Reviews (19)

INCREDIBLE FILM
I simply can't believe that this film was made in 1926. My god, it's so stunning, it's impossible to describe. Don't let it being a silent movie steer you away from it. The dialogue and action are more powerful than any actor's voice will ever be. Fred Niblo carved a marvelous film that is at times charming, so exciting, and so moving. It is so beautifully handled, especially in scenes involving Jesus Christ and his encounters with the film's hero, Judah Ben-Hur. Judah struggles to overcome his hardships of being a Jew in a land of Roman rulers, and to find the mother and sister that fate separated him from so long ago. He also seeks revenge on his boyhood friend Messala the Roman, and eventually does in the film's INCREDIBLY exciting chariot race sequence. Just as exciting is a scene that involves two ships in battle. This is a marvelous film, strongly recommendable. Do yourself a favor if you're a real film buff and see this great dramatic masterpiece at least once.

Film at its finest
I am stunned. I am not a fan of silent films, but caught this on PBS (the long version with color). It is simply one of the best films ever made.

Ramon Navarro had to have been one of the greatest actors ever. I have never seen him before, but the honesty he brings to every emotion is as modern as today's actors--if not more so. Especially the scene where he is on a death march in need of water, and his subsequent meeting with a water-giving Jesus, stands out for me. The chariot sequence is fine, and even the heavy-handed melodrama of the mother and sister is enjoyable. The silents are an interesting era, as this film is also given a sexual quality not seen in the Heston version. Here, look for a scene with a femme fatale as she tries to seduce the noble Judah Ben-Hur. Also, I was surprised to see just sitting there in the background of the roman galley slave scene, a naked man seemingly hanging dead. That entire scene, complete with pirates, is most impressive.

The sets, the use of color, the eerie Valley of The Lepers, and the great make-up, help to make this literally a film that has it all. Throw in a nasty Roman ex-friend, and our hero certainly has a lot to deal with--including raising a legion or two to invade Rome to save the life of Jesus (he obviously didn't).

DVD NOW!!!
Wouldn't it be neat if both editions of Ben Hur were availiable in a two pack or even a special edition with extras and compare/contrast commentaries on both? I think these studios are really missing the boat and missing a major moneymaking enterprise by not getting these silent classics out on dvd. I actually prefer this olderr edition. It moves along faster and seems like a greater accomplishment from a filmmaking pov. Both are brilliant, of course, and its just a matter of subtle differences.

Can't Be Topped
Absolutely one of the best films ever made with one of the best action sequences (the chariot race) in film history. Ben Hur is betrayed throughout the film by his supposed best friend and overcomes all odds to regain his humanity and with the help of Jesus, save his sister and mother.

Much superior to the Heston version
Wow! Even if you have little experience with silent movies, even if you erroneously believe that the 1959 Charlton Heston version of this movie surpasses all, you must see this film. It is a cinematic masterpiece, sumptuously photographed, faithful to Lew Wallace's novel and many scenes will quite simply knock your socks off.

Ramon Novarro is handsome, boyish and enchanting as Judah Ben-Hur. His performance is infinitely beyond anything Heston is capable of delivering. He plays Ben-Hur as the character was presented in the novel, devoid of ths histrionics, anger and over-acting which plagued the remake. Francis Bushman does overact and give an excessively bravuro performance as Mesalla, but he's not on screen as much as Stephen Boyd would be later on.

And what about the color sequences? Yes, there was actually color movies made in 1927, a fact I did not know. There are several color sequences which stun and fascinate. The chariot scene is epic and among the most stellar scenes ever shot in movie history; the same can be said for the galley scene, where the slaves sit three in a row and are rammed to death by Pirates on the high seas. Again, the 1959 version cannot hold a candle to this version in the epic, grand scenes.

Get this movie and cherish it. I've watched it three times in the past month and am amazed at its scope, depth and power. Beautiful masterpiece! ... Read more

Reviews (6)

Fine Saga Of Love And Courtship In Victorian England
"The Barretts of Wimpole Street", was an prestigious stage play that gave famed actress Katherine Cornell one of her most memorable acting roles in the early years of last century. It was with this thought in mind and hoping that the earlier critical success could be repeated on screen that MGM boy genius Irving Thalberg purchased the property as a vehicle for his wife, the first lady of MGM Norma Shearer. It was all part of Thalberg's personal campaign to elevate Norma to the ranks of the acting elite by performing in film properties that had respected theatrical pedigrees. This was really the first of these ambitious efforts and would be followed in later years by no expense spared productions of "Romeo and Juliet", and "Marie Antoniette". Despite her lack of theatrical training Norma Shearer does excellently in the role of invalid poetess Elizabeth Barrett and she manages to remove quite a bit of the static quality that comes with such a stage constructed piece as this . Combined with the fine talents of Fredric March and especially Charles Laughton in a stunning performance as her tyrannical father the film version became an acting tour de force for all three leads with Norma quite rightly earning another Academy Award nomination as Best Actress of the year.

