Reviews (140)

The BEST action/adventure film ever made.
Errol Flynn at his best...swashbuckling at its best...action and adventure galore. This film is simply the best of the genre. The casting is perfect, from Flynn in the best role of his career, to Herbert Mundin as Much the Miller's son. The 3-strip color photography remains as vibrant today as when it was released 61 years ago. The dialogue between Flynn and Oliva de Havilland, between Flynn and Basil Rathbone, between Flynn and Claude Rains, is always lively, always fun. And Miss de Havilland's costumes are absolutely gorgeous, as is she.

The film moves, never stops, and you are never bored. If you watch this movie alongside Kevin Costner's ill-advised Robin Hood, Prince of Thieves, you realize why one should never try to improve on perfection.

As the New York Times said in its original review in 1938, this film entertains everyone from 8 to 80. No argument here!

The Greatest Robin Hood ,Flynn now a fantastic WB DVD set!
Warner Brothers (WB) Studios has begun meticulously digitally restoring its action classics of the 1930's & 40's under the "Two Disc Special Edition" Series. This 1938 TECHNICOLOR (awesome) film "The Adventures of Robin Hood" starring Errol Flynn, Olivia deHavilland, Basil Rathbone & Claude Rains is still the best rendition of this fictionalized English tale.

Warner Brothers has given us with this 2 Disc set the complete movie theatre experience circa 1938. DISC 1 - First we get a complete "Night at the Movies" program. Introduction by film critic Leonard Maltin explaining for your 10 cent investment what you got in a 1938 movie house. Next the entire continous show with; coming attraction, news reel, Bugs Bunny Cartoon, short subject feature and then the main feature, "The Adventures of Robin Hood". This is a totally ingenius idea!!! Also on Disc 1 - you have 12 Errol Flynn movie trailers and finally an indepth feature commentary by film historian Rudy Belhmer.

Disc 2 - Includes 3 hours of everything about Robin Hood, the movie, the stars, documentaries, cartoons, and a most informative documentary about TECHNICOLOR and why even today it still was the best color process ever.

I love this fun filled DVD set. My hat is off to Warner Brothers for their dedication to the golden age of Hollywood and bring back the grandest of movies for us to see again & again better than their original release. Enjoy.

great movie ....second DVD is amaaazing!
This is more a review of the package than the movie , which is a classic and extremely well presented on disc one....vivid colors , crisp images....not a complaint there....and the bonus features are very good....a comprehensive set of Errol Flynn movie trailers...WB night at the movies....(an exhausting Rudy Belmer commentary track that will have you gasping for air).
the SECOND disc is just ridiculous in its amount of archival coverage..
a wonderful documentary on the movie
a great feature on the history of Technicolor....
two very fun looney tunes cartoons with a Robin Hood theme...
outtakes from the movie!
home movies shot during filming!
a long lost Errol Flynn movie about yachting..
and a positively thrilling short film about archer Howard Hill...
and more.
HOURS of fun and informative viewing on disc two alone!
Warners should be congratulated for such a comprehensive set ....buy this and encourage them to keep this type of content coming!!!

Errol Flynn: Truly The Sheerwood Forest outlaw
One of the Greatest action/adventure films of the 20th century. The epic swashbuckling adventure of one of history's greatest heroes.the dashing Errol Flynn as Robin Hood or as they also call him "Sir Robin of Locksley" was perfect. He was what a swashbuckler should be and probably the greatest of all swashbucklers. Basil Rathbone and Claude Rains were brilliant as Robin's foes, Sir Guy and Prince John. Oliva DeHavilland was glamorous as the love of Robin Hood, Maid Marian. My Favorite scene was Robin and Sir Guy's sword fight during King Richard's return. Flynn and Rathbone two of cinema's sword fighting experts. I love the sound of sword clangling. If your looking for a classic film or a swashbuckler film, this is a great one. Because this a film that created Pirates of the Carribean, "Long Live King Richard."

The Kids Loved It!
This was one that our boys (ages 7 and 10) watched with their grandfather, who caught it in the theatres when it first came out. It's hard to say who enjoyed it more! A fun, spirited and utterly charming film, this one has aged beautifully. Everyone loved the bonus features, too. The DVD transfer is exceptional. Add some popcorn, and you've got a wonderful mulitgenerational hit that will enchant the whole family. ... Read more

Reviews (25)

No other movie was so ahead of it's time!
Claudette Colbert and Louise Beavers star in this 1930's melodramatic tale of two mothers struggling for their children. Colbert plays Beatrice "Bea" Pullman, a widow with a young daughter. Life is hard for Bea until Delilah Johnson, Louise Beavers,arrives with her daughter and becomes Bea's maid. Delilah cajoles Bea to give her a job as her maid. Bea discovers that Delilah has a delicious pancake recipe. Bea acquires this recipe, and uses it to start her empire; with Delilah getting a not so equal cut. However, this empire has a price for both. For one, the price is happiness in a relationship. For the other, the price is dealing with racial confusion. Ironically, their daughters serve them the check. No movie of it's time dared to go into the deep waters of racism and self sacrifice! This movie is said to be a "imitation", but in fact some of it's scenes parrallel to the sad realities of life. When Bea and Delilah retire for the night, the scene emphasizes the seperation of races during this time. Claudette Colbert and Louise Beavers give powerful and underestimated performances in this movie. Colbert has a real and caring presence in the movie. Beavers shows suffering like never before, and she proves that servants have lives outside of serving. With wonderful performances by Warren William as understanding Stephen Archer, Fredi Washington as the misunderstood and confused Peola, Rochelle Hudson as the lovelorn Jessie, and Ned Sparks as the sarcastic Elmer. "Imitation of Life" blazed a trail for movies dealing with the triumph of the self and the power of family love.

Tearjerker
Classic, compulsively watchable rags to riches tearjerker from a Fannie hearst novel. Claudette Colbert and Louise Beavers play the white and black women who go into business together, and Rochelle Hudson and Fredi Washington play their daughters. Ross Hunter produced a remake in 1959 starring Lana Turner, which pulled out all the stops. In both versions you want to laugh at yourself for choking up, but at least, in this earlier more enjoyable version, it doesn't feel as if the sobs are being torn from your throat. The cast includes Warren William, Ned Sparks, and, as servants: Hazel Washington, Hattie McDaniel, and Madame Sultewon (the black actress who worked with D.W. Griffith)

The original, and still the best version
Most viewers are far more familiar with the campy, 1959 version of this film, starring Lana Turner. But, this is the original version, and I find it far superior to the remake for so many reasons.

First of all, it takes place in the early 1930's, putting us smack dab in the Depression, and a time period which suits the subject matter. Claudette Colbert, a much better actress than Lana Turner, is one of the first reasons I prefer this version. But, mainly, the incredible Louise Beavers is absolutely unforgettable as the black maid, Delilah Johnson, whose light-skinned daughter, Peola, is raised alongside Colbert's daughter, Jessie.

When the girls grow up, Peola realizes that she can "pass" for white, and in the 1930's, with racism and joblessness rampant, her choice makes sense, for the times. When Peola, played by Fredi Washington, completely rejects her mother, it is heartbreaking. To see Louise Beavers sobbing onto the counter in the department store is truly painful.

Peola breaks her mother's heart in order to fit into a world that would not accept her otherwise. In the end, she regrets the pain she causes her mother. This is another time and place, and we don't hate Peola for hurting her mother. Still, our heart bleeds for Delilah.

The acting is top notch, and I will take this more entertaining and serious version of the film over the campy re-make any day.

Very long movie
At 1 hour, 51 minutes, this movie is in no hurry to get to the end. I guess Depression-era audiences were happy to sit in a cool theater that long. Scenes are long, slow, and drawn out, like in real life. Claudette Colbert is is no hurry to move along to the next scene. And why should she when she doesn't age a bit in the 15 years this movie spans? And doesn't Warren William look like John Barrymore!! Same profile. If you are a fan of the Lana Turner version, you really ought to see this.

