in this case a "Nick Smith," not the Greek immigrant Nick Papadakis from the novel) does the best acting job as he brings a bit of the delusive psychology of an older man with a beautiful young wife to life when he announces that he selling the café and moving to the backwoods of Canada so Cora can take care of him and his invalid sister! This bit of senile daydreaming was not in the novel; indeed a lot of what transpired in this self-conscious, misconstructed flick was not in the novel, including a sappy post-ending in which the title is "explained." I won't go into the explanation except to say it wasn't convincing, but I can understand why they tacked it on since nowhere else (that I know of) is the title explained. Cain's original, and appropriate title was, "Bar-B-Que." See my review of the novel at Amazon.com for some speculation on how they came up with the rather magical title.

A better rendition of the Postman is the 1981 production starring Jack Nicholson and Jessica Lange. It too is no masterpiece, but it is both truer to the novel and less talky. A true to the spirit of the novel adaptation would require a terse, stream-lined directorial style with an emphasis on blind animal passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it. ... Read more

Reviews (11)

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

Hollywood's version of the fight for Mexican independence
This historical drama, directed in 1939 by William Dieterle, tells the tale of Mexican Independence in terms of a political soap opera. Napoleon III (Claude Rains) appoints Maximilian von Habburg (Brian Ahenre) to be Emperor of Mexico. However, Maximilian and his wife Carlotta (Bette Davis) discover they face bitter opposition from the Mexican people, who obviously want the democratic government their President, Benito Juarez (Paul Muni) has been trying to establish. Maximilian is sympathetic, but the day he and his wife adopt a Mexican child as a sign of their good faith, the exiled Juarez has a French munitions supply destroyed. In response, the Emperor signs a decree that allows the government to execute anyone committing acts of agression against the French authority. When President Lincoln lends money to the Juarez cause and asks Napoleon to withdraw French troops with Mexico, Maximilian realizes he is just a political pawn in a tragedy that has to be played out.

"Juarez" is a pretentious film, weighed down by all the history it is trying to impact, that does have several good moments in terms of the performances, most notably when Carlotta begs Napoleon for aid and then descends into madness. Davis provides a nice understated performance, while Muni is excellent and always and Aherne turns in a credible performance as the doomed Emperor. The end result is quite reminiscent of "Nicholas and Alexandra," the tragic tale of a somewhat enlightened monarch caught up in historical forces moving much too fast. John Garfield, Donald Grips, Gilbert Roland, Louis Calhern and Gale Sondergaard round out the excellent ensemble. "Juarez" was based in part on the play "Juarez and Maximilian" by Franz Werfel and Bertita Harding's book "The Phantom Crown."

A Great Film
This hollywood classic stays pretty close to the history for a change. In clear B&W this film has all the little touches of 1930s productions, but considering its time period it is pretty heavy as far as the history is concerned. This is no light weight "Gone With the Wind" set in Mexico. Betty Davis as Carlotta, who was actually a Belgium princess married to Maximillian, is great. This is a real substantial, historical role for her to play for a change. The way she lets lose at the end at Napolean III, played brilliantly by Claude Reines is classic. Her dovation to her doomed husband is accurately played, showing the mental unbalance that later overcame Carlotta at the end.

Louis Napolean's adventure in Mexico was typical of the politics of the parveneau emperor. With all the show, but none of the talents of his great grandfather, Louis Napolean soon embroiled France in a conflict that resembled the Iberian Peninsular of 1808. Another debacle where the French had to contned with a People's Movement. Marshall Achille Bezaine, shown briefly in the film, could never completely conquer the Juaristas. There were some famous actions in this conflict, including the celebrated stand by a handful of French Foreign Legion against three thousand Mexicans at Camerone. But such heroics were not enough to win the land for an imported Hapsburg monarch via France. Paul Muni plays a grim and determined Juarez. His portrayal is not that far off from the truth. For a big budget Hollywood epic this movie gets itself into some pretty weighty issues, such as the inner Mexican conflicts between natives and those of imported Spanish blood, and the loyalties of some of Maximillan's officers, including the native born Tomas, who all came to grief in the end.

