Reviews (20)

Why isn't this on DVD?
This is one of the greatest movies of all time in my opinion. I am very pleased it has lasted and not been blacklisted like Disney's 'Song Of The South'. The black cast does speak with an overly Southern accent of the time, and that's what makes this so charming. Rex Ingram is delightful as "De Lawd". Don't miss Eddie "Rochester" Anderson as Noah. ("I guess I can get de animals, Lawd. There was a circus in town last week...")

With every junky new movie coming out on DVD, why hasn't this classic come out?

Triumphant!
I first saw this movie as a child, probably aged 5 or six, and I'd never forgotten it. For some reason, I had never been able to catch it on t.v., and as the years went by, it became very sketchy in my mind, but still there. Last night, about 44 years after the first time I viewed it, I had the profound pleasure of seeing it again. It was worth the wait.
The cast is spectacular, the sets charming and beautiful. It tells the story of creation, Adam and Eve, Noah ect, with a child-like simplicity. Often hilarious, sometimes very poignant and moving but always reverent, it illustrates what has given African Americans the strength to survive the tremendous struggles we have faced as a people. A simple, steadfast faith in God, who, for many of us, is as real as the sun, flowers, storms, and just as much a part of our every day lives. It is an awesome movie, and one that I think every one should see, at least once.

A True
I keep watching this film over & over again. It displays some of the very best cinematography in Black & White film making, I have ever seen.The film encompasses; Drama, comedy, visualizations & tremendous conversation of the old time south. The feeling of watching the all African - American cast, in a true southern depiction & context, is compelling to me. This is the time before the media introduced a rediculous control over what we, as Americans, can watch & enjoy as main stream filming.

I would love to see this & other classics of it's time being replayed on todays television a lot more frequently. To me, todays black film makers are to reluctant to create films of life, in much lesser, simpleminded & wholesome environment. I recommend for all ages,to be a " must see " motion picture.

Please the King!
This movie is a throwback to a better time; a time when political correctness didn't get in the way of a good laugh. It consists of bible stories seen through the eyes of poor Southern blacks in the 1930s. You will roar with laughter as adorable pickaninnies ride clouds in Heaven and Noah debates with De Lawd about how many "kegs o' likka" he can take on the Ark. My favorite scene is when Moses and Aaron confront Old King Pharaoh to demand that he "let the Hebrew chillun' go." Moses is portrayed as a simple yet pious half-wit empowered by De Lawd with a magical walking stick and a few extra IQ points (okay, make that a lot of extra IQ points). You will cheer when he gives the Pharaoh his comeuppance by showing him that you can't out-trick De Lawd. Rex Ingram does some fine acting in his triple roles of De Lawd, Adam, and Hezdrel. The scene where Hezdrel tells De Lawd about how mankind found "moicy" is heart-touching. I wholeheartedly recommend this film to anyone interested in cinema the way it used to be, without the liberal bias and distortions of fact we are subjected to today. So if you'd like an old-fashioned good time, just rare back with a ten-cent ceegar and a bottle of sonny-kick-mammy wine and pop this one in the VCR. It's more fun than a fish-fry in Heaven!

Wish I could get it on DVD
Well, Im settling for VHS although I really want it on DVD. This has got to be the best movie of all time...in my opinion of course. I saw this movie some years ago and Ive been looking for it ever since. I was actually on my way to a church revival that night and this movie came on AMC so i watched it as i got dressed. I then found myself debating whether i should go to church late and see the end or go to church on time and see the movie later? This was during black history month so I was sure it would come on again. Well I went to church hoping that Id catch the movie again another time and I never did because..OH WOW! I never caught the name of the movie. Ive spent my day today looking up every old African American movie I could find and I actually found it on someones list. Its a wonderful movie yall, funny as I dont know what although I doubt its meant to be. The vernacular is what sealed it for me. If you want to hear some real serious Ebonics, buy this movie!! For real. Gods name in the movie was Lawd! I wish we could rate higher than 5 stars cuz I'd give this movie a 10! ... Read more

Amazon.com

Mark Twain's Huckleberry Finn is considered by many to be the greatest American novel ever written. Though none of the many film adaptations have done the book justice, the closest remains the 1939 remake with Mickey Rooney. Toning down his usual firecracker personality, Rooney's river-boy Huck is a fun-loving, superstitious kid who can't give up his free-and-easy life of fishing and smoking, despite the best efforts of his kindly guardians. When his souse of a Pap blackmails the well-meaning matrons, mischievous Huck fakes his death and heads down the river with his friend Jim (Rex Ingram), a slave he grudgingly helps escape to a free state. Rooney displays his underrated skills as a dramatic performer as he banters with Jim about slavery, fate, and destiny, and his slow realization that, slave or not, Jim is a human being ripples across his face like a remembered sin. The last half of the picture winds the destinies of the runaways around the schemes of con men Walter Connelly and William Frawley (who make a hilarious team as "the King" and "the Duke"), where the comic antics nuzzle against despicable plots and Huck's free spirit slams against his growing sense of responsibility. It's a generally faithful adaptation until the climax, which completely removes Tom Sawyer's appearance for a melodramatic, race-to-the-rescue conclusion. But for all the film's narrative liberties, Rooney's thoughtful performance captures Twain's Huck better than any version before or since. --Sean Axmaker ... Read more

Reviews (5)

The Adventures of Huckleberry Finn
I want, DVD version "The Adventures Of Huckleberry Finn" with Mickey Roonney, with subtitles in spanish and spoken in spanish!!!!!!!!!!!!!!!!!!!!!!!!!!!!

The best film version of the Mark Twain classic.
This is probably the most accurate portrayal of Huck ever brought to screen! Here you see the young hero learn the power of loyalty and the evils of racism as he smokes and curses his way through one adventure after another.

Despite criticisms about the use of racially offensive language, this movie(and book) have done much toward bridging the gap between the races by imparting understanding and empathy. Accusations that the language of the book should justify its being banned are born of ignorance, not a true desire for tolerance.

Watch this and decide for yourself.

It was an okay movie.
I think this book was very boring . But the movie was alittle better. I wish that he had published some better book than the ones that he has out.Mark Twain is a very creative man and I admire that. Recently i had visited his house in Conneticut. It was really nice and I enjoyed myself. Otherwise , the my most favorite book would have to be Tom Sawyer because it was an exciting aventure. Iy was also nice how he put Tom Sawyer as a continuation in Huck Finn Book, eventhough I thought that book was really boring. So to all the readers out there I would just like to say watch the movie and not read the book you will enjoy it more.

super............thanks for asking
super movie wonderful everything just a tad different from the book but overall it was great thanks for asking

Fun Movie, good acting -- not fairly true to the story
If you care for accuracy avoid this video. For fun, and a sort of neat feel - OK

Acting quite good.

But this is not the story written by Mark Twain (or Sam Clemens) ... Read more

Amazon.com

Hollywood made few movies about the desert conflict during World War II--and curiously, two that they did (Five Graves to Cairo is the other) were remakes of films set elsewhere. John Howard Lawson based his script on a prewar Russian film (Lawson would later be blacklisted, incidentally) about a military patrol besieged by Asian bandits. The situation readily lent itself to a wartime parallel and became one of the most engrossing story lines of its era.