Unrelentingly grim, but a must-see
This film stands as a raw, no holds barred look at racism in 1930s America. Many people have problems today with the Louise Beavers (the maid) character's acceptance of her lot, but one must remember that oppression sometimes causes people to give up hope for a better earthly life. Ned Sparks provides some badly needed comic releif in this weeper, and one wonders what audiences of the time thought of it. This would be good to show and have a discussion session with younger viewers. ... Read more

Reviews (6)

Errol Flynn Shines As Legendary Lover!
THE ADVENTURES OF DON JUAN was intended as something of a 'comeback' film for Warner Bros. resident 'bad boy', combining the heroic elements of 'ROBIN HOOD' and 'THE SEA HAWK' with Flynn's well-established (by 1948) reputation as a hell-raising womanizer. Unfortunately, the color production was not a box office hit, but the comic adventure is today embraced by his many fans as one of his best roles!

It was not an easy film to make, as Flynn's carousing and frequent disappearances stretched the filming out by months, and forced frequent reshooting. Director George Sherman, cinematographer Elwood Bredell, and editor Alan Crosland often had to 'cut-and-paste' snippets of many takes to achieve a decent performance from the star, and careful lighting had to be used to play down the increasingly obvious effects of the star's hedonistic lifestyle. (The opening sequence, and closing scene, featuring then wife Nora Eddington, were shot nearly a year before the remainder of the film, and the change in the Flynn's physical appearance is clearly evident.) At 38, the star, who always hated being called a 'pretty boy' (to the extent that his home had no mirrors) was aging rapidly, and badly.

All this being said, Flynn tried to give the film his best he could. It had been a landmark film for his friend/mentor John Barrymore, in the first Warners' film with sound, employed for music and special effects only, in 1926 (THE JAZZ SINGER would introduce 'talkies' a year later). It reunited him with friend and frequent costar Alan Hale, who, at 56, was still a popular character actor, and whose son, Alan Jr., was starting to make his mark around town (he would eventually be best known as the Skipper in 'Gilligan's Island'). The script for DON JUAN passed through many hands, including uncredited help by William Faulkner and Robert Florey, with the end result being marvelously funny, tongue-in-cheek, and swashbuckling, to boot! The score, by the legendary Max Steiner, became an instant classic, and would be reused, years later, in George Hamilton's ZORRO, THE GAY BLADE. This was a film which, despite Errol Flynn's self-destructive lifestyle, had enough talent involved to still stand up as one of the better films of the 1940s.

The plot involves roué Don Juan, tossed out of England after breaking up a 'diplomatic' wedding (a VERY funny scene), returning home to Spain to find evil Duke de Lorca (the sublimely nasty Robert Douglas) controlling weak King Phillip, and taxing the population to near starvation, with only the beautiful Queen Margaret standing in his way. Flynn quickly dispatches a de Lorca press gang, earning the Count's hatred, and the Queen's attention...and Don Juan finds himself truly falling in love, for the first time, with the youthful monarch (played by the radiant Viveca Lindfors). Assigned as a fencing master at the Academy, the legendary lover draws the ire of the Queen by stating his feelings for her, then is manipulated into another disastrous diplomatic blunder, involving, of course, another woman. On the run, he discovers de Lorca's ultimate scheme (manipulating the Crown into war), and with the help of the students of the Academy, he must save the King and Queen.

Featuring a great early appearance by Raymond Burr (as a de Lorca henchman), and a stirring final duel between Flynn and Douglas (expanded from the 1926 version, and featuring an astonishing climactic stairway jump, performed by stuntman and future 'Tarzan' Jock Mahoney), THE ADVENTURES OF DON JUAN is a gloriously adventuresome romp. Sadly, it didn't save Flynn's flagging career, but it certainly has earned a place among his classic films!

very good!
Errol Flynn is perfect as the romantic figure Don Juan. This is a must see film with adventure and romance. It's colorful and one of Flynn's best.

The Greatest (Next to Robin Hood)
Errol Flynn's Robin Hood is one of the greatest adventure films ever made. But after you've seen it again and again, you wish you could see the same thing only different. And that's what Don Juan is. We still have the incomparable Flynn at his best, we still have the fights and the swordplay, and a bunch of Flynn's acolytes storming the old castle (this time they're not men in green tights, they're men in black swordsmen tights, but what the hell). It's "almost" a remake of Robin Hood, and that's why it's so terrific. If you loved Robin Hood, you'll like Don Juan. And if you like Don Juan and haven't seen Robin Hood, well, lucky you, you're in for one of filmdom's supreme achievements.

A Classic Swashbuckler
"Adventures of Don Juan" was Errol Flynn's last memorable swashbuckler before his sad decline. A loose remake of John Barrymore's "Don Juan" (1926), this 1949 production is colorful escapism on a grand scale -- abetted by lavish sets, Oscar-winning costumes and a fine Max Steiner score. Flynn's deterioration is somewhat evident, yet this dissipation seems appropriate for the debauched Don Juan. The light-hearted romanticism of "The Adventures of Robin Hood" is replaced by a darker and sometimes brutal tone. Robert Douglas and Raymond Burr are appropriately slimy villains, while Viveca Lindfors' Queen of Spain is not easily won over by Flynn's charm. Admittedly, the film is a bit dialogue-heavy and one can see how Warner Brothers saved a little money through its occasional use of stock footage. However, these flaws are more than compensated by first-rate action sequences and sword duels -- particularly the climactic confrontation between Flynn and Douglas. Though only a moderate success in American theaters, "Adventures of Don Juan" remains a solid swashbuckler and a classic of the genre.

Flynn's Last Great Swashbuckler
"The Adventures of Don Juan" was Warner Brothers' last big investment in Errol Flynn. Their resident bad boy had long ago used up any goodwill he might have had with the studio -- goodwill based primarily on Flynn's power at the box office. But in the late 1940s, Errol Flynn's star was on the wane, and the studio was beginning to take a hard and skeptical look at their one-time box office bonanza.

In an attempt to rekindle some of the old fire, Warner Bros. produced "The Adventures of Don Juan," in which Flynn plays the title role. His Don Juan is world-weary, a man for whom all the loves and swordfights and scandals are beginning to wear him a bit thin. But the most compelling aspect of this Don Juan's character is his sense of humor. Flynn brings a humorous, tongue-in-cheek element to the character that is extraordinarily appealing.

The film is lush and well-appointed. There are times when Flynn shows the effects of years of hard drinking and womanizing, but for the most part he is strikingly handsome. Stunt doubles were used extensively for him, particularly in the final duel scene. In the shot where Don Juan leaps down a long staircase and lands on top of the villain, future "Yancey Derringer" star Jock Mahoney performed the leap.

"Don Juan" did poorly in the United States and fabulously well in Europe. Its cool reception at home convinced Warner Brothers that Flynn was no longer a bankable commodity, and considerably less money was spent on his films in the few years he had left under his contract.

But in the intervening years, "The Adventures of Don Juan" has earned a huge following among Errol Flynn admirers and movie buffs as well. It is a grand, humorous and thoroughly enjoyable jaunt with the King of the Swashbucklers, and one that should not be missed. ... Read more

Reviews (61)

CLARK + CLAUDETTE = FUN~~~~~~~~~~~~~~~~~~*
What a great film ! The chemistry and dialogue that exists between Claudette Colbert and Clark Gable is amazingly BRILLIANT and FUNNY! This is the type of black and white film that can be watched forever and ever and never seem "dated" and out of touch w/recent times: after all, its been almost 7O years since this movie was made and it still ranks up there w/ some of the best comedies of today! I wasn't even born when the movie was made but I enjoyed it so much, I wanted to watch it again and again! If that doesn't convince you, this video won 5 Oscars: Best Actor (GABLE), Best Actress (COLBERT), Best Picture, Best Director, and Best Screenplay!!