The story in actual fact is simple and straight forward and details the romance that blossoms between Elizabeth, an invalid in her domineering father's house, and acclaimed poet Robert Browning. The friendship that first develops via letters grows into a consuming love affair after the two finally meet and through the love and devotion that Elizabeth receives we witness a rapid improvement in her health where she begins to enjoy life and begins going out into the world. Elizabeth's new found happiness however is continually blighted by her overbearing father Edward Moulton-Barrett (Charles Laughton), who has it as his aim to not allow any of his 9 children to marry or have any relations with people outside of the family. He comes into conflict not only with Elizabeth and Robert but also with his spirited younger daughter Henrietta (Maureen O"Sullivan), who begins a romance much to her father's disgust, with Captain Surtees Cook (Ralph Forbes). With Robert's promise of a new happier world and future life as his wife, Elizabeth grows in confidence and inner strength and with the assistance of loyal maid Wilson (Una O"Connor) she plots to make her escape and go away with Robert. After much soul searching and heated discussions with her as always obstinate father about the rights and wrongs of marrying Robert, Elizabeth decides that he will never change and leaves her family home where she has not only been a physical prisoner but also an emotional one for far too long. The final scenes see Elizabeth leave the house against her father's wishes to begin a new life with Robert taking Wilson her always devoted servant with her.

Despite the very stagey appearance of much of the film which largely confines the main action to Elizabeth's bedroom the good performances do to a large extent help "open out" the stage origins of the piece. Norma Shearer is both reserved and at times wonderfully spirited in her multi layered playing of Elizabeth and her early work as a full invalid is very well executed in particular when with Robert's prompting she takes her first tentative steps away from the security of her bedroom. Shearer who was often reluctant to take on the mantle of the highly polished queen of period dress films that her husband envisioned for her, was at first most reluctant to tackle the role of a largely bedridden invalid. Reunited with her popular "Smilin' Through" costar Fredric March however she soon saw the golden opportunity awaiting her and she created one of her best pieces of work on film. The story really comes alive in the many heated exchanges that take place between Elizabeth and her horrid father. Here the real dramatic power of "The Barretts of Wimpole Street",lies and Norma Shearer more than holds her own in the dramatic stakes with such a seasoned scene stealer as Charles Laughton. While Laughton's character is all spite and hatred it can be seen thanks to his expert playing of the part, that alot of what motivates him is bascially a deep seated fear of being eventually left on his own. What is amazing is the fact that despite being almost the same age as Norma Shearer, the wonders of makeup have allowed Laughton to convincingly play her father and never once does it look odd or unrealistic. Being a grade "A" production the film has a beautiful rich look and feel to it courtesy of MGM. Attention to detail in sets and general period flavour is top rate and designer Adrian again has excelled with his magnificent historically accurate costumes especially for Norma Shearer and Maureen O"Sullivan. Director Sidney Franklin had a difficult task on his hands in opening out a story that clearly betrayed its stage origins and in the second half in particular he succeeds very well in giving the story more movement and dimension. He liked the material so much that he went on to remake this film to far less dramatic acclaim in the 1950's with Jennifer Jones taking the Elizabeth Barrett role.

"The Barretts of Wimpole Street", is without a doubt one of the crowning glories in the careers of all three lead performers. Norma Shearer totally deserved the acclaim she won for her work here and she managed to make the character of Elizabeth Barrett totally her own. It is definately movie making of the old school and while the romance between these two young lovers may appear a bit dated it is thanks to the determined playing by Charles Laughton adding the necessary spice to the proceedings that makes it totally enjoyable viewing. Treat yourself to a viewing of this early MGM gem and see how Norma Shearer with the influencing of her husband rightly became known as the prestigious Queen of MGM productions during the 1930's.

I shall be haunted by the ghost of my unwritten review...
... if I don't get with it and review it now.

I've watched this several times but never been quite certain what I wanted to say in a review and I figured I must do it sometime and since I beheld it once again last night I thought this morning would be a good time and even though I know not what I shall say I think something will come to me. You see it is already coming to me.