A U.S. tank crew and their commander (Humphrey Bogart), separated from the main force, make their way through the desert, accumulating a veritable United Nations of stragglers as they go: a few of Montgomery's tommies (including that old limey Lloyd Bridges) and a towering African (Rex Ingram) and his prisoner--a garrulous Italian (Oscar-nominated J. Carrol Naish) who can't wait to tell his new friends about his relatives in "Peets-a-bourg Pennsylvania." They come upon a ruin, the onetime site of an oasis, and almost immediately find themselves defending it against a small army of Germans who believe there's still water to be had there. Yes and no--there's a biblical wrinkle to this tale--and the standoff between the polyglot democrats and the Nazis who far outnumber them is a fine, sun-baked study in suspense.

For Bogart, this Columbia picture was a rare furlough from Warner Bros., where he always felt embattled. His pleasure must have seeped into his work, because Sgt. Joe Gunn is one of the most sympathetic and heartfelt characterizations the actor ever gave us. This is one good movie. --Richard T. Jameson ... Read more

Reviews (28)

SAHARA, Bogart's Desert War Classic now on DVD !
It was 1943 and the United States was at war. Humphrey Bogart had just finished "Casablanca" (considered the #2nd greatest Movie of the last 100 years by the American Film Institute (AFI)1998) with Ingrid Bergman at Warner Brothers.

As the war effort continued Hollywood began to use the power of their stars with patriotic themes, against all odds stories to give Americans and the world hope for victory.

Warner Brothers having the greatest stable of stars lent the services of Humphrey Bogart to Columbia Pictures for the making of the Classic Desert War story "Sahara".

This movie had a great ensemble cast which included a very young Llyod Bridges, Bruce Bennett, J. Carrol Naish and Dan Duryea. Filmed in the Mojave Desert near the great Salton Sea in Southern California. The filmed was endorsed by the War Department and the extras were supplied by the United States Army (playing the Germans, Americans and Allies).

"SAHARA" became Columbia Pictures top grossing film of 1943 at a whopping $2.3 million and a very effective propaganda war vehicle.

Summary: Sgt Joe Gunn (Bogart) a WWII tank Commander and his crew (Bennett & Duryea) are surrounded by Germans in the Sahara desert. Their only escape is south into the desert with only their tank "Lullabelle". The race is against time, finding gas, water & their allies before the Germans find them.

This DVD quality is outstanding !! (remasterd video & audio.) FullScreen (before Widescreen) and Black/White presentation. Extras include a picture montage of original lobby poster art, trailers from other WWII movies and star film chronoligies.

This is a "WWII Sleeper Classic Bogart Film". Bogart is a master craftsman, an American Icon Hero. You become very attached to this cast of desert marooned characters in a grand story about unsummountable odds and the pure devoted attitude to succeed!! Enjoy.

Sahara: A Pre-Politically Correct Call For Multiculturalism
By 1943, the war in Europe had been going on for four years, and the United States had been involved for two. The war was far from being won, and Hollywood accordingly presented images of good old-fashioned American virtues of grit that sound increasingly quaint in the light of the modern tendency to downgrade the military. But in SAHARA, director Zoltan Korda involves the viewer directly in the war against fascism by presenting Humphrey Bogart as Sgt. Joe Gunn, in a role as memorable as any that he ever had. He, Dan Duryea, and Bruce Bennet are tankmen lost somewhere in the North African desert just before the battle of El Alemain. They seek to reenter the war and in doing so, pick up a number of equally lost fighters, two of whom are the enemy. J. Carrol Naish is Guiseppe, an Italian infantryman who has long since lost confidence in Mussolini. Kurt Krueger is a downed Luftwaffe pilot who is forced to ally himself with Guiseppe, a man who he is sure is not far elevated, racially speaking, over the Jews who were being tossed into crematoria. Bogart discovers an oasis that provides just enough water to keep his men alive. The plot complicates when an Afrika Korps battalion is short on water and attacks the oasis for its precious water.

SAHARA is typical of the war films of the time in that Hollywood knew that audiences would respond patriotically if the film combined crackling scenes of realistic combat with powerful and believable characters. Bogart as Joe Gunn more than delivers in nearly every scene in which he appears. His craggy face and gravel voice are totally convincing, especially in scenes like the one in which he responds to the not unreasonable question as to why they should risk their lives in battle when to run away seems the more prudent course. Bogie deadpans that delaying the Nazis at every step is the surest way to win the war. Director Korda makes sure that Bogart's tank crew is a multinational ethnic mix of Brits, French, Nigerian, and even Guiseppe, who in one stirring scene, repudiates his Italian Duce by telling Kurt Krueger, "Must I kiss the hand that beats me and lick the boot that kicks me? No! I'd rather stay in this miserable hole than to return to an Italy like that." SAHARA provided just the right note of infectious enthusiasm for a nation to rally around its military, even if today's peace-at-all-cost activists can't quite understand why.

Desert wartime conflict
The incomparable Humphrey Bogart is tough, gritty and determined as Sgt. Joe Gunn commander of the remainder of a U.S. tank crew retreating south from the Nazis into the Libyan desert. His crew including a young Dan Duryea and the veteran actor Bruce Bennett pick up a small group of Allied stragglers on the way. Running low on supplies and water they set out for a well marked on a map. They encounter a British Sudanese sergeant major played by Rex Ingram leading an Italian prisoner played by the versatile and Oscar nominated J. Carroll Naish. Finding the well to have dried up, the rag tag bunch is led by the beautifully spoken Ingram to a distant well by following an old caravan trail.

Little do they know but they are being pursued by a mechanized German battalion of about 500 men also desperate for water. Bogart and his group find a scant supply of water at the second well which is located amid some ruins deep in the desert. They ambush a German scouting party and learn of their quandry. They release prisoners with the false knowledge that there is plenty of water to be found to lure the battalion in. They decide to make a stand at the well to delay the Nazi troops while sending out Bennett in a captured Nazi vehicle for help.

Sahara is an excellent wartime movie which serves as a testimony to the resolve of our troops to defend their country and ideals in the face of deplorable circumstamces. Bogart is terrific as usual. J. Carroll Naish does a superb acting job playing the disillusioned Italian prisoner, a mechanic from Turin, Giuseppe.

Excellent
This little know Bogart movie was an astounding find for me. The story is based on a Soviet Photoplay article about a group of stranded soliers in the Sahara desert who make a stand against an approaching band of Germans during World War II. A bit heavy on the "why can't we just all get along" line (excluding the Germans, of course) but notable for its humanization of all the disparate people involved, their political beliefs and other religions. In addition, it is an entertaining story of clever manipulations by our heroes to assure their survival versus the overwhelming Germans. Has a great ending. Dan Duryea shines, as does Bogart.