Here's a little summary for those who don't know what its about. Claudette Colbert plays Ellie Andrews, a rich, spoiled heiress running away from her family. During the trip, on a bus, she meets street-smart reporter Peter Warne, played by the handsome Clark Gable. Ellie is definitely NOT street-smart, and she's having a few problems, so Peter agrees to help her out and travel w/ her in exchange for an exclusive story. They go through many adventures together, despising each other along the way, until they find that they are reluctantly falling in love and afraid to admit it to each other...besides its a little bit more complicated since she's a married woman. AN EXCELLENT FILM, WITH A PERFECT ENDING-ONE OF GABLE'S BEST!! I GIVE IT A PERFECT 5 STARS!! AAA+++++

Simply The Best
I don't claim be a movie expert, but this is the best film I have ever seen. I already owned a VHS copy, but on buying a DVD player I paid good money to have this disc shipped to me in England - and boy was it worth it! The picture quality is as good as you will find anywhere and the sound is superb too. The DVD is also jam-packed with extra features. The film's commentary is provided by Frank Capra Jr. He has a wonderfully relaxed style and doesn't just sound as if he's reading from a prepared script. Along with Ron Howard's commentary for Apollo 13, this is the best DVD commentary I have heard to date. A special feature unique amongst DVDs must be the radio version of 'It Happened One Night', first broadcast in 1939, again starring Claudette Colbert and Clark Gable. Whoever had the idea of including this on the DVD deserves a salary rise. The disc also includes trailers, cast lists, some beautifully illustrated posters and also a Frank Capra Jr introduction. This really is an extremely impressive package of Frank Capra's masterpiece.

"Excuse me lady, but that upon which you sit is mine."
Peter Warne: Why didn't you take off all your clothes? You could have stopped forty cars.
Ellie Andrews: Well, ooo, I'll remember that when we need forty cars.

On-screen chemistry has the ability to turn a good film into something special. Look no further than Frank Capra's "It Happened One Night" for proof of this. Whoever came up with the idea of pairing Clark Gable and Claudette Colbert together in this production certainly earned his or her paycheck.

Rich girl Ellie Andrews (Colbert) runs away from her father so that she can be with her one true love, King Westley (Jameson Thomas). Ellie has little knowledge of how the outside world works so she hooks up with reporter Peter Warne (Gable) who offers to help her reach New York in return for the exclusive rights to her story. The pair finds each other intolerable at the outset but as they spend more time together, their opinions of each other start to change. By the time they arrive in New York, Ellie and Peter must decide if they should act upon the newfound affection they have developed towards one another.

"It Happened One Night" is effectively funny and romantic at the same time. The out-of-the-way situations Ellie and Peter find themselves involved in is screwball comedy at its finest and the love that develops between them is Hollywood magic at its most charming. Colbert and Gable show why they were two of the biggest stars of their era and the chemistry they display on screen still is magnetic to this very day. "It Happened One Night" is also a fascinating cultural text due to its suggestive sexual overtones and its vivid depiction of a woman who is determined to take matters into her own hands when the situation calls for it. Both of these aspects are especially noteworthy when one considers the period in which the film was made. Yet, if "It Happened One Night" is to be remembered for anything, it should be remembered for the classic that it is. After all, when you speak of pure cinematic bliss, you speak of scenes like the one where Ellie flashes her thigh to stop an approaching car - truly one of the greatest moments ever caught on film.

It doesn't get any better than this ...
70 years later, this movie still holds up beautifully. It's funny, smart, and, man! those sexy, charming leads! I'd ride a bus with Clark Gable and Claudette Colbert anywhere ...

This ones recommended for everyone -- old people, young people ... It hasn't aged, and it'll always be a good time.

A classic that deserves to endure
A spoiled socialite (Claudette Colbert) flees her wealthy father (Walter Connolly) and heads for New York to marry a rich playboy (Jameson Thomas) against her father's will. The whereabouts of Ellie Andrews and the reward for her return become the stuff of national headlines, so when recently fired reporter Peter Warne (Clark Gable) recognizes her, he decides to stick close so he can write the story. Naturally, romance follows, but it's a bumpy and hugely entertaining road to get there.

This is an absolutely wonderful film. It's such a shame that so many people are not interested in watching an old black-and-white movie. Good work is timeless. Gable and Colbert have wonderful chemistry and are both hilarious and touching. The rest of the cast is excellent as well. Even though the story is set during the Great Depression, it doesn't seem dated at all. The wisecracking between characters is sharp and well-written (by screenwriter Robert Riskin); there are lots of laugh-out-loud moments during this film. It's also pretty racy and suggestive for its time, with a genuinely affecting climax. Another level of interest is added by the careful attention that director Frank Capra pays to the depression-era milieu; Colbert's character really doesn't understand the plight of the common man, but Gable's hard-bitten reporter is all too aware of the hard times that people are going through. This adds a fascinating sociological dimension. ... Read more

Amazon.com

With Michael Curtiz (Casablanca) as director, Cary Grant in thelead, and wall-to-wall songs by Cole Porter, how could Night and Daylose? Why, by taking broad liberties with the composer's life story and failing to live up to expectations. If you can overlook such shortcomings, however, it's lively entertainment that doesn't completely deserve the scorn it has elicited. Grant is good as a bon vivant who had a way with words but lacked the discipline to pursue a career in law. As a singer, on the other hand, he's merely adequate. Curtiz wisely has the fine supporting actresses (Jane Wyman, Ginny Simms, etc.) handle the big numbers suchas "You're the Top." Also, Porter's story was meant for black and white. TheTechnicolor process adds an unfortunate garishness to the tale of a man whosevery name has become a synonym for elegance. With Mary Martin and Monty Woolleyas themselves. --Kathleen C. Fennessy ... Read more

Reviews (10)

MARY MARTIN SAVES THE DAY!
Story of the adult life of Cole Porter, through his accident on a horse and recouperation.

Regarding him and his spouse, what were these two people really like, and their marriage? We'll never know from this movie, which portrays them in a one-dimensional, saccharin mode.

Grant tries to rise above the script and almost does. Alexis Smith simply sinks.

The film's saving grace is the fabulous music. The production numbers are more than gratifying, Ginny Simms and Jane Wyman being the main performers.

But remember Mary Martin, the gem of our American theatre? She steals the whole film with only scene wherein she belts out "My Heart Belongs to Daddy" to remind us how thrilling and awesome her talent really was. Worth the film just to see this!

A Classic!
Our family is a big fan of musicals and old movie classics and "Night and Day" fits into both categories perfectly! We rented this movie a few days ago and fell in love with it immediately. The story of Cole Porter, portrayed by Cary Grant, is such a neat one, showing the sacrifices he made, and the difficulties of becoming a composer. I give this a 5 star rating. I think that young and old alike will fall for this movie right away.

Night and Day on DVD
Others have addressed the travesty this movie makes of Cole Porter's life, so I will not rehash. Historically, both Linda and Cole were supposed to have been quite pleased with the flic, which, given the times, probably was the only public reaction they could have had (I'd hope they laughed histerically in private).

On the plus side, we have Alexis Smith as beautiful and elegant as she always was, but younger (presumably Linda Lee Porter suggested her for the role); Jane Wyman vital and sparkling, as far removed from Douglas Sirk as one can imagine; Mary Martin innocently raunchy; Eve Arden putting on a French accent, straight-faced; and about the most gosh-awful-kitschiest rendition of Begin the Beguine I have ever seen, on or off film. Not campy but garish, it becomes fascinatingly repellent .... definitely worth seeing. It is the movie's "Big Number" .... seriously tasteless and ill-conceived, following relatively close on the heels -so to speak- of an acknowledged masterpiece: Begin the Beguine, the "Big Number" in "Broadway Melody of 1940," danced by Eleanor Powell and Fred Astaire.(Available in a pristine transfer to DVD).

What is absolutely shameful is the minimal care evidenced in the movie's transfer to DVD. Scratches and dirt are easily discernible...... worst: whole sections go by in thoroughly faded technicolor, yet there are isolated spots when one is reminded how glorious the process could be. It doesn't appear WB went to a negative but rather picked from various prints in varying degrees of deterioration. I can think of many movies deserving full-fledged restoration before Night and Day,
but, c'mon...... surely Warner can do better than this.

WB partially redeems itself by including a musical short featuring a singing Desi Arnaz and His Band, and a truly charmless, through-composed oddity called "Musical Movieland." Nonetheless, on the balance, if it came to a choice, I would have opted for a better transfer.

Music and Performances Are The High Points
One of Broadway's most brilliant songwriters, Cole Porter (1891-1964) worked hard to present an unflappable image to the world--but in truth he was a tremendously complex man, a homosexual who lived with wife Linda Lee Thomas in a marriage of convenience, subject fits of depression, and suffering horrific pain in the wake of a horseback riding accident which left him crippled at the peak of his career. Add to this the fact that his lyrics were often censored for film, radio, and records and it seems very odd that 1940s Hollywood would attempt a biography.