This was my first Norma Shearer experience. At first I didn't really have an opinion of her one way or another but by the second viewing I knew I liked her. She gazes at everybody and everything even with her eyes shut. "I am a dying woman," she says low and dramatically. "We are all of us dying," Fredric March answers in the same tones. Speaking of him, maybe I shouldn't get started speaking of him. His part wasn't nearly as much as it could have been but it was sufficient, I suppose. It's entertaining to count the different patterned scarf-ties that he wore. He had a checked one and two different polka-dot ones and a plain black or grey one and one other I think with a nondescript print. His embroidered britches and the cape with the fur collar were a bit much, though. But let's get beyond the clothes - we all know they leave much to be desired. He had some of the most remarkable lines or should I say speeches in this movie which I invariably forget when I try to recall them later. I guess that's a good reason for you to see this yourself. This is really first-rate melodrama in some spots. I keep telling myself, they're poets - they can be as flowery as they like. Besides, I like first-rate melodrama. But back to Robert Dahling... He gives a very energetic portrayal of the poet, brings Elizabeth to life with what she calls "a series of electric shocks", and strides about in a manner reminiscent of his earlier characters, Dr Jekyll and Jeremy Wayne. It's not surprising that Elisabeth should re-gain her will to get well again with the inspiration of someone so sparkling with life. Oh, but that's not all there is to say about him. He had a beautiful view of a swan-inhabited pond from his study window.

I suppose I have to say something about Charles Laughton. Let it suffice to say that he strikes me as particularly disgusting and I don't care for the way he spits out his words like he has a grudge against the whole world plus three and a half.

Ralph Forbes was better as Willy Ainley in "Smilin' Through" than he is here as Captain Certes Cook. Una O'Connor is the niftiest maid on wheels. Flush the dog - well, he's a dog. I don't like dogs. Maureen what's her name who played Henrietta was also quite good. "Will you be here tomorrow? Don't look! That lady across the street is watching. Will I ever see you in full uniform? Don't tell me!"

And Cousin Bella's high-pitched baby talk... "Oh, Henwietta, you WILL be my bwidesmaid, won't you?" "Dear, dear Cousin Elizabeth! So fwagile! So spiwitual! One only has to look into your dear eyes to see how vewy close you are to Heaven!" Cousin Bella's fiancé's most memorable line... "Come, come, my pet!" Also, "Come, come, my pet!"

The filming is good, the story is strong, and Norma sings a sweet little song with her bros. and sisses. It was not only enjoyable to watch but made me go out and read some of the Brownings' poetry. I found Robert's a bit obscure but I have read Eliz's Sonnets several times through.

I've never been able to find the poem though about the "all petals, no prickles" that Robert reads aloud so he can explain it to Elizabeth. He finally said after studying it for some time, "Well, when that was written, only God and Robert Browning understood it. Now, only God understands it."

See this movie. If you are weally on the side of womance, I think you will weally enjoy watching it. It's so twilling!

A FINE VERSION
The great stage actress Katherine Cornell was famous for playing Elizabeth Barrett on stage, but her name meant little to moviegoers. At first, Shearer did not want to play an invalid but quickly changed her mind when Marion Davies (!) was offered the role. Shearer gives a performance of genuine charm and pathos (she won an AA nomination but alas she lost to Claudette Colbert for her Ellie Andrews in "It Happened One Night". Victorian London provides the handsome settings for this true story of the romance of Elizabeth Barrett and Robert Browing. Charles Laughton's performance is amazing (as Moulton Barret) in that he was only a year older than Shearer in real life and he very credibly played her FATHER. The film scored an immediate and well-deserved success with critics and audiences alike with Shearer winning the Best Actress Award at the Venice Film Festival.

DO get this version
If you're into well-acted movies with a strong literary yet romatic leaning, this is the flick for you. Norma Shearer (once married to boy genius producer, Irving Thalberg) plays poetess Elizabeth Barrett Browning to Fredric March's Robert Browning. A true-life love story!

DON'T get or even be bothered with the pasty Jennifer Jones remake. This is the genuine article, with a stellar performance by Charles Laughton as the Father You Love to Hate. Laughton's performance really should be up there as one of the most despicable Hollywood villians EVER filned! Compare him to any James Bond villian and I think you might just agree. He is perfectly horrible; a snake willing to eat his own young. There is a scene (towards the end of the movie) between him and Norma Shearer, that even with 1930's Hollywood Production Code subtly, will still give you the creeps.