A quest for water...
Sergeant Gunn (Humphrey Bogart) is the chief for an American tank in the war against the Nazi's during World War II. As they pull back they come across a group of soldiers consisting of a Frenchman, a South African, and four Brits. These soldiers join the Americans on their retreat, since it is easier to ride on a tank than walking and because they are low on water. As the party journeys deeper into the Sahara desert, they meet a Sudanese soldier who has an Italian prisoner. The Sudanese soldier is great help for the international group of armed forces, since he knows where there is water. The journey becomes a pilgrimage for water and it leads the men into a tough decision, which will most likely lead them to their death. Sahara is an interesting film, since it was filmed during the war and enhanced the support for soldiers that were fighting in World War II. In addition, it has some elements that offer some understanding for different cultures, which was needed in the time of war. Overall, the film offers an adventure for those who seek entertainment, which in the end provides the audience with a good cinematic experience. ... Read more

Amazon.com

The first film directed by Vincente Minnelli (who directed the original Broadway version), this musical offers its pleasures, but also may make you squirm at the racial stereotypes that were considered both acceptable and entertaining in 1943. A story of the struggle between good and evil for the soul of a man named Little Joe (Eddie "Rochester" Anderson), the film plays with the same kind of racial notions that made Stepin Fetchit a star. Still, there's much to recommend it, particularly performances by some of the greatest musical stars of the day: Lena Horne, Ethel Waters, Louis Armstrong, and Duke Ellington, among others. The film also includes a terrific score, a combination effort by Ellington, Harold Arlen, Vernon Duke, and E.Y. Harburg that includes the song"Taking a Chance on Love." --Marshall Fine ... Read more

Reviews (13)

Great music, great cast, Ethel Waters at her best
This is a delightful film. The Broadway score, already one of the finer scores for its time, with the classics "Taking a chance on love" and "Cabin in the sky", was further improved with the addition of "Happiness is just a thing called Joe". There are several other wonderful numbers, including the Duke Ellington number with some great dancing, and "Bubbles" singing "Shine". The cast was the finest black talent of the day, and the movie demonstrates why Ethel Waters was considered the greatest singer and entertainer of her day. In this movie, she also demonstrates that she is a fine actress and a fine dancer. It's a pity that the racial climate of the time didn't allow her more films - she's as magical on screen as she was, by all reports, in person. The remainder of the cast includes a stunning young Lena Horne, surely one of the most beautiful women ever to appear on screen, and who is here allowed to be smolderingly sexy, Eddie "Rochester" Anderson, who's an endearing Little Joe, Rex Ingram as Lucifer Jr, and smaller but memorable appearances by Louis Armstrong, Butterfly McQueen, and "Bubbles" of Buck and Bubbles. Seeing Waters sing "Taking a chance on love", "cabin in the sky", "Happiness is just a thing called Joe" and her wicked reprise of "Honey in the honeycomb", complete with some dance steps that will floor you, is more than enough to recommend the movie, but all performances are delightful, and the songs and background music are great. If we take it as a "fable", as we are counseled to do at the beginning, then I don't see it as a racist or dated film. The characters are almost all well delineated and believable within the "fable" context, and are no more stereotypical in this context than numerous films of white people at the time that were also fantasies.

It's a pleasure to watch from beginning to end - clearly a timeless classic, especially valuable for archiving for all time the classic Waters performance and the superb acting, singing, dancing and comedic skills of some of the greatest black talent pre-World War II.

A TOUR-DE-FORCE OF TALENT FROM AN AMAZING CAST
In these enlightened times, a movie such as Cabin in the Sky - which is heavily laden with racial stereotypes - seems awkwardly out of place. However, before we all jump on the political correctness bandwagon, it's worth remembering that the movie was made during WW2, and that Civil Rights Movements were some 20 or so years in the future.

Much has been written about the plot, so I won't focus on that. I will say, however, that this movie is a tour-de-force of talent. It marked Vincent Minelli's directorial debut, and it's clear that he did a fine job. Eddie "Rochester" Anderson, Lena Horne and Ethel Waters all play their parts brilliantly. If there was any animosity between Lena and Ethel, it was easy to understand. Ethel fought tough and nail to climb the showbiz ladder, whereas Lena was the first African-American actress to be groomed specially for Hollywood. Ms Horne had specially designed gowns and mingled with the upper echelons of MGM. The moviemakers even created a special make up range for her in an effort to pass her off as an exotic Latin American belle. Lena refused to disrespect her race by denying her heritage.

Anyway, back to the film. It's Ethel Water's character, Petunia, that I warm to the most. She may have been downtrodden, and reduced to scrubbing floors. However, there's a down-to-earth warmth that radiates from her. Her rendition of "Happiness is a Thing Called Joe" is superb. The late Waters was a remarkable, versatile performer, and it's a shame that she's not as well known among the masses like Lena.

As for Lena's Georgia Brown, she's nothing short of breathtakingly beautiful. Ms Horne was something of a WW2 pin-up, and it's easy to see why. She tempts the viewers (and the censors, no doubt!) with her sexy lingerie, and isn't shy to show off a good bit of thigh! The only other African American woman who showed this much flesh was Josephine Baker, but she was doing her thing in Paris!

The songs by Duke Ellington are great. Also look out for a young Louis Armstrong - he plays one of Lucifer's hilarious angels!

Cabin in the Sky is fine musical - a classic, and it's high time is was released in the UK! However, us Brits will have to do with imports for the time being. As with all US video tapes, you'll need a VCR with NTSC playback to watch this movie.

Good Movie Fo Sho
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Cabin in the Sky !!!!Fo Sho Baby!!!!!
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Great music...
Great performances.Duke Ellington,Ethel Waters,Lena Horne.Doesn't get any better than that. ... Read more

Reviews (26)

Greatest golden age fantasy still well worth owning
This masterpiece, often referred to as the greatest fantasy movie ever, still holds up well over 60 years later. The Thief of Bagad has a terrific story with enchanting magic, enticing romance and terrific suspense. The acting is absolutely superb with fine performances turned in by Sabu the little thief, Rex Ingram as the powerful and scary genie, and Conrad Veidt who as the evil Vizier Jaffar is one of the best villians ever. John Justin, the blinded Caliph and his beloved princess (June Deprez) provide an engaging and often tragic romance that lends terrific depth to this story.

Best yet is the awesome imagination brought to life in this masterpiece epic. While some of the effects show their age (The spider, for instance), others, such as the flying mechanical horse and the magical carpet are still captivating. The immense attention to detail is evident in the palaces, the ships and the sultan's toy collection. Miklos Rosza's musical score along with this movie's wonderful cinematography recreates the legendary time of the Arabian Nights.

For my one complaint, while this movie clearly rates 5 stars, I'm knocking my review down to 4 stars due to the lack of DVD extras. When compared to spectacular golden age DVDs like Robin Hood, one begins wish all were made this way. Children from 8-13 (as well as adults) will still find joy in this delightful picture.

Brilliant Fantasy Adventure!!!
A blinded beggar, Ahmad, with his wise dog, is begging for food and coins in the harbor of a distant city. The Grand Vizier Jaffar requests that the beggar should be brought to the palace to help his beloved Princess wake up from a deep trance like sleep, since legends tell him that only a blind man can awaken the princess. During the blind man's visit, he tells the story of his life and how he once was the King of Bagdad and his dog was a thief named Abu. The story also reveals that he was blinded by the evil Vizier Jaffar and how he fell in love with the Princess. Thief of Bagdad is a captivating fantasy tale with magical items, dubious creatures, and enchanting adventures of a long lost king. The wide variety of creatures, items, and adventures is delicately balanced with a well written story, precise cinematography, and special effects that do not ruin the story despite the age of the film. The experience that is provided through this cinematic event is a magical story that offers both entertainment as well as contemplation, which is useful for young and old.