While some events may be condensed to fit a 2 hr movie, this production gets high marks for being as truthful as possible. This is no boring historical epic, the action is pretty non-stop. The character of Maximillan himself is brilliantly played. A decent man who got himself mixed up in bad politics. Even to this day Mexicans may hate the circumstances that brought him to their country, but they remain sympathetic to the man himself. Those wanting a big budget classic from the 1930s, with some fine acting and good historical content should find a happy marriage between all three here.

A Great film! Bette Davis viva!!
Juarez features Bette Davis as the Empress Carlotta, who, with her husband, Maximillian, assume monarchial status in Mexico and incur the wrath of Juarez, who has Maximilian killed. Bette tries to save her husband by going to the King of France and this portion of the film is not to be misssed. She storms Claude Rains as the King, and she withers him with her words, and then goes mad, and with such conviuction. The images of Davis careening down corridors of blackness screaming are not to be forgotten. Never mind the camp of Paul Muni as JUarez, it's all Bette Davis, and there are a thousand lessons in screen acting here.

Buy this video now.

Typically bizarre Hollywood history
This movie really should have been called CARLOTTA AND MAXIMILIAN, because the doomy erstwhile emperor and empress get far more screentime than Juarez in this insane Hollywood concoction. Puppet emperors always make for interesting film stories (as in Bertolucci's THE LAST EMPEROR), but the Manichaean demands of classic Hollywood made Warner Brothers realize that no matter how much screen time they'd give to Bette Davis and Brian Aherne as the Hapsburg couple they could never sell them as heroes. So, they recruited Paul Muni, the studio's favorite portrayer of noble biopic subjects, as the glum President Beinto Juarez, and two of Hollwyood's most recognizable essayers of villainous roles, Claude Rains and Gale Sondergaard, to wear the black hats as Napoleon III and his empress Eugenie (Sondergaard is so archly evil she may as well be preparing to play the Spider Woman).

Muni doesn't make much of an impression plodding around impassively as Juarez, and with his stony facial expression the screenwriters and director clearly decided they'd better do **something** to remind the audience he was playing the good guy. So, Muni is always photographed in front of pictures of Abraham Lincoln (to remind viewers he's the republican). Aherne and Davis fare much better as the tragic Hapsburgs, and the film does have one great scene when Davis has to go to France to plead Naopeon and Eugenie for support and goes mad before their very eyes. Though you'd never guess it from the film's general free-and-easy approach to history, this scene actually happened in real life, and the dialogue in the scene pretty much follows the historical record--and there's a great visual touch when Davis, convinced the Bonapartes are trying to poison her, runs out of into the Tuileries gardens as if possessed into the night, her beautiful silver silk traveling dress billowing like a cloud around her as she shrinks into the blackness of the night (and her madness). But this, and the film's lovely use of "La Paloma" as a recurrent musical theme, are hardly enough to sustain you through the longeurs of Muni stalking around like a zombie. ... Read more

Reviews (12)

Submarine Drama
Destination Tokyo is a fine dramatic action film about life aboard an American submarine during WWII that is sent on a mission that puts them into Tokyo Bay. Cary Grant stars as the captain who wishes he could be with his wife and children and who has the total respect of his crew. It's a good performance, not typical of the character that you expect to see Grant playing. Members of the crew include John Garfield, who has a story about every girl he's ever met; Dane Clark, an intense sailor with a reason for hating the enemy; and Alan Hale as the cook, providing much of the film's humour (as he often did in other movies). The film has a series of tense episodes, and mixes the drama and action well. Other than saying that it could have been shortened, the movie is quite good, and it must have had a strong impact on audiences during World War Two who were able to see what life on a submarine may have been like.