The chemistry between Shearer and March is enchanting. You really do care about these two lonely, bright, creative people connecting. Maureen O'Sullivan (Mia Farrow's mom) is wonderful as Elizabth's sister, who really gets the romantic ball rolling. The costumes are lovely and the director's choice to keep the film mostly confined to invalid Elizabeth's bedroom is quietly brilliant.

While is is a stagey film, as many of Shearer's movies are, I believe it holds up extremely well. It is more than worth a look-see and is a fine addition to a classic film buff's library.

Also, it's a pretty good chick flick for coffee, chocolates and converssation!

A Great Classic
Oh, wow! I loved this movie. It was enchantingly acted, and the best part is that it's a true story. A Hollywood script writer could not have conjured up a better romantic "Romeo and Juliet"-like tale. Forbidden love. An overbearing father. A perfect ten! Kudos to everyone involved in this movie! ... Read more

Reviews (17)

Carole Lombard #1 Comedian of the 30's !!! Great DVD xfer!
Carole Lombard was an intelligent beautiful natural blonde, the greatest female Screwball comedian , highest paid actress, wife of Clark Gable and one of the most powerful woman in Hollywood during the 1930's until her untimely death in 1942. This beautifully restored DVD gives us a taste of Carole Lombard and the effect she had to audiences of the 30's. This was her only Technicolor movie she ever made. So sit back and watch her natural beauty and acting genius evolve on the screen. Fredric March as her co-star adds to this adorably humorous film.

In Summary: A Vermont girl Hazel Flagg (Lombard) in diagnosed in having radium poisoning (terminal). A hot shot New York Jounalist (March)reads about this in a newspaper and wants to use this event to raise his magazines popularity by sponsoring Hazel. Bringing her to New York City and presenting her with the "Keys to the City" and VIP status raises great public awareness. All the time using public sympathy to raise magazine sales.

Hazel finds out she was mis-diagnosed and reluctantly continues on with the scam. In the meantime March starts falling in love with Hazel and he wants her to rest and be comfortable until her end comes. As you can see this has a strange twist of events which is the main ingredient to the "SCREWBALL COMEDIES" of the 30's. Proving "Nothing's Sacred"!!!
The extras include: 2 early silent Lombard movies and Gable & Lombard home movies. This is a collectable "LIMITED EDITION" DVD to have.

Yumpin' Yiminee! Comedy and commentary in a perfect union!
NOTHING SACRED has all the right elements to make it a classic screwball comedy. It's short (a mere 74 minutes), has tight and fast scenes, some out-of-the-blue and very odd occurences (as mentioned by others, the boy biting March is a riot), stars who aren't afraid to get silly or messy to produce the best laugh, and a strong, scathing message.

Ben Hecht's script is excellent, providing many belly laughs during the movie, and chuckles long after the VCR or DVD player has been shut off. Carole Lombard is her hilarious wacky self. I love black and white movies, but I must admit the Technicolor really allowed me to appreciate her full beauty. And as for Fredric March, well, I've always had a sweet spot for his acting, and he certainly didn't disappoint in this production. He and Lombard balance each other out perfectly. And, as was characteristic of the great comedies of the 30s, the supporting characters excel in their roles to round out a practically perfect comedy.

As far as the film itself, there were three aspects that I particularly enjoyed. One being the sincere, in your face view of male/female relationships. The bedroom fighting scene between March and Lombard is hilarious, one of the highlights of the movie, but would never make it on screen in any of today's movies. In today's movie world where you can't offend ANYONE (except Christians or Republicans), and you usually can't show any kind of physical humor toward women (yet it's OK to beat the guy to a pulp), the un-PC nature of this 60+ year old production gives it unexpected freshness.

A second uncommon point is the change in the romantic comedy formula. You know, it almost always goes boy meets girl, boy and girl are together for awhile having a jim-dandy time, boy and girl break up after tiff or misunderstanding of some sort, boy or girl makes a witty, cutesy speech to get them back together. This movie changes at least the last part of that formula to focus the last question from "How will they get back together?" to "How will they get out of the problem together?". Nice little twist.

A final interesting aspect was the deliberate hiding of Lombard and March's faces during most of their more intimate scenes. This is fitting considering the movie was a rail against the mass media's need to sensationalize and exploit every intimate thing (and the masses' willingness to happily join in the explotation).