A masterpiece to been seen by all generations
"The Thief of Baghdad" is a masterpiece and should be seen by the present and future generations. It is a movie complete and all its aspects. I was 10 when I first saw "The Thief of Baghdad" and since then I could never forget the moments of enchantment it brought to me everytime (more than 10 times)I went to the movies to see it on the big screen. It was and still is my fantasy favorite movie. In the Middle 60's I finally found a copy in 16mm at a distributor and had to rent a projector to show the film at home. Although the copy was in very bad conditions I could even so, be able to go back to the days of my childhood while enjoying this wondereful film.
Recently I púrchased a VHS copy at Amazon[.com] and virtually "obliged" my 18 year-old daughter to watch it. It was a prize to have the film with me at all times. The new edition in DVD is perfect and reveals all the splendor the film brings.

A Fairy Tale concealing the Prennial Wisdom
I first saw this movie as a child in the 1940's. The effects were the best ever for the time, and even look really good today. This is another hero tale complete with a lowly but likable thief who undergoes the classic perils all heros face, but the placement is beaufifully fantasic with the mystery of sultans, evil vizer, genii, minerets, blue rosess of forgetfulness, and magical toys that come to life in Baghdad and Basra. It became my family's all time favorite, along with another Sabu movie, Jungle Book. If this is the type of fantasy and truth you like, go for it.

A Dream
Superb remake of Douglas Fairbanks silent classic; with Sabu as the charming little thief, helping a blinded caliph (John Justin), victim of evil Jaffar (Conrad Veidt), to recover her position and her sweetheart (June Duprez), setting for just amazing adventures.

Filled with wild ideas (the menacing shadow of Jaffar, the blue rose, the horse-toy, the sculpture of many hands, the giant spider, the laughing Genius), and a very, very beautiful color photography (June Duprez is beautiful and John Justin's eyes sparkle with intensity), this film is a certainly unspeakable dazzle for me. ... Read more

Amazon.com essential video

The screwball comedy was the definitive genre of the Depression, but as America edged toward war in the early '40s, it suffered some strange and wonderful mutations--none stranger than The Talk of the Town, directed by George Stevens from a script by novelist Irwin Shaw and frequent Capra collaborator (and future blacklist victim) Sidney Buchman. Cary Grant, awkwardly cast, is a small-town political agitator who is framed for the burning of a local factory; he takes refuge in the attic of a country cottage that landlady Jean Arthur is preparing to rent out to a celebrated law professor (silver-tongued Ronald Colman, perhaps the only actor in Hollywood who could make Grant look like a proletarian). Stevens, suspended between his light '30s style (Swing Time) and his heavy postwar manner (A Place in the Sun), struggles to balance a charming, surprisingly suspenseful romantic triangle with the heavy, debating-society tone of the screenplay, which pits Grant, the representative of a compassionate, emotional sense of justice, against the cool, abstract application of the law advocated by Colman. Caught between these two highly verbal characters, Jean Arthur doesn't have much to do but be adorable and provide the occasional quizzical reaction shot--two things she does with exquisite skill. Stevens and Arthur teamed up again one year later for another strange-bedfellows farce, the marvelous The More the Merrier; in 1953 Arthur made her final film appearance in Stevens's Shane. --Dave Kehr ... Read more

Reviews (18)

Pretty good mix of a serious topic and comedy...
Sometimes I am tempted to describe this movie as having split personality disorder. On one level, it seems to be a lighthearted comedy with a love triangle between Cary Grant, Ronald Coleman, and Jean Arthur. And on another level, it aims to deal with deeper issues like the role of the law in society, etc, etc. But, actually, I think a more accurate way to describe this movie would be as a late screwball comedy. During the WWII years, screwball comedy, which had been so carefree in the depression, began to take on more serious issues, leading to movies like this one - strange mixes of the screwball spirit and deeper concerns.

Regardless of its strange synthesis of screwball and serious issues, however, The Talk of the Town is a classic, and a great movie! Essentially, it is about a small town rebel (Cary Grant, in an uncharacteristic role) who escapes from prision after being wrongly accused of arson and murder. He comes across a former friend (Jean Arthur) and stays with her, posing as the gardener when a law professor (Ronald Coleman) comes to rent her house. There are many hilarious situations in the house, but the movie also discussed the role of the law in society and whether law should be interpreted coldly and to the letter or have a more personal application.

The acting is very good. Cary Grant, though in a strange role, proves his talent as a more dramatic actor (and also shows off his incredible comedic skills). Even though he was ignored by the Oscars for years, Grant really was a spectacular actor - he just wasn't given enough credit because he tended to make it all look so easy. Ronald Coleman is also good as his urbane, cold rival, and Jean Arthur is great - her reactions steal scene after scene!

Anyhow, this movie is very good. Although it is somewhat of a strange mix, it is quite enjoyable and typical of the semi-screwball comedies from the war years. Get this and enjoy!

VINTAGE HOLLYWOOD COMEDY
THE TALK OF THE TOWN manages with equal ease to deal with love and law. As the principal object of love, Jean Arthur unexpectedly finds herself hiding an escaped arsonist in her attic. As the principal object of the law, Cary Grant plays the alleged arsonist. On neutral ground, at the start, stands Ronald Colman as a distinguished dean of a law school. But before the film is over, the dean loses his detatched academic attitude towards both love and law, and even gets involved with a blonde manicurist. Grant meets his comeuppance throught his peculiar taste for a Polish soup made with eggs and beets. Jean Arthur had the unique distinction of playing her final love scenes in the U.S. Supreme Court Building! Bright and literate, this Columbia comedy from 1942 has its head in the clouds & its feet on the ground. According to a 1942 report done in VARIETY, Grade "A" movies were beating box-office records since 1927. This was partly due to the fact that better movies were now being made and a natural wartime desire for escapist entertainment (in the thirties, the reason being the Great Depression, naturally). Most of Hollywood's extra profits, however, were going up the river in extra war taxes.

Great Stars, Great movie!
This movie includes three of my very favourite movie stars, Cary Grant, Jean Arthur and Ronald Colman.

The basic story is that Cary Grant is an innocent prisoner who escapes from prison. He hides out at his friends house (Jean Arthur) because he has been hurt from his escape. He then has to hide from Ronald Colman who is renting the house for the summer. Colman is a Supreme Court candidate. Cary wants to prove his innocence, but instead of hiding away from Colman forever, he pretends he is the gardener. I wont give away the rest.

It really is a fantastic movie. One of the best. The acting is brilliant and with three top stars like these, you couldnt ask for much more. But you do get more! Its directed by one of the greatest, George Stevens.

The print on this DVD is nice too and it has very clear sound throughout the film.

A perfect combination of stars here, and a really great story. Well directed, well written, and one you can watch over and over again.

Highly recommended to anybody who has any taste in movies at all. Brilliant!

PLEASE NOTE: Owner of the Region 2 DVD. However, this one appears to be no different.

I would have given it five, but for one little detail...
If you don't want to know the ending, read no further.

I thoroughly enjoyed this movie, at least the first hour and fifty-seven minutes of it. The last minute was the most tragic thing I've seen since A Tale of Two Cities. Why, why, why did Nora go off with a loser like Dilg? Obviously, he was not a man to settle down and behave himself. He didn't even have a vision or dream that made his strangeness admirable. I thought he looked very dark and sinister most of the time and there was absolutely nothing about him that made me want her to end up with him.

Ronald, on the other hand, was everything she needed, and if she was smart, she would have snapped him up. I certainly would have. He was intelligent, stable, and madly in love with her.

Anyway, you get the idea of my feelings about the two main fellers - Nora Shelley was cute, if a little silly at times (and very idiotic in the last couple minutes of the film).