What they did, of course, was fictionalize it to the max, reducing the story of his life to a mix of backstage musical and domestic drama--and transforming the tiny and waspish Porter and his icy bride Linda into handsome Cary Grant and lovely Alexis Smith. The result is pure nonsense, of course, but when you tack in a host of Porter classics--fantasy it might be, but it is entertaining enough to watch.

Grant is no singer, but he has considerable charm, and Smith is as always extremely attractive. The supporting cast is remarkably strong, featuring the likes of Jane Wyman, Eve Arden, Dorothy Malone, and Alan Hale--and rare screen appearances by Monty Woolley and Mary Martin, who deliver knockout performances of "Miss Otis Regrets" and "My Heart Belongs To Daddy" respectively. The DVD transfer is reasonable, and although the bonuses are pure fluff they are amusing. While it may be short on fact with a story little more than pure melodrama, the music and performers make NIGHT AND DAY a reasonably pleasant way to spend a rainy afternoon.

GFT, Amazon Reviewer

Cary is not Cole
Cole Porter was a skinny, homely little guy from Peru, Indiana, who reinvented himself as an international sophisticate. And he was gay. Of course a movie of this era cannot be expected to deal with a subject that was then taboo. But casting the dashing Cary Grant as Cole Porter turns this movie into pure fantasy, if enjoyable fantasy. In the MGM musical about Rodgers and Hart, "Words and Music," casting the role of Lorenz "Larry" Hart posed a similar problem. Hart was 4' 9", alcoholic, and more or less openly gay. They at least made a stab at getting it right by casting the diminutive Mickey Rooney, and including many of Hart's mannerisms, such as his hyperactivity, penchant for smoking large cigars, and his habit of nervously rubbing his hands together. And there's a scene when Tom Drake as Rodgers gives Rooney a funny look when he he puts an arm on his shoulder while he is playing the piano. Very subtle but unmistakeable. Mickey Rooney as Hart is an honorable failure. The best that one can say about Cary Grant as Cole Porter is that Porter would certainly have liked to look like Grant. (And then there is "Rhapsody in Blue," starring Robert Alda, who is a reasonable facsimile of the probably gay Gershwin, which invents two completely fictional female romantic interests for Gershwin, who never had any.) One piece of authenticity in the film is Monty Woolley, who was a classmate and friend of Porter at Yale. Monty was a scion of Manhattan high society, and Cole a social climber par excellence--and they both loved the theater. The music makes it all more than worthwhile--the high point for me being the great Mary Martin doing the song that made her a star, "My Heart Belongs to Daddy." ... Read more

Reviews (6)

REAL FUN
I know that many critics or fans will not be agree, but I think this is the best film by mr. De Mille. It is real cinema. The cast is terrific. Not only Loretta Young or that gorgeous Henry Wilcoxon, but C. Aubrey Smith, funny Alan Hale and so on.

De Mille knew how to create tension, but also intimate scenes. True that from an historic point of view is not a very good film. but the spirit is there. The spirit of what a film must be.

Today when epic films are so "in", I recommend to some directors to watch films like this. He was a craftsman who needed few special effects to make a film interesting. And spent no time in long , boring speeches or interpretations to make the audience connect with his heroes.

Rousing Epic Production from the great Cecil B. DeMille
Cecil B. DeMille has always been an unfairly regarded Producer and Director with the majority of his work dismissed as lavish hokum with no real value as cinema art. I believe that is a very unfair judgement on the man who really made the "Epic Production", his own in a long series of films stretching from the silent era right through to the mid 1950's. His role call of magnificent cinematic efforts is in my opinion an illustrious record and none shines better from that list than his lavish production of 1935, Paramount's "The Crusades" starring Loretta Young and DeMille regular Henry Wilcoxon.

Judged as hopeless history and romantic froth I appreciate this wonderful film from the point of view of its romantic story, terrific recreation of medieval times, costumes and superbly staged battle scenes,pagentry, and respectful dialogue that never once really belittles the serious and dark times this story is set in. "The Crusades", focuses in actual fact loosely on the third crusade that involved most of the major powers of Europe in a joint struggle to try and free the Holy Land from the clutches of the dreaded Saracens. The central story of the film while certainly fictionalised, is nevertheless well told and deals with King Richard (the Lion Hearted)of England who to avoid an unwelcome marriage to the Princess Alice (Katherine DeMille) of France and spurred on by a determined hermit (C. Aubrey Smith in a terrific performance) who is instilling the fighting spirit in all the countries of Christendom, takes up the sword to lead the crusade to the Holy Land. On the journey in order to feed his starving men he reluctantly agrees to a sham marriage with Berengaria, Princess of Navarre. What starts out as a hate at first sight relationship softens into a real love for both Richard and Berengaria in particular when after doing battle with the Saracens at the gates of the city of Acre Berengaria is captured by the besotted Sultan of Islam, Saladin (Ian Keith in another of his very fine supporting performances). Faced with loosing the one who's life now means everything to him Richard goes through a change of heart and rather than using the crusade as just an excuse to get away from more serious matters really begins to see the real reason for the campaign and the true value of those around him.

Henry Wilcoxon as King Richard and Loretta Young as Berengaria are both in top form here and indeed Wilcoxon, a DeMille regular in such great films as "Cleopatra", the previous year has never been better than here as the first uncouth head strong King who gradually develops a real soul and feeling for others. Loretta Young has a most untraditional character for the times to play. Her Princess is at times a feisty, determined, and brave young woman who creates a new life for herself with Richard despite the unpromising person she first encounters on the way to Jerusalem. Resplendant in medieval flowing robes and long blonde wig Loretta Young has one of her best roles of the 1930's decade and really blossoms under DeMille's direction. No DeMille production would be complete without a sterling supporting cast and "The Crusades", is no exception. The always excellent Ian Keith is Saladin Sultan of Islam, and he has a most interesting character who is depicted as a cultured man of feeling and not simply a bloodthirsty warrior out to kill and plunder. Katherine DeMille is suitably icy as the spurned Princess Alice of France and the always superb Joseph Schildkraut has one of his best 1930's roles as the devious Conrad, Marquis of Montferrat who through his treachery with Richard's brother John pays dearly for his disloyalty at the hands of the Arabs. Alan Hale is suitably boisterious as Richard's friend and musician Blondel and much of the comic interludes in the story are centred on his bluff character.

I have great admiration for all of the work of Cecil B. DeMille. He was without a doubt the great showman of movie legend and "The Crusades" like all of his epic productions is full of stirring speeches, lavish sets, enormous crowd scenes involving huge numbers of extras, and battle scenes on a scale that literally dwarf the story they are depicting. This all adds up to top notch entertainment of the very best kind that Hollywood could offer at this time. For exciting story telling on an epic scale DeMille is unsurpassed and "The Crusades" is unique in being both rousing entertainment and surprisingly quite poignant drama in it's quieter moments. If you enjoy movie making on a grand scale with every scene literally a feast for the eyes then you need go no further than Cecil B. DeMille's epic 1935 production of "The Crusades".

DE MILLE SPECTACLE.
A holy man known as The Hermit arouses all the kings and princes of medieval Europe in a crusade to wrest the dominion of Jerusalem and the Holy Sepulchre from the Saracens. Richard the Lion-Hearted, King of England, having spurned the French princess Alice, accepts betrothal to Berengaria, whom he has never seen, in return fo subsistence for the Crusade, and she is formally married to his sword..................Synonymous always with all that the name DeMille stands for in relation to mighty, colourful pageantry and spectacle, massive settings and accoutrements, it tells a story of several of the early crusades. In 1935, DeMille was peerless in bringing the panoplied splendour of the past into torrential life upon the screen. As a picture, THE CRUSADES is historically worthless, didactically treacherous, artistically absurd. But none of those defects impaired its entertainment value. There are three main features which distinguished it from previous DeMille dillies: It was the noisiest, the biggest AND it had no bath scenes! As a footnote, Loretta Young was pregnant here with her daughter by Clark Gable, Judy Lewis; they had an affair during the making of CALL OF THE WILD earlier that year - the results of the affair was one of Hollywood's best-kept secrets.