This Destination Is a Good Time
Delmer Davies's Destination Tokyo is very enjoyable WWII submarine action drama about a covert naval operation to scope out information for the aerial bombing of a primary Japanese naval yard. Starring a very charming Cary Grant as the sympathetic commanding officer and John Garfield as the girl obsessing crewman. Destination is very realistic in its depiction of submarine life and very watchable fifty-six years after its release. Though brimming with out-dated and silly comic relief, the contrived humor just adds to its considerable charm as a very watchable and dramatically engaging war film.A real gem of movie, Destination also has one of Grant's most unappreciated roles. Any fan of old war movies and Cary Grant can't go wrong buying this one.

You might be surprised.
A WWII sub film made during the war? Probably a jingoistic, even racist, bit of ma-and-apple-pie propaganda with woefully dated special effects. That much is true of Destination Tokyo, to be sure. From that angle, it's still an interesting bit of WWII-meets-Hollywood history, and its plot even ties into the famous Dolittle raid. (The film never calls the raid by that name, but it uses the actual footage of the bombers leaving the carrier Hornet, so it's all clear enough what the inspiration is if you know WWII history.)

Destinaton Tokyo is also a strong enough film in its own right as long as you can accept/stomach its propaganda aims. The action sequences are pretty exciting by the day's standards, and the nicely acted slice-of-life bits with the colorful crew are formulaic but quite entertaining nonetheless. They're often funny too, thanks to John Garfield's perpetually horny braggart character.

A Great Submarine Movie
Thankfully, this movie has NOT been colorized as mentioned in the format. It is presented in glorious black & white ... AS IT SHOULD BE !!!

Today is June 7th ... Let's see how long it takes Amazon to fix the description after receiving notification.

How to ruin a Fantastic motion picture
COLORIZE IT!!!! I have a problem in taking a wonderful action packed WWI sumbmarine movie with suspense, action, and more stars that you can count and totaly mess it up with someones interpertation of what something looks like in color. I bought the colorized movie by accident some years ago and it looked like a 5 year-old took a crayon and colored inside the frames. I returned it the next day. Keep B/W movies the way they were made. In the movie someone asks "Do prayers really work" and the reply was "I know they do", well I'm praying that the B/W version comes out VERY SOON!! ... Read more

Reviews (4)

Lame, Lame, Lame
Lame is the first word that came to mind as I was watching this all-star World War II morale booster. I really wanted to like it a lot more than I did, but the plot's framing device killed it for me. Robert Hutton plays a soldier on leave who visits the Hollywood Canteen with one hope ... to get a kiss from Joan Leslie, that All-American girl next door. He does, and a phony romance develops between them that pretty much ruins the film. It's oh-so-sweet and innocent and trite. Fortunately, there are some good moments that don't feature the wholesome couple. The film is populated by the best talent at Warner Brothers, mostly playing themselves. Dane Clark doesn't play Dane Clark, but instead Hutton's army buddy, and he supplies the film's humour as he tries to win over Ida Lupino, Alexis Smith, Joan Crawford, and Janis Paige. Sydney Greenstreet and Peter Lorre have a short but terrific scene together where they use their sinister screen personas to great effect. There are some good musical numbers performed, along with other appearances by such classic stars as Jane Wyman, Barbara Stanwyck, Jack Carson, Dennis Morgan, Joe E. Brown, and the Hollywood Canteen's founders, Bette Davis and John Garfield. So although I did enjoy seeing so many great actors from yesteryear out of character for a change, I just wish that screenwriter and director Delmer Daves had come up with a better framing device to move the film along. Sixty years later it doesn't stand up very well, and I can't imagine that audiences back then really bought into it either.