As for the film itself: It was full of great moments. The egg-falling-on-the-newspaper scene was hilarious. The borscht with egg in it was also amusing. It was over all good story, filmed well, told well. I also enjoyed the part when Lightcap was trying to get information out of Miss Bush. He was so artless about it, as well he might be - he probably never went out with a woman before in his life. Which is why he was an awfully stiff dancer, too.

So anyway, I'm sure by now you've figured the little detail that cost my rating of this film one star - JEAN WENT OFF WITH THE WRONG MAN IN THE END!!

I expect this probably isn't the best review ever and that I'll receive lots of flak from Cary Grant fans, and that is O-K. I still like Ronnie better.

The Talk of The Town!
I saw this movie on TCM, it was on very late and I wound up staying up really late to watch it. It is a good movie and I think Cary Grant, Ronald Colman and Jean Arthur were very good. The Talk of the Town is definitely a classic movie I could buy for my DVD collection and I highly recommend it to any fans of these actors! ... Read more

Reviews (1)

MOODY FILM NOIR
A grim but effective crime melodrama, MOONRISE stars the pensive, expansive Clark as the son of a murderer who was hanged for his crimes. Clark is haunted by his father's past and tormented by his peers in a small southern town where his only friend is the incredibly beautiful Russell, (I thought Gail Russell had the loveliest eyes of any actress in films!) who's in love with him. A somewhat lethargic film, director Borzage nevertheless carefully develops his characters and fine performances are rendered by all. John L.Russell's photography is exceptional and that opening shot is astonishing! ... Read more

Reviews (2)

Elmo Lincoln as the first "Tarzan of the Apes" in film
Actually, if you want to be picky, Elmo Lincoln was not the first actor to play "Tarzan of the Apes." Gordon Griffith plays the younger Tarzan before Lincoln, a former Arkansas police officer, takes over the role as the adult Ape Man. This 1918 film directed by Scott Sidney is fairly faithful to Edgar Rice Burrough's popular novel. The plot follows the novel more closely than does any other Tarzan movie. John and Alice Clayton (True Broadman and Kathleen Kirkham) are marooned by mutineers on the coast of Africa, where their son is born. After his parents die, the newborn Tarzan is adopted by Kala, one of the great apes. As he grows up, Tarzan finds his father's knife and is able to use it to become King of the Apes. Tarzan meets up with Binns (George B. Finch), the sailor who saved his parents, and then Professor Porter (Thomas Jefferson) shows up to investigate the unbelievable story of the white man raised by apes. Tarzan kills the native who killed Kala and rescues the Professor's daughter, Jane (Enid Markey) when she is kidnapped. Unlike Burrough's novel, the film version does not put off the happy ending between Tarzan and Jane for another day. "Tarzan of the Apes" is crudely made, but does remain true to the novel, something that would become less and less true of the dozens of Tarzan movies that would follow in its wake. Plus, the movie does it all in under an hour! However, if anything, Lincoln looks TOO muscular to be the jungle hero. Still, this film has a special place in the history of Tarzan.

For Hollywood, it's darned close to accurate!
The storyline follows Burrough's book pretty close, except for the part about the man, Binn's, who returns after being an Arab slave to tell the story of Tarzan to the relatives in England. So, that part certainly makes it worth watching, just do it when you have a quiet moment to pay attention and read the story boards. Tarzan was hopelessly out of shape, for a man who grows up in the jungle, hurling himself from limb to limb all day long. That part you just have to bear with. ... Read more

Reviews (13)

Great music, great cast, Ethel Waters at her best
This is a delightful film. The Broadway score, already one of the finer scores for its time, with the classics "Taking a chance on love" and "Cabin in the sky", was further improved with the addition of "Happiness is just a thing called Joe". There are several other wonderful numbers, including the Duke Ellington number with some great dancing, and "Bubbles" singing "Shine". The cast was the finest black talent of the day, and the movie demonstrates why Ethel Waters was considered the greatest singer and entertainer of her day. In this movie, she also demonstrates that she is a fine actress and a fine dancer. It's a pity that the racial climate of the time didn't allow her more films - she's as magical on screen as she was, by all reports, in person. The remainder of the cast includes a stunning young Lena Horne, surely one of the most beautiful women ever to appear on screen, and who is here allowed to be smolderingly sexy, Eddie "Rochester" Anderson, who's an endearing Little Joe, Rex Ingram as Lucifer Jr, and smaller but memorable appearances by Louis Armstrong, Butterfly McQueen, and "Bubbles" of Buck and Bubbles. Seeing Waters sing "Taking a chance on love", "cabin in the sky", "Happiness is just a thing called Joe" and her wicked reprise of "Honey in the honeycomb", complete with some dance steps that will floor you, is more than enough to recommend the movie, but all performances are delightful, and the songs and background music are great. If we take it as a "fable", as we are counseled to do at the beginning, then I don't see it as a racist or dated film. The characters are almost all well delineated and believable within the "fable" context, and are no more stereotypical in this context than numerous films of white people at the time that were also fantasies.

It's a pleasure to watch from beginning to end - clearly a timeless classic, especially valuable for archiving for all time the classic Waters performance and the superb acting, singing, dancing and comedic skills of some of the greatest black talent pre-World War II.

A TOUR-DE-FORCE OF TALENT FROM AN AMAZING CAST
In these enlightened times, a movie such as Cabin in the Sky - which is heavily laden with racial stereotypes - seems awkwardly out of place. However, before we all jump on the political correctness bandwagon, it's worth remembering that the movie was made during WW2, and that Civil Rights Movements were some 20 or so years in the future.

Much has been written about the plot, so I won't focus on that. I will say, however, that this movie is a tour-de-force of talent. It marked Vincent Minelli's directorial debut, and it's clear that he did a fine job. Eddie "Rochester" Anderson, Lena Horne and Ethel Waters all play their parts brilliantly. If there was any animosity between Lena and Ethel, it was easy to understand. Ethel fought tough and nail to climb the showbiz ladder, whereas Lena was the first African-American actress to be groomed specially for Hollywood. Ms Horne had specially designed gowns and mingled with the upper echelons of MGM. The moviemakers even created a special make up range for her in an effort to pass her off as an exotic Latin American belle. Lena refused to disrespect her race by denying her heritage.

Anyway, back to the film. It's Ethel Water's character, Petunia, that I warm to the most. She may have been downtrodden, and reduced to scrubbing floors. However, there's a down-to-earth warmth that radiates from her. Her rendition of "Happiness is a Thing Called Joe" is superb. The late Waters was a remarkable, versatile performer, and it's a shame that she's not as well known among the masses like Lena.

As for Lena's Georgia Brown, she's nothing short of breathtakingly beautiful. Ms Horne was something of a WW2 pin-up, and it's easy to see why. She tempts the viewers (and the censors, no doubt!) with her sexy lingerie, and isn't shy to show off a good bit of thigh! The only other African American woman who showed this much flesh was Josephine Baker, but she was doing her thing in Paris!

The songs by Duke Ellington are great. Also look out for a young Louis Armstrong - he plays one of Lucifer's hilarious angels!

Cabin in the Sky is fine musical - a classic, and it's high time is was released in the UK! However, us Brits will have to do with imports for the time being. As with all US video tapes, you'll need a VCR with NTSC playback to watch this movie.