True Love and True Cross come together well
I rented this movie because my three-year-old nephew has a fascination with suits of armor, but I came away a fan myself! Henry Wilcoxin makes a great Richard, a young Richard who only goes on crusade to evade one arranged marriage, and then enters into another only to gain cattle for his band of soldiers. The movie concerns how Richard slowly comes to respect marriage and to understand "the true meaning" of the crusades, but only at the ultimate cost for his pride and his heart. Of course, I think anyone would come to respect marriage pretty darn quick if they learned the lady in question was Loretta Young, resplendent in her blond wig. She turns in an undated performance as a woman who loves one man but appreciates another, in this case a sexy Saracen who knows how to compliiment women. One of my other favorite characters was The Hermit aka The Holy Man, played by C.Aubrey Smith. I especially liked his staff, which has a rather unique crucifix carved into it. The Hermit is probably the bravest character in the movie, defying the Saracens even though it eventually costs him his life. And of course, then there are the lusty battle scenes, replete with boiling oil and flaming catapults. So, if you want to watch an excellent old spectacle, you won't be sorry to go on this "Crusade" with Wilcoxin and Young.

This movie is a must watch!
Many of us have watched Demille's 10 Commandments because of its constant re airings on ABC, yet The Crusades is one of many of his works that deserve equal if not more attention. O.K. Its not historically accurate by todays standards of realism. It portrays chivalry with bravado and romanticism when in reality it was barbaric and crude. The beginning of the movie shows some very anti Muslim themes. Yet despite all this, the beauty of the film, the vistas, the thousands of extras in romantically filmed battle scenes,the characters and plot are very beautiful. Each shot if it were a still frame is worthy of being admired for its photographic beauty. For all you 10 Commandment fans, the same panoramic beauty shots, elegant costumes and romanticism of that movie is in this one too. The most wonderful thing I loved with this movie is that the real hero of the film is Berengaria. She is only one who really seems to want the right thing done, and is willing to make a stand to see it gets done. Even better, her beauty and femininity in no way took away from the dignity and intelligence of her character. This was such a delight and so refreshing considering the time period the movie was made and the historical era it portrays. As far as I can tell, this was the first attempt to put a heroine in a major production that was shown to be smarter than the male leads! This was also perhaps the first film to show thousands of extras in battle sequences. Braveheart, and Spartacus and so many other large epics owe Demille for breaking the ground in this area. Despite the politically incorrect aspects of the film, consider that the main characters are Christians, and that their anti Muslim views are to be expected considering their situation. Despite this, I think the message of the movie (and you will have to watch the entire movie to understand this) will convince everyone that the message of the film is that everyone, despite their religious differences should be respectful to all. ... Read more

Reviews (4)

A Pleasant Surprise
FOOTSTEPS IN THE DARK is a movie about an investment banker who writes mystery novels as a sideline. While doing research for his books he becomes involved with real crime as an amateur sleuth.

Errol Flynn plays the light-hearted detective. Brenda Marshall is his loving wife and the rest of the cast includes Ralph Bellamy, William Frawley, Lee Patrick and Grant Mitchell.

FOOTSTEPS IN THE DARK is a pleasant surprise for a low budget movie. The director is Lloyd Bacon who directed MOBY DICK starring John Barrymore in 1930. He also directed the musical 42ND STREET with the assistance of Busby Berkeley in 1933.

Errol In A Suit
Errol Flynn stars as a successful business man with a secret. Although the world thinks he's just an investment counselor, he is also a controversial best selling writer of mysteries using a pen name. His interest in mysteries as he tries to solve a jewel robbery/murder case threatens to expose his double life. It's kind of odd to see Flynn in suits and modern clothing after years of watching him in period action pieces. He does an acceptable job in the role, although the Texan accent he assumes in some scenes is really poor. But the script never allows him or the rest of the cast to develop their characters - they're cut-outs going through the motions. Flynn has little chemistry with Brenda Marshall as his wife, and Lee Patrick is badly miscast as a burlesque queen. Even reliable Allen Jenkins, one of my favourite character actors, hardly makes an impression. The film tries to be a comedy mystery, but the comedy is barely evident and the mystery hardly engrossing. The set up of the film holds lots of promise. But neither the director or the writers deliver on that promise.

So-so screwball mystery flick
An awkward parody of the "Thin Man" movies, with Errol Flynn trying out screwball comedy for a change... The set-up is that Flynn is a rich playboy who, unbeknownst to family and friends, moonlights as a writer of detective fiction. This, of course, necessitates his staying out late to do research into crime, and telling all kinds of lame fibs to his wife and shrewish mother-in-law, in order to cover his tracks. Misunderstandings and wackiness ensue. William Frawley plays the dumb cop Flynn loves to torment; Ralph Bellamy and other great character actors pop up as well. Mysteriously, the actress playing "the other woman" is completely unattractive: couldn't they have gotten a real starlet for the part? Guess not. Anyway, this is a pretty weak film, and doesn't really even work as a curio.

Flynn with a Texas drawl!
Forgotten and forgettable comedy swashbuckler Errol Flynn attempted to extend his range in at the height of his stardom--and which would eventually prove harmful to his career when he was cast in similarly mediocre vehicles once his star faded. In this improbable and inane vehicle the dashing and devastatingly handsome Flynn stars as Francis Warren III, an extremely wealthy and happily married investment counsel who secretly writes mystery novels under a pen name. He gets embroiled in a real-life murder mystery when a mysterious gem merchant shows up at his office one day and later turns up dead. To the authorities it looks like natural causes brought on by alcohol consumption, but Francis thinks not and decides to do some investigating of his own. Along the way he meets up with the dead man's mistress, a blond burlesque queen named, appropriately enough, Blondie White (Lee Patrick, terribly miscast since she looks about 15 years too old and not good-looking enough for the role), and Dr. Davis, a mad-under-the-surface dentist (Ralph Bellamy in an effective departure from his usual folksy nice-guy roles). Brenda Marshall plays Francis' wife Rita, who soon becomes jealous and bewildered at his suspicious behavior, which includes, among other things, sneaking in their bedroom window with a ladder during the wee hours and making up wild stories to cover up his double life as writer/investigator. The only saving grace in this movie is Marshall's ravishing brunette beauty and Flynn's pleasant and adept comic flair, which almost but not quite makes up for this lukewarm comedy with forced gags and weak situations and, believe it or not, Flynn's ridiculous intonation of a Texas accent--even in his Westerns he talked in his normal British-y voice (even though he's an Aussie), and though it might have seemed inappropriate, it's a good thing he did since the drawl he displays in thsi film woulda turned his Westerns into comedies and had 'em rolling in the aisles! ... Read more

Reviews (6)

Errol Flynn Shines As Legendary Lover!
THE ADVENTURES OF DON JUAN was intended as something of a 'comeback' film for Warner Bros. resident 'bad boy', combining the heroic elements of 'ROBIN HOOD' and 'THE SEA HAWK' with Flynn's well-established (by 1948) reputation as a hell-raising womanizer. Unfortunately, the color production was not a box office hit, but the comic adventure is today embraced by his many fans as one of his best roles!

It was not an easy film to make, as Flynn's carousing and frequent disappearances stretched the filming out by months, and forced frequent reshooting. Director George Sherman, cinematographer Elwood Bredell, and editor Alan Crosland often had to 'cut-and-paste' snippets of many takes to achieve a decent performance from the star, and careful lighting had to be used to play down the increasingly obvious effects of the star's hedonistic lifestyle. (The opening sequence, and closing scene, featuring then wife Nora Eddington, were shot nearly a year before the remainder of the film, and the change in the Flynn's physical appearance is clearly evident.) At 38, the star, who always hated being called a 'pretty boy' (to the extent that his home had no mirrors) was aging rapidly, and badly.

All this being said, Flynn tried to give the film his best he could. It had been a landmark film for his friend/mentor John Barrymore, in the first Warners' film with sound, employed for music and special effects only, in 1926 (THE JAZZ SINGER would introduce 'talkies' a year later). It reunited him with friend and frequent costar Alan Hale, who, at 56, was still a popular character actor, and whose son, Alan Jr., was starting to make his mark around town (he would eventually be best known as the Skipper in 'Gilligan's Island'). The script for DON JUAN passed through many hands, including uncredited help by William Faulkner and Robert Florey, with the end result being marvelously funny, tongue-in-cheek, and swashbuckling, to boot! The score, by the legendary Max Steiner, became an instant classic, and would be reused, years later, in George Hamilton's ZORRO, THE GAY BLADE. This was a film which, despite Errol Flynn's self-destructive lifestyle, had enough talent involved to still stand up as one of the better films of the 1940s.