If you enjoyed BRINGING UP BABY or IT HAPPENED ONE NIGHT, you're bound to enjoy this film. If you enjoy this film, but haven't seen the other two I mentioned, check them out! Chances are you won't be disappointed!

A dark, satirical look at media hype
Jason Blair, eat your heart out! Frederick March stars as an unscrupulous newspaper reporter who uses a maudlin tragedy -- a young woman who's dying of radium poisoning -- as a way to revive his shaky career. The trouble is, the gal is actually faking her ailment, using it as a way to escape her dull life in a provincial Vermont village. Carole Lombard plays the faker, Ms. Hazel Flagg, who becomes the toast of the town when brought to see the bright lights of New York City. Ben Hecht's tart, cynical script skillfully juxtoposes the sensationalized sentimentalism that Hazel attracts with the business-as-usual media hype and casual crassness of the Big Apple. While the film has its weak points (poor sound design, rushed production values, some ethnic humor that hasn't aged well), Hecht's merciless portrayal of flavor-of-the-week media "events" proves once again that the more things change, the more they stay the same. Recommended.

(PS - A scene involving an airplane ride also provides a nice aerial view of Depression-era NYC.)

Amazing movie....pretty medicore transfer
This is one of the 15 all-time greatest screwball comedies of the 1930's...and the only one that was in Technicolor. Problem is that Selnick sold the rights to it (it's in the public domain) sometime in the 1940's and it's very hard to find a decent of print of this (despite the fact that The Museum Of Modern Art completely resotred the movie to it's original Technicolor splendor...but they stupidly won't release it on VHS or DVD to the public...) Carole Lombard, Fredric March, Walter Connolly, and Charles Winninger have never been better. Absolutely first rate film directed by William Wellman and screenplay by Ben Hecht. Worth buying, despite the medicore quality (and occasional blurriness).

ALL YOU NEED TO KNOW ON LIFE, LOVE, AND DEATH BY RADIATION..
...YOU'LL LEARN FROM THIS MOVIE. After this movie was over, I longed for nothing more than to go away quietly and soak up its deep truths - just go away, like an elephant, and disappear. After all, there's always a way to come back to society. It's very simple, actually - Hazel Flagg has proved it. Just put on a pair of sunglasses. Not only will you look highly suspicious, but chances are people will recognise your mouth or your voice - or maybe just the aura of courage and nobility that emanates from your very presence.

I learned so many other valuable things from this fascinating movie as well. First of all, I found out what the residents of Vermont are really like, hidden away as they are amongst all that scenery. They have an expansive vocabulary that many Americans would do well to imitate. There are only two words to remember: Yep and Nope. It's very contagious, and even New York reporters find themselves picking it up after only a brief stay. Only slightly alluded to, but equally important, is the fact that Vermont must a state of high radiation level, otherwise how did poor Miss Flagg contract the fatal stuff?

Another thing that must never be forgotten is, if you want free publicity, just find a doctor in Vermont who insists you have radiation poisoning. Then your name will be posted abroad. You will be forever remembered as a strong, courageous victim of unfortunate circumstances. There will be silence at boxing rings, nightclubs, and city streets at the sight or sound of your name. You will be compared with such great, heroic personalities as Pocahontas and Catherine the Great (who, by the way, rode pastel-coloured horses and headresses both fearfully and wonderfully made). Schoolchildren will sweetly serenade you with ballads on the subject of your impending demise.

Besides all this, you will be duly blessed with a newspaper reporter who is not only dashingly handsome, madly in love, and prostrate with grief over the radiation which is stealing the very life and soul out of you. (Can such a rosy, sparkling complexion as you have possibly be a mere mask?) He's willing to fish you out of the river, marry you immediately, and all sorts of other noble things, but he'll find out you're a fake and kick you about like a bearskin rug, just to convince the doctors that your radiation isn't put up - even though it is. Perhaps he thinks that is a manifestation of his profound adoration for you, but in reality it causes you to faint away in despair at his utter cruelty to you. It's always helpful to remember that if your handsome newspaper reporter wishes you to fake a fever, and the means to the end involves a fight, you'd better turn away and disappear. Like an elephant. Elephants are the key here. From beginning to end, this movie is a grey haze of stampeding elephantine nonsense, pointlessness, and incredibly pathetic humour.

I do so enjoy learning experiences of any kind. Thanks to this film, I now know everything. Everything there is to know in the world about life, love, and death by radiation is in the depths of that brave name, Hazel Flagg, which is indelibly printed in my mind. In blue neon letters. ... Read more