FORTIES FUNFEST
HOLLYWOOD CANTEEN is among the more famous of the vast number of morale boosting films churned out by the studios during the second world war. The plot is so grotesquely fictious that it helps to rank the film as "high camp"! Robert Hutton is a lonely GI who wanders into the Hollywood Canteen in search of a glimpse of his dream woman, Joan Leslie. All the famous stars of the lot then conspire to have the young soldier meet Miss Leslie. Based on the same idea as THANK YOUR LUCKY STARS, it was nevertheless fairly successful at the box office in 1943. John Garfield and Bette Davis organised the Hollywood Canteen as a functional, practical place for the military men to go to while in L.A............A sort of Hollywood version of the USO club! The cast is a star-studded mixture the likes of which you're not likely to see again in a single film! The Andrews Sisters, Joan Crawford AND Bette Davis (they aren't in any scenes together!) - Barbara Stanwyck, Ida Lupino, Jane Wyman, Eddie Cantor, Kitty Carlisle, Eleanor Parker plus both the Jimmy Dorsey and Carmen Cavallaro Orchestras respectively. In the interim, several of them perform short bits for the huge audience of soldiers. If it's quality you want in entertainment with a slight touch of dramatic grace - here is a good example of what was considered - in its day - a rather distasteful show of Hollywood's sense of importance. Neither this or THANK YOUR LUCKY STARS will go down in history as being great movies .........I personally prefer the aforementioned......... But they are fascinating curios leftover from an historically important time.

The stars of Hollywood entertain the troops bound for WW2
"Hollywood Canteen" gives a chance for pretty much every talent under contract to Warner Brothers to entertain the troops before they go off to World War II. The plot, such as it is, has two soldiers, Slim (Robert Hutton) and Sergeant (Dane Clark), on sick leave and spending three fun filled nights at the Hollywood Canteen. Slim is the one-millionth soldier to enter the canteen so he gets a date with Joan Leslie, with whom he promptly falls in love. Meanwhile, Sergeant gets to dance with Joan Crawford. Canteen President Bette Davis and Vice-President John Garfield talk up the history of the place. But the main attraction is the entertainment. The Andrews Sisters, Roy Rogers, Kitty Carlisle and even Jane Wyman provide some of the songs, Joseph Szigeri and Jack Benny play the violin, Rosario and Antonio dance to "Voodoo Moon," and stars Barbara Stanwyck, Paul Henreid, Ida Lupino, Peter Lorre and the rest entertain the boys in their own way. Not quite as entertaining as "Stage Door Canteen," made in 1943 with Katharine Hepburn and mainly Broadway talent, this 1944 film written and directed by Delmer Davis also documents how the stars of stage and screen did their best for the War Effort.

They don't make em like that anymore!
This is a truly wonderful work! From the beginning, the movie grabs at American patriotism, pulling on the WWII heart strings. Offering an artful blend of romanticism with humor, it causes one to wish for better days when men were gentlemen and women were ladies. A must have for any collection! ... Read more

Reviews (12)

Submarine Drama
Destination Tokyo is a fine dramatic action film about life aboard an American submarine during WWII that is sent on a mission that puts them into Tokyo Bay. Cary Grant stars as the captain who wishes he could be with his wife and children and who has the total respect of his crew. It's a good performance, not typical of the character that you expect to see Grant playing. Members of the crew include John Garfield, who has a story about every girl he's ever met; Dane Clark, an intense sailor with a reason for hating the enemy; and Alan Hale as the cook, providing much of the film's humour (as he often did in other movies). The film has a series of tense episodes, and mixes the drama and action well. Other than saying that it could have been shortened, the movie is quite good, and it must have had a strong impact on audiences during World War Two who were able to see what life on a submarine may have been like.

This Destination Is a Good Time
Delmer Davies's Destination Tokyo is very enjoyable WWII submarine action drama about a covert naval operation to scope out information for the aerial bombing of a primary Japanese naval yard. Starring a very charming Cary Grant as the sympathetic commanding officer and John Garfield as the girl obsessing crewman. Destination is very realistic in its depiction of submarine life and very watchable fifty-six years after its release. Though brimming with out-dated and silly comic relief, the contrived humor just adds to its considerable charm as a very watchable and dramatically engaging war film.A real gem of movie, Destination also has one of Grant's most unappreciated roles. Any fan of old war movies and Cary Grant can't go wrong buying this one.

You might be surprised.
A WWII sub film made during the war? Probably a jingoistic, even racist, bit of ma-and-apple-pie propaganda with woefully dated special effects. That much is true of Destination Tokyo, to be sure. From that angle, it's still an i