The plot involves roué Don Juan, tossed out of England after breaking up a 'diplomatic' wedding (a VERY funny scene), returning home to Spain to find evil Duke de Lorca (the sublimely nasty Robert Douglas) controlling weak King Phillip, and taxing the population to near starvation, with only the beautiful Queen Margaret standing in his way. Flynn quickly dispatches a de Lorca press gang, earning the Count's hatred, and the Queen's attention...and Don Juan finds himself truly falling in love, for the first time, with the youthful monarch (played by the radiant Viveca Lindfors). Assigned as a fencing master at the Academy, the legendary lover draws the ire of the Queen by stating his feelings for her, then is manipulated into another disastrous diplomatic blunder, involving, of course, another woman. On the run, he discovers de Lorca's ultimate scheme (manipulating the Crown into war), and with the help of the students of the Academy, he must save the King and Queen.

Featuring a great early appearance by Raymond Burr (as a de Lorca henchman), and a stirring final duel between Flynn and Douglas (expanded from the 1926 version, and featuring an astonishing climactic stairway jump, performed by stuntman and future 'Tarzan' Jock Mahoney), THE ADVENTURES OF DON JUAN is a gloriously adventuresome romp. Sadly, it didn't save Flynn's flagging career, but it certainly has earned a place among his classic films!

very good!
Errol Flynn is perfect as the romantic figure Don Juan. This is a must see film with adventure and romance. It's colorful and one of Flynn's best.

The Greatest (Next to Robin Hood)
Errol Flynn's Robin Hood is one of the greatest adventure films ever made. But after you've seen it again and again, you wish you could see the same thing only different. And that's what Don Juan is. We still have the incomparable Flynn at his best, we still have the fights and the swordplay, and a bunch of Flynn's acolytes storming the old castle (this time they're not men in green tights, they're men in black swordsmen tights, but what the hell). It's "almost" a remake of Robin Hood, and that's why it's so terrific. If you loved Robin Hood, you'll like Don Juan. And if you like Don Juan and haven't seen Robin Hood, well, lucky you, you're in for one of filmdom's supreme achievements.

A Classic Swashbuckler
"Adventures of Don Juan" was Errol Flynn's last memorable swashbuckler before his sad decline. A loose remake of John Barrymore's "Don Juan" (1926), this 1949 production is colorful escapism on a grand scale -- abetted by lavish sets, Oscar-winning costumes and a fine Max Steiner score. Flynn's deterioration is somewhat evident, yet this dissipation seems appropriate for the debauched Don Juan. The light-hearted romanticism of "The Adventures of Robin Hood" is replaced by a darker and sometimes brutal tone. Robert Douglas and Raymond Burr are appropriately slimy villains, while Viveca Lindfors' Queen of Spain is not easily won over by Flynn's charm. Admittedly, the film is a bit dialogue-heavy and one can see how Warner Brothers saved a little money through its occasional use of stock footage. However, these flaws are more than compensated by first-rate action sequences and sword duels -- particularly the climactic confrontation between Flynn and Douglas. Though only a moderate success in American theaters, "Adventures of Don Juan" remains a solid swashbuckler and a classic of the genre.

Flynn's Last Great Swashbuckler
"The Adventures of Don Juan" was Warner Brothers' last big investment in Errol Flynn. Their resident bad boy had long ago used up any goodwill he might have had with the studio -- goodwill based primarily on Flynn's power at the box office. But in the late 1940s, Errol Flynn's star was on the wane, and the studio was beginning to take a hard and skeptical look at their one-time box office bonanza.

In an attempt to rekindle some of the old fire, Warner Bros. produced "The Adventures of Don Juan," in which Flynn plays the title role. His Don Juan is world-weary, a man for whom all the loves and swordfights and scandals are beginning to wear him a bit thin. But the most compelling aspect of this Don Juan's character is his sense of humor. Flynn brings a humorous, tongue-in-cheek element to the character that is extraordinarily appealing.

The film is lush and well-appointed. There are times when Flynn shows the effects of years of hard drinking and womanizing, but for the most part he is strikingly handsome. Stunt doubles were used extensively for him, particularly in the final duel scene. In the shot where Don Juan leaps down a long staircase and lands on top of the villain, future "Yancey Derringer" star Jock Mahoney performed the leap.

"Don Juan" did poorly in the United States and fabulously well in Europe. Its cool reception at home convinced Warner Brothers that Flynn was no longer a bankable commodity, and considerably less money was spent on his films in the few years he had left under his contract.

But in the intervening years, "The Adventures of Don Juan" has earned a huge following among Errol Flynn admirers and movie buffs as well. It is a grand, humorous and thoroughly enjoyable jaunt with the King of the Swashbucklers, and one that should not be missed. ... Read more

Reviews (3)

The western (almost) starts here
It's refreshing to see this well-loved, simple classic in such good condition. The VHS print is excellent, the film itself is only slightly dated, and the actors don't ham too much (Ernest Torrence and J Warren Kerrigan are stand-outs). The direction by James Cruze is solid. His use of close-ups is sparing, but effective. The storyline began to wander a bit after the wagon-train had crossed the Platte, but the final 10 minutes puts things to right again.
Together with "Tol'able David" and "the Iron horse", this is the start of the modern western-movie and as such important viewing.

Early Silent Western Was The TITANIC Of Its Day.
THE COVERED WAGON was based on the novel of the same name by the now forgotten writer Emerson Hough and recounts the 1848 trek of a wagon train from Kansas City to Oregon. It remains a landmark film in many ways. Originally planned as just another Western programmer, it was expanded by director James Cruze into the TITANIC of its day. Cruze, the son of Mormon parents, grew up in Utah and could still remember the Old West as it really was. He saw this film as the opportunity for him to advance beyond the programmers and Fatty Arbuckle features that he had been doing at Paramount up until then. He demanded total authenticity which included not only the original locations, but also a cast of 3000 (including real Native Americans) and over a hundred genuine Conestoga wagons. Despite the enormous expense and the prolonged shooting schedule, the film was one of the biggest successes of the Silent Era and Cruze was on his way to becoming one of the top directors of the 1920's (another of his epic films OLD IRONSIDES is also available on video). The acting is restrained by the standards of the time which helps the film to play well with modern audiences. J.Warren Kerrigan and Lois Wilson are fine as the lovers but the film belongs to character actors Alan Hale Sr.(the father of GILLIGAN'S ISLAND's Skipper), Tully Marshall, and Ernest Torrence. Watching the film is like having history come to life before your eyes. The print used for the video is of high quality with a colorful score by Gaylord Carter, one of the last great practitioners of silent film organ playing. Many thanks to Paramount for making this landmark epic along with several other silents available for home viewing and at a reasonable price too.

A great classical forerunner of all that came after.
Considering the era of films and the yet unexplored technology of the firm industry, The Covered Wagon remains a classic unto itself. This film is the granddaddy of all the great western epics yet to be filmed. I must also mention that the star, J. Warren Kerrigan is my third cousin, and I have spent my lifetime trying to discover if The Covered Wagon was on video or if the film still existed. Casually strolling through your website, not even thinking about this great film, I was in shock when the title popped up on my computer screen. I must say I became quite emotional. Thank you amazon.com. ... Read more

Reviews (11)

Mark Twain, Warner Brothers' Style
I've never read Mark Twain's novel to be able to say how closely this movie follows to the original story. It certainly has the Warner Brothers' touch. Errol Flynn is his usual dashing, dauntless self, perfectly at home with a sword in hand. Claude Rain again is the cunning, cultured villain, and Alan Hale is a welcome face, although this time he is Flynn's foe instead of friend. As Prince Edward and his look alike beggar friend, the Mauch twins are occasionally annoying, but for the most part quite effective as the victims of a switch that learn to appreciate the other side of life. The story is fun and played with a lot of energy and humour. Don't assume that this is an Errol Flynn video, because he really isn't the star - the twins are the stars. However, there is enough of Flynn to keep his fans happy, and a good enough story and movie to keep everyone happy (including children).