Good Movie Fo Sho
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Cabin in the Sky !!!!Fo Sho Baby!!!!!
Vincente Minnelli, who directed the film, Cabin in the Sky (1943), composed this 'race movie' with an all African American cast. What makes this film extraordinary is that Vincente Minnelli is a white director who filmed this picture with an all black cast. Around the early 1940's, mainstream production studios (Hollywood) noticed that these 'race movies' which consisted of African American directors/producers/casts, were producing huge sums of money. In an attempt to tap this newly discovered source of money, the mainstream film industry began to produce these race films which consisted of white directors/producers, but included an all African American cast. In Cabin in the Sky, Minnelli includes many social issues that black America faced during this time. A major issue that black America faced back in the 1940's and still today which Minnelli included in this film is obtaining identity/home.
An example of obtaining home can be explained by the scene where the character Little Joe (Eddie "Rochester" Anderson) dies and rises out of his body only to awake to the presence of Lucifer Jr. (Rex Ingram). As Lucifer Jr. describes to Little Joe all of the evil things that will come to him in Hell, Little Joe screams out, "I don't want to die, I just wanna' go back home to Petunia." In this scene, Little Joe identifies home as Earth, all the physical objects in which he can interact with (the absence of the spiritual world). Another example of home can be identified with the character Petunia (Ethel Waters) in the scene where she sits beside Little Joe next to him in his bed. Petunia preys to God to not take Little Joe home yet. In this scene, home is identified as the spiritual world, in which all the sins of the corrupt physical world would not exist. So in Petunias case, home is a pure spiritual world. In Little Joe's case, Earth is a testing ground to determine if a person should ascend to heaven or descend to hell. If a person lives a righteous life on Earth, then God will open the gates of heaven to that person. On the other hand, if a person lives a sinful life on Earth, the devil will open the gates of hell to that person. The moral of the film is that one must choose their path wisely while they live on the battleground between heaven and hell.
The film's title also has great significance. The title, Cabin in the Sky makes a huge statement saying that home is identified as heaven. A lack of home which is Earth, creates a void in which that void must be filled. If one can't obtain home physically, then one will obtain it spiritually. As in many of the scenes where Petunia preys to God prove that one will obtain home spiritually.
Overall, this film was excellent. It is a rare occasion to see pictures of a black heaven, in which many of the angels consisted of neatly dressed African American men in trimly white uniforms. Also, the gate keepers of heaven were young black angels, sitting valiantly on pedestals. The music by Ethel Waters and Duke Ellington with his band was phenomenal. I would recommend this movie to viewers who want to see how music and dance evolved from the old genre of 'race movies' to the new genre of 'race movies'.

Great music...
Great performances.Duke Ellington,Ethel Waters,Lena Horne.Doesn't get any better than that. ... Read more

Reviews (6)

The Emperor Jones a Lost Treasure
The film creaks with age. It's a low-budget project that probably had a small audience in its day, but here is a treasure. Letting the sound track and the fuzzy images get in your way will only rob the viewer of a great theatrical experience. And, to witness Paul Robson sing and perform at the height of his career only enriches the experience. Too bad a serious restoration of this film has not been undertaken.

An Interesting Failure
Playwright Eugene O'Neill's early work often combined memorable characters and stories with social commentary and innovative theatrical concepts--and among his first great successes was THE EMPEROR JONES, which starred perhaps the single finest black actor of the 1920s and 1930s, the legendary Paul Robeson. When United Artists purchased the screen rights, Robeson went with the package, and this 1933 film was the result.

The story concerns a black man of the depression era who lacks the moral stamina to resist the various temptations set before him, and who ultimately finds himself on a remote island where he uses his superior intellect and physically intimidating presence to set himself up as "Emperor." But his own past troubles have hardened him. Instead of ruling in justice, he uses his position to bleed the population--and they revolt against him.

But regretfully, this film isn't half as good as it could have been or a quarter as good as it should have been. On the stage, THE EMPEROR JONES had tremendous irony, for in so crushing his subjects Brutus Jones has essentially recreated the white American society that crushed him. Moreover, the staging was uniquely powerful, with the vast majority of the story played out as Jones runs through the jungle in an effort to escape his revolting subjects, all the while recalling the various events of his life that led him to the present moment. But the film version pretty much throws all of this out the window, preferring to downplay O'Neill's social commentary and reducing Jone's race through the jungle to a few scenes at the film's conclusion.

Robeson is a memorable actor, but he was still very new to the screen when this film was made, and although he is powerful his performance here is rather stagey in comparison with his later screen work. And while the film is occasionally interesting in a visual way, it simply doesn't have the courage to go all the way with O'Neil's origial vision. Fans of Robeson, O'Neil, and early 1930s film will find it an interesting failure, but most others should give it a miss.

GFT, Amazon.com Reviewer

Dated but Powerful
Unfortunately, we are left with a relative paucity of Robeson's powerful talent. This early film will give you some indication of the majesty he must have conveyed live. No other figure in the first half of the 20th century conveyed the collective black consciousness as did Robeson. We have a few markers left us, amongst them the recordings and these few celluloid records. If you want to see one of the giants of the 20th century on film, buy this edition. It also represents a cinemataographic record of one of O'Neill's most famous, but least successful plays. True, the plot has its tensions and the play had its merits, but, in comparison to his monumental "Morning Becomes Electra" and "Desire Under the Elms," this play is decidedly secondary, in league with "The Hairy Ape."

Well Worthy Of Praise.
Having regard to the fact that "Emperor Jones" is Robeson's first major film role, the quality of both picture and sound is outstanding and far above copies of later films, which I purchased at the same time. The "Tribute" is extremely moving and informative and an absolute MUST for any Robeson fan. I have nothing but the highest praise for its quality. Home Vision are to be commended.

Robeson in his prime!
Along with "Body and Soul," this is among Robeson's finest screen work. Sort of an African-American version of a Greek tragedy and the idea of the corruption of power. The screenplay was co-written by DuBose Heyward, of "Porgy and Bess" fame. ... Read more

Description

Paul Robeson: Tribute to an Artist Concert artist, Shakespearean actor, All-American athlete, scholar, civil rights champion--Paul Robeson overcame tremendous obstacles to become a true 20th-century Renaissance man.Winner of eight coveted awards ... Read more

Reviews (6)

The Emperor Jones a Lost Treasure
The film creaks with age. It's a low-budget project that probably had a small audience in its day, but here is a treasure. Letting the sound track and the fuzzy images get in your way will only rob the viewer of a great theatrical experience. And, to witness Paul Robson sing and perform at the height of his career only enriches the experience. Too bad a serious restoration of this film has not been undertaken.

An Interesting Failure
Playwright Eugene O'Neill's early work often combined memorable characters and stories with social commentary and innovative theatrical concepts--and among his first great successes was THE EMPEROR JONES, which starred perhaps the single finest black actor of the 1920s and 1930s, the legendary Paul Robeson. When United Artists purchased the screen rights, Robeson went with the package, and this 1933 film was the result.

The story concerns a black man of the depression era who lacks the moral stamina to resist the various temptations set before him, and who ultimately finds himself on a remote island where he uses his superior intellect and physically intimidating presence to set himself up as "Emperor." But his own past troubles have hardened him. Instead of ruling in justice, he uses his position to bleed the population--and they revolt against him.