CLASSIC TWAIN ADVENTURE - GREAT LOOKING TRANSFER!
The Prince & The Pauper is based on the much loved Mark Twain classic. In a nutshell, the plot centers around twins, one the spoiled heir to the English throne, a other a begger with a heart of gold. When the two accidentally cross paths they become best friends and secretly trade places, much to the chagrin of one of the king's advisors (Claude Rains) who is plotting to kill the heir and take over himself. Enter into this fray a fortune hunter (Errol Flynn) who vows to set everything right for king, country and a healthy financial reward. It all ends pleasantly enough in a sword and swashbuckling sort of way.
WARNER HOME VIDEO gives us a handsome looking transfer that is sure to please. The gray scale has been impeccibly balanced with solid blacks and very nice renderings of fine detail. Certain scenes exhibit a touch of edge enhancement and a hint of pixelization, but nothing that will distract from this visually stunning film adaptation. The sound elements are somewhat disappointing by contrast. The main title sequence in particular sounds as though the music track was discovered under a rock. Nevertheless, dialogue - for the most part - is presented at an adequate listening level with only the slightest of pops, scratches and hiss.
EXTRAS: An essay and theatrical trailer - BIG DEAL!
BOTTOM LINE: The Prince & The Pauper is a visually stunning movie that, although straying somewhat from Twain's original intent, is nevertheless faithful enough to remind us why his name continues to be among America's greatest literary talents. The transfer is solid. I recommend this DVD!

Errol Flynn in Support of Mauch Twins in Classic Twain Tale!
In 1937, the WB, capitalizing on Errol Flynn's spectacular performances in CAPTAIN BLOOD and THE CHARGE OF THE LIGHT BRIGADE, cast him in four films, with varying degrees of success. The best, by far, was William Keighley and William Dieterle's production of the Mark Twain classic, THE PRINCE AND THE PAUPER, where he supported new WB 'discoveries' Billy and Bobby Mauch, portraying London urchin Tom Canty and his look-alike, Prince Edward Tudor. The twins were gifted, young (12 at the time of the filming) actors, with a Freddie Bartholomew-like quality of engaging innocence, and they gave this version of the oft-filmed tale a sense of reality that split-screen performances by a single actor could never achieve.

The story is an engaging one, as young Canty, inspired by his mother and a local priest to dream of a finer life than his father, an ill-tempered beggar (Barton MacLane) could provide, sneaks onto the grounds of Buckingham Palace. There, he meets young Prince Edward, who is thrilled to meet a boy his own age...and, after cleaning him up a bit, is astonished to discover that the pair could pass as twins. Edward decides this is a golden opportunity to see what life outside the Palace is really like, so, against Canty's misgivings, the two exchange clothing, and the Prince leaves...creating far more of an uproar than either boy could ever imagine!

Canty is soon considered 'mad', as he insists he is not Edward, and the Prince, abused and ridiculed by Tom's father, is unceremoniously thrown off the Palace grounds when he attempts to return, by a disbelieving Captain of the Guards (Alan Hale, in the first of 12 films he'd make with his friend, Errol Flynn). The ambitious Earl of Hertford (the always brilliant Claude Rains) investigates Canty's claim, and realizes, after interviewing the Captain, that the boy is telling the truth, giving him a golden opportunity to seize power. Ordering the Captain to find and kill the Prince, the Earl then threatens to kill Canty if he doesn't obey his commands.

Things grow desperate for the young Prince, as he attempts to evade his murderous 'father' on the streets, until Miles Hendon (Flynn), a roguish but good-natured 'soldier-for-hire' comes to his aid. Offering his protection to the lad, Hendon thinks him a bit balmy, as well...until events (the child's obvious despair over the death of Henry VIII, the Palace search party, and a sword duel with the Captain, where Flynn KILLS Alan Hale!!!) convince him otherwise. Then it becomes a race against time to smuggle the real King into the Coronation, before Canty is crowned, and the Earl assumes "the Power behind the Throne".

Blessed with a gifted cast, including wonderful character actor Montagu Love as the dying Henry VIII, the film offers a truly exceptional film score by Erich Wolfgang Korngold (who would eventually expand the theme into a symphonic work). Audiences have always been surprised that Errol Flynn's role is not larger, but as a faithful Twain adaptation, the focus had to be on the two boys, and not on the impoverished soldier. Flynn had fun playing Hendon, and the Mauch twins were nothing less than superb as the leads.

With THE ADVENTURES OF ROBIN HOOD less than a year away, and Errol Flynn's star continuing to ascend, the WB had every reason to celebrate, and THE PRINCE AND THE PAUPER is a pleasure to watch, to this day!

Good film based on The Prince and the Pauper
I saw this move years ago and decided to watch it again after getting the part of Lady Jane Grey in a local production of Prince and the Pauper. I also bought the book and read it and I would say it is now a favorite! I'm not sure how but they were able to make an enjoyable movie based on a general outline but completely changing the story, but they did! I would recommend this movie but don't expect Mark Twain's The Prince and the Pauper.

The Mauch Twins are a delight.....!!!
I loved this movie as a kid and still do as an adult. The Mauch twins, Billy and Bobby are outstanding in every way. When they look into the camera and laugh as they do in several scenes, it is pure magic! This film is highly recommended to both young and old. Too bad "Warner Brothers" did not appreciate their talents and build future films around these extremely talented kids. They were as talented, if not more so,than any other young stars of the period. See for yourself and enjoy the film! ... Read more

Reviews (11)

Flynn at his two-fisted best
In real life, Errol Flynn was no pushover. Despite devastating good looks and a wickedly easygoing charm, he could hold his own in either a one-on-one fightfight or a barroom brawl. He was, in fact, one of the most feared fighters in Hollywood.

"Gentleman Jim," the story of 19th century boxer James J. Corbett, gave Warner Brothers a chance to put their bad boy on display at his physical best -- exhibiting a lean, mean physique and an undeniable flair for ring work. His toothy grin, devil-may-care charm and boyish glee in a good fight all combined to make "Gentleman Jim" one of the 1940s' most compelling films, and one of Warner Brothers' biggest hits.

It is interesting to note that during the filming of "Gentleman Jim," Flynn collapsed and was carted off to the hospital. He was diagnosed, at the ripe old age of 32, of having had a mild heart attack. His co-star in the film, Alexis Smith, visited him and begged him to slow down his destructive lifestyle. Flynn, she later said, flashed that beautiful smile of his and shook his head.

"I enjoy this side of life," he told her, "and don't care to see the other side." END

One of Flynn's Best Performances
Gentleman Jim features what I think may be the most relaxed performance I have seen Errol Flynn give in a movie. He's seems very comfortable and at home in this somewhat fictious account of the life of boxer James Corbett. Flynn is cocky and charming as usual in this story of how Corbett rose from being a bank teller to world champion. A beautiful and sassy Alexis Smith is along as the love interest, while Alan Hale is his very Irish father, William Frawley his manager, Jack Carson his best buddy, and Ward Bond his biggest rival. Everyone is very good and appears to be having a great time. The boxing sequences are well staged by director Raoul Walsh, and generous doses of humour are found throughout. It teeters on corny at times, but it is all played with such energy and obvious enjoyment, the corny moments can be overlooked. As usual for most Warner Bros biopics, I'm sure it takes many liberties with the truth, but it doesn't matter. The film is very entertaining in its presentation of his life and how boxing evolved.

One of Flynns best
This is one Errol Flynns best movies and probably his most overlooked. He gives one of his best preformances in this film and never looked better. He played Jim Corbett with a wink and a smile and seemed to really be enjoying himself in this role.
Truly one of his best!

Flynn At His Best
Errol Flynn is largely forgotten today by the average movie goer which is a shame since he was a genuine superstar of his time. His dazzling good looks and charm combined with a rakish off screen behavior catipulted him to quick success and gave fuel to detractors who claimed there was little talent behind the perfectly chisled facade.
In reality Flynn was a largely underrated actor shackled to many less than stellar productions by the studio's type casting. His talent for light comedy shows through brilliantly in Gentleman Jim this early forties biopic of Heavyweight Champion James J. Corbett. The movie is factual fluff when it comes to Corbett's personal life, but largely true to history concering his pugilistic efforts. Corbett did fight on barges and in rich sporting clubs to circumvent the public ban on the sport at the end of the nineteenth century.
Flynn's considerable atheticism adds further creedence to his excellent portrayl of the turn of the century fighter. An accomplished amateur boxer in his youth, Fylnn was widely regarded as the best tennis player in Hollywood and his fluid ring movmenents are a welcome relief to the bumbling screen fight efforts of Gable, Tracy and Cagney. The reserved post fight meeting of the defeated Sullivan, well
played by Ward Bond, and a restrained Flynn as his conquerer is quite touching and serves a further evidence of Flynn's acting skills.
Watching Gentleman Jim is great and entertaining fun and can only make one wish Flynn was given more oppurtunities to display a largely untapped talent.