But regretfully, this film isn't half as good as it could have been or a quarter as good as it should have been. On the stage, THE EMPEROR JONES had tremendous irony, for in so crushing his subjects Brutus Jones has essentially recreated the white American society that crushed him. Moreover, the staging was uniquely powerful, with the vast majority of the story played out as Jones runs through the jungle in an effort to escape his revolting subjects, all the while recalling the various events of his life that led him to the present moment. But the film version pretty much throws all of this out the window, preferring to downplay O'Neill's social commentary and reducing Jone's race through the jungle to a few scenes at the film's conclusion.

Robeson is a memorable actor, but he was still very new to the screen when this film was made, and although he is powerful his performance here is rather stagey in comparison with his later screen work. And while the film is occasionally interesting in a visual way, it simply doesn't have the courage to go all the way with O'Neil's origial vision. Fans of Robeson, O'Neil, and early 1930s film will find it an interesting failure, but most others should give it a miss.

GFT, Amazon.com Reviewer

Dated but Powerful
Unfortunately, we are left with a relative paucity of Robeson's powerful talent. This early film will give you some indication of the majesty he must have conveyed live. No other figure in the first half of the 20th century conveyed the collective black consciousness as did Robeson. We have a few markers left us, amongst them the recordings and these few celluloid records. If you want to see one of the giants of the 20th century on film, buy this edition. It also represents a cinemataographic record of one of O'Neill's most famous, but least successful plays. True, the plot has its tensions and the play had its merits, but, in comparison to his monumental "Morning Becomes Electra" and "Desire Under the Elms," this play is decidedly secondary, in league with "The Hairy Ape."

Well Worthy Of Praise.
Having regard to the fact that "Emperor Jones" is Robeson's first major film role, the quality of both picture and sound is outstanding and far above copies of later films, which I purchased at the same time. The "Tribute" is extremely moving and informative and an absolute MUST for any Robeson fan. I have nothing but the highest praise for its quality. Home Vision are to be commended.

Robeson in his prime!
Along with "Body and Soul," this is among Robeson's finest screen work. Sort of an African-American version of a Greek tragedy and the idea of the corruption of power. The screenplay was co-written by DuBose Heyward, of "Porgy and Bess" fame. ... Read more

Reviews (4)

Pushing The Limits
Perhaps one seeing this film for the first time, in this day and age, will not realize just how racy this picture was when it was produced (in 1958). I watch it now, and I still can't believe that they "got away with it". The picture, a yarn concerning a Georgia hayseed family, took the "Ma And Pa Kettle" concept to new heights!

The gist of the story is that Ti-Ti, and his strapping sons, are digging for his pappy's gold, which, legend has it, is buried somewhere on their Georgia farm. They've been digging in the ground for fifteen years.....and haven't found anything yet. The characters seem, to me, to be the basis for the Clampetts on the Beverly Hillbillies........especially Darlin' Jill (who surely was the model for Ellie Mae).

The picture includes one of the hottest forbidden love scenes to ever be committed to celuloid (between Tina Louise and Aldo Ray). This was back in the days when things had to be creatively SUGGESTED (to avoid censorship). Things are different today, when anything goes and a "love scene" is thrown in for mere titillation, showing yet another improbable, sexual acrobatic endeavor between two participants. This scene between "Griselda" and "Will" has actual BEARING on this story. Those were the days.

It might seem quite campy (it is!). It certainly is hilarious, and even tragic at times. I recommend "GOD'S LITTLE ACRE" highly!

ugh, what drivel
I'm a big Mann fan, and i even enjoy his not very good non noir or western films, thunder bay for instance. a great director, but this one stinks. i can't even get up the enthusiasm to criticise it

One of my FAV Tina Films!
I have a lot of Tina Louise's Movies, but I have to say to me this is at the top of my list!( with "Friendships Secrets and Lies" in first place) the plot is terrific and exciting and Tina's role as Griselda proves what a true chameleon she is!! she can play any role and do it beautifully! the acting from everyone in this movie was great! and all of Tina's scenes are touching and powerful. Especially the one tragic scene, and if u see the movie, you will know what scene I am talking about! this is for any die hard classic movie fan! so check it out, and see TINA LOUISE in one of her best roles EVER!!

*TINA*
TinaLouise4ever!!

They don't make movies like this anymore!
Review are you kidding, they just don't make movies like this anymore. Two plots going on at the same time the main being a treasure hunt which causes men to test what their true treasure is and the love story which for its time was almost scandelous. This is a good old fashhion movie. Did I say good. I mean great. ... Read more

Amazon.com

Instead of Jane, what this Tarzan really needed was the Jenny Craig of 1918 to come into his life. Elmo Lincoln was one overweight, overexposed fella as film's first Tarzan. It makes you wonder whether Jane (Enid Markey, looking like a young Bernadette Peters) could really see. You might wonder if you need glasses, too, because the footage is grainy and filled with the herky-jerky movement associated with silent films. Overacted (in the broad, silent-film way), the movie serves as a sketchy introduction to the Greystoke myth. As there's no dialogue and you need to read titles to follow the story, you might have trouble convincing the kids to pay attention. (Tempt them instead with the first Tarzan talkie, and a classic, Tarzan, the Ape Man.) Still, the scenes of a young Tarzan playing gently with the monkeys and discovering his human form in the water's reflection are early inklings of more sophisticated storytelling that would follow. --Valerie J. Nelson ... Read more

Reviews (2)

Elmo Lincoln as the first "Tarzan of the Apes" in film
Actually, if you want to be picky, Elmo Lincoln was not the first actor to play "Tarzan of the Apes." Gordon Griffith plays the younger Tarzan before Lincoln, a former Arkansas police officer, takes over the role as the adult Ape Man. This 1918 film directed by Scott Sidney is fairly faithful to Edgar Rice Burrough's popular novel. The plot follows the novel more closely than does any other Tarzan movie. John and Alice Clayton (True Broadman and Kathleen Kirkham) are marooned by mutineers on the coast of Africa, where their son is born. After his parents die, the newborn Tarzan is adopted by Kala, one of the great apes. As he grows up, Tarzan finds his father's knife and is able to use it to become King of the Apes. Tarzan meets up with Binns (George B. Finch), the sailor who saved his parents, and then Professor Porter (Thomas Jefferson) shows up to investigate the unbelievable story of the white man raised by apes. Tarzan kills the native who killed Kala and rescues the Professor's daughter, Jane (Enid Markey) when she is kidnapped. Unlike Burrough's novel, the film version does not put off the happy ending between Tarzan and Jane for another day. "Tarzan of the Apes" is crudely made, but does remain true to the novel, something that would become less and less true of the dozens of Tarzan movies that would follow in its wake. Plus, the movie does it all in under an hour! However, if anything, Lincoln looks TOO muscular to be the jungle hero. Still, this film has a special place in the history of Tarzan.