Rousing boxing movie
Despite several departures from historical accuracy this biography of world heavyweight champion Gentleman Jim Corbett is enjoyable and colourful entertainment with a performance from Errol Flynn that ranks alongside the liveliest he ever gave.
He is ideally cast as Corbett ,a San Francisco bank clerk ,who defeated John L Sullivan in 1892 ,in New Orleans ,to become world heavyweight champion.Success ,we are told .brought a swollen head ,an over indulgence in liquour and a tendency to braggadocio.This is plain wrong-Corbett was a modest and self effacing man throughout his life ,and it was this which earned him the soubriquet "Gentleman Jim "

Raoul Walsh -a splendid action director-directs with typical vigour and keeps thinks moving briskly with the fight scenes in particular being fine,although ,for my taste the scenes of comic relif are too broad and unsubtle.Neither does the love interst tacked on to the movie ,with Alexis Smith's society woman who becomes entangled with Corbett, work too well.The actual Corbett-Sullivan bout is well staged and Flynn accurately catches the man's revolutionary ,scientific pugilistic style.

Ignore its departures from the facts and this is enjoyable big studio film making from the golden era of the studio system with a charismatic performance from the star and some solid period detail. ... Read more

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Humphrey Bogart and Raymond Massey star in a unique film that shows whatconvoy duty was like for the Merchant Marine in World War II. When their tanker is torpedoed by a German U-boat, Bogart and Massey take command of a Liberty Ship, and their convoy must play cat and mouse with a German wolf pack. While clearly shown in a bad light, the Germans are not heavily demonized, which was unusual for a patriotic war film of the time (1943). Another unusual choice was having the Germans speaking only in their native language, with no subtitles. This realism helps carry any dated elements, especially when combined with the accurate depiction of convoy techniques and battle tactics (the footage was later used for actual training purposes). Even jaded viewers will be on pins and needles when the convoy is attacked, and they hear the repeated German command of "Torpedo... LOS!" --Mark Savary ... Read more

Reviews (9)

Learning the Truth of the US Merchant Marine in WWII
Most people today don't reliaze the great number of Merchant Marines that lost their lives during WWII as so wecould today have our freedom. There were more Merchant Seamen killed (in comparison to the number each service branch had) then any of the other armed forces. A gun on the stem and the stern can't do a lot against a German Sub! A real salute to Warner Brothers for making a movie that really lets a naive person see what it was like. Everything from the USMM enlisting posters hanging in the tavern to shipboard words like "how about that night-lunch"in this movie is presented true. For men like myself who take pride in the time we sailed the vast oceans of the world as part of our Merchant Marine this movie really can make us proud ! note: Raymond Massey was outstanding as the Old Man, He reminded me of a Captain Brown that I sailed under some 30+ years ago.
This movie is even better then the 5 star rating ,it is a real piece of American Maritime History! "ENJOY"

Tells a GREAT story!!!!
Humphrey Bogart was excellent as the executive officer aboard a "Liberty Ship". This tells the story of a much forgotten service: the Merchant Marine. It shows the courage and commitment these professional sailors had to face down German U-boats and Raiders. These were the men that made sure that the needed war supplies got there intact. If you enjoy movies about WWII especially ones that were made during the war itself (like this one) then this is a MUST SEE.

Great film about underappreciated heroes of WWII
They didn't sail powerful destroyers or fill the skies with waves of carrier-borne fighters, but the men of the US Merchant Marine nevertheless fought and won the second world war's most crucial and consistently bloody battles - the Battle of the Atlantic. This excellent film follows the travails of a merchantman bound for Russia's arctic port of Murmansk with a cargo of materials the Russians need to keep the Germans pegged on the eastern front. Through the war, American convoys sailed mass-built "Liberty Ships" through waters teeming with German planes, cruisers and U-Boats to keep both England and Russia properly equipped. While tides of war may have shifted thruought the war, allied convoys faced constant attacks by axis units until the end, relying mainly on their ability to absorb severe casualties.

This film is fiction and, produced during the war (1943) has the hallmarks of a propaganda film. But "Action" is so much more - with winning performances by Humphrey Bogart and Ray Massey, and a fine supporting crew that sounds like they may have actually sailed the dreaded "Murmansk Run". The special effects are astoundingly good for 1943 and hold up pretty well today. The Germans are perfect as skilled hunters - I still get a chill during the battle scenes when whole crews utter "torpedo - los!" - not quite dehumanized, but still fearsome. Crisp direction makes their untranslated lines the best case against sub-titles. In short, a great film.

Recognition to the Men of the Maritime Service
This great sea tale staring Humphrey Bogart and Raymond Massey is a good patriotic homage to the World War II sailors of the maritime service. Dane Clark as seamen Johnny Pulaski is a standout. Clark's acting deserved more recognition than he ever got. Alan Hale is also on board. Lloyd Bacon's direction is somewhat pedestrian but Producer Jerry Wald's fine production values, good action sequences and Adolph Deutsch's score compensate a lot.

A screen salute to the Merchant Marine in World War II
Individual freights and convoys battling German U-boats and fighter planes to keep open the lifeline of the Allied war effort make "Action in the North Atlantic" one of the better World War II action films. The 1943 film, directed by Lloyd Bacon, is also rather unique because it focuses on the Merchant Marine instead of the Navy. Raymond Massey is Captain Steve Jarvis, while Humphrey Bogart plays his First Officer, Lieutenant Joe Rossi and Alan Hale is good old Boots O'Hara. The movie begins with the boys adrift for 11 days at sea after their tanker is sunk. After they are rescued they are assigned to the Liberty ship "Sea Witch," part of a great convoy bound from Halifax to Murmansk. After a German sub attack, the ship is separated from what is left of the convoy and has to make it to port. The action matters more than the acting in this film, although Ruth Gordon's performance as Mrs. Jarvis certainly stands out. Bogart's part is a bit overblown, but that is understandable in the wake of "Casablanca." Guy Gilpatric received an Best Writing Oscar nomination in 1944 for his Original Story, which, interestingly enough, is a separate category from teh screenplay written by John Howard Larson. ... Read more

Reviews (5)

Enjoyable western with Errol Flynn in fine form
Warner Bros. production of "Virginia City", has often come in for its fair share of criticism over its smaller budget than other contemporary westerns had lavished on them at this time and of the classic cases of miscasting among some of the lead performers. I for one always enjoy it and find that while it isn't anywhere near Errol Flynn's greatest role it is one where he delivers an interesting performance which can be counted among his better efforts. It is an interesting point that Errol Flynn was one of, if not the only non-American ever to find success in the western genre as evidenced by his great work in such efforts as "Dodge City", "Silver River", and in this effort.

Directed with the usual gusto by director Michael Curtiz who despite detesting Flynn personally always managed to extract fine work from him, "Virginia City" has an involved and indeed complicated story placed in the period of the American Civil war. It tells the story (based on an actual incident), of Captain Kerry Bradford (Flynn) a "yankee" who after escaping from a southern prison is sent south to Virginia City to hinder an essential shipment of $5,000,000 worth of gold secretly gathered by southern sympathisers from reaching the south's base of defence without which the war effort cannot be continued. Along the way he locks horns in a battle of wits with former goaler Captain Vance Lurby (Randolph Scott) who is determined to see that this secret shipment goes through via wagon train to Richmond to aid the cause. Also complicating Bradford's orders is the alluring dance hall singer come confederate spy Julia Hayne/Julie Adams (Miriam Hopkins) with whom he promtly falls in love and finds himself in a dilemma of mixed loyalties. Much attention has been focused on the miscasting of Miriam Hopkins in this role that perhaps required a more "sassy" type of female in the role. Hopkins always a fine actress as can be seen by her sterling work in "The Old Maid", "These Three", and "