For Hollywood, it's darned close to accurate!
The storyline follows Burrough's book pretty close, except for the part about the man, Binn's, who returns after being an Arab slave to tell the story of Tarzan to the relatives in England. So, that part certainly makes it worth watching, just do it when you have a quiet moment to pay attention and read the story boards. Tarzan was hopelessly out of shape, for a man who grows up in the jungle, hurling himself from limb to limb all day long. That part you just have to bear with. ... Read more

Description

A fake aunt and uncle attempt to drive a nervous young heiress to suicide in order to collect her estate. Aided by the bayou, the would-be killers implement a series of terrifying ploys to suffocate the young girl in her own madness. Andre de Toth (House of Wax) directs Merle Oberon and Elisha Cook Jr. in this excellent melodrama set in the dank, forbidding Louisiana bayous, the perfect aid to the mystery and violence of the story. ... Read more

Reviews (5)

Dark Waters
From the opening scenes you're engaged. Merle Oberon is the beautiful but mentally shaken oil heiress Leslie Calvin. Leslie's mental health is fragile because she and her family had to flee their East Indies home due to a Japanese invasion during the hell that is WWII. Then the ship that she sails away on is torpedoed and sunk by a German U-boat. Virtually every passenger (including Leslie's parents) is killed in this incident except Leslie and 3 other survivors. Leslie Calvin has had an incredible run of bad luck and it's going to get worst.

In a New York hospital Ms. Calvin's New York doctor (played by Batman's Alan Napier) feels that Leslie would probably recuperate a lot faster if she were to stay with family. Unfortunately the only family Leslie has now is an Aunt (played brilliantly by Fay Bainter) and Uncle whom she has never met who live down in the Louisiana bayou on a sugar plantation called Rossignol. Leslie follow her doctor's advise, which is a bad idea, as Leslie's Aunt and Uncle aren't exactly as they seem and embark on a deadly plan to get Leslie out of the way in order to claim her inheritance. Suddenly Leslie hears voices in the night, lights mysteriously flicker and her "relatives" can't stop talking about Leslie's personal tragedies, which her bayou doctor played by Franchot Tone had instructed them not to do. The cruelest scene is when her relatives take Leslie to the movies to see a war picture complete with U-boats sinking ships and death.

One of the most moving scenes is where a depressed Leslie feels that she is losing her grip on her sanity. She feels that she does not deserve the love of her doctor (who had just proposed to her) because she feels that she is going mad. She feels that she should have died like her parents and be, "under the water with my mother and father."

When Leslie begins to realize that something is amiss with her aunt and uncle she forgets her fears regarding her mental state
and becomes the answer-seeking heroine. Leslie enlists the doctor's aid and they set off to solve the mystery of Leslie's strange aunt and uncle, which leads to deadly consequences for all. At the end of the film Ms. Calvin and the doctor triumph and the good doctor ask Leslie if she all right, and Leslie lights up with the realization that she is indeed all right and she is a survivor.

One of the few truly original films produced by Hollywood.
'Dark Waters' is one of the great one-offs in Hollywood history, from a director used to throwing out great one-offs - the heroically idiosyncratic Andre de Toth. It features Merle Oberon as a woman who is attacked on all sides - by History, in the shape of the German U-boat that bombed the liner carrying her refugee family; by mental breakdown; by family; by a gang of criminals trying to exploit her fragility and make her even more mad; by supposedly benevolent male authority figures always telling her what's best for her; by a community where surveillance is the norm; by a film whose style is as fractured and stylised in its editing, narrative conceits and visual novelty as Oberon is emotionally; and by the very ground she walks on, the bayous of Louisiana. 'Dark Waters' is mixture of many currents in 40s Hollywood - the Freudian psychodrama; the woman's picture; the film noir; the Val Newton horror film - but has an exhilerating craziness all of its own.

Andre de Toth's atmospheric study in fear on the bayou
Merle Oberon stars as Leslie Calvin, an oil heiress who survives a shipwreck after her ship is sunk by a submarine attack while fleeing the East Indies following the Japanese invasion. Leslie then makes the mistake of going to live with her only remaining relatives in a crumbling mansion on an old sugar plantation in the remote bayou country of Louisiana in order to recover from her traumatic ordeal. Unfortunately, Uncle Norbert (John Qualen) and Aunt Emily (Fay Bainter), along with the devious Mr. Sydney (Thomas Mitchell), are after her fortune. Their plan is to have her declared insane and towards that end Leslie to a rather bizarre series of sights and sounds to torture the poor woman. My favorite is the machine rigged up by the plantation's overseer Cleeve (Elisha Cook, Jr.) that echoes Leslie's name. Of course, if they do not drive Leslie insane they can always kill her and dispose of the body in that convenient swamp (you know someone is going to end up there sooner or later). The only person Leslie can turn to is Dr. George Grover (Franchot Tone), if they can just get past that doctor-patient relationship and the fact she is hearing voices in the night. "Dark Waters" is directed by Andre de Toth, one of his first films after coming from Hungary; he would later do "Springfield Rifle" and "House of Wax." All of the credit for the atmospheric effectiveness of this 1944 film is due to de Toth's efforts as a director and not to the inept Oberon's performance. Fortunately the film has a solid supporting cast and the script allows the audience to project the appropriate fears and terrors onto the main character. Yes, this movie will remind you of "Gaslight" and a whole bunch of other films, but "Dark Waters" is still an above average example of this genre.

Dark Waters
Gothic horror film. An English woman travels to a Russian island to discover why her father, who recently died, was making payments to a convent. At times the plot is hard to follow, but the ending brings it all together. Lots of blood. Very creepy. A little like Hellraiser as far as gore.

Tense drama, fine actors
This rarely seen movie is available again, and that's a greatpleasure, since Dark Waters is a minor mystery movie with beautifulMerle Oberon as a girl haunted by her own relatives. Franchot Tone acts well as her romantic interest, but Thomas Mitchell steals the show, giving a splendid performance, refreshing to see him as villain. The print (from UCLA) isn't first rate, but generally acceptable. Sound is often below par, which happens to be regrettable because of the very fine score by Miklos Rozsa. Recommended. ... Read more

Reviews (6)

The Emperor Jones a Lost Treasure
The film creaks with age. It's a low-budget project that probably had a small audience in its day, but here is a treasure. Letting the sound track and the fuzzy images get in your way will only rob the viewer of a great theatrical experience. And, to witness Paul Robson sing and perform at the height of his career only enriches the experience. Too bad a serious restoration of this film has not been undertaken.

An Interesting Failure
Playwright Eugene O'Neill's early work often combined memorable characters and stories with social commentary and innovative theatrical concepts--and among his first great successes was THE EMPEROR JONES, which starred perhaps the single finest black actor of the 1920s and 1930s, the legendary Paul Robeson. When United Artists purchased the screen rights, Robeson went with the package, and this 1933 film was the result.

The story concerns a black man of the depression era who lacks the moral stamina to resist the various temptations set before him, and who ultimately finds himself on a remote island where he uses his superior intellect and physically intimidating presence to set himself up as "Emperor." But his own past troubles have hardened him. Instead of ruling in justice, he uses his position to bleed the population--and they revolt against him.

But regretfully, this film isn't half as good as it could have been or a quarter as good as it should have been. On the stage, THE EMPEROR JONES had tremendous irony, for in so crushing his subjects Brutus Jones has essentially recreated the white American society that crushed him. Moreover, the staging was uniquely powerful, with the vast majority of the story played out as Jones runs through the jungle in an effort to escape his revolting subjects, all the while recalling the various events of his life that led him to the present moment. But the film version pretty much throws all of this out the window, preferring to downplay O'Neill's social commentary and reducing Jone's race through the jungle to a few scenes at the film's conclusion.

Robeson is a memorable actor, but he was still very new to the screen when this film was made, and although he is powerful his performance here is rather stagey in comparison with his later screen work. And while the film is occasionally interesting in a visual way, it simply doesn't have the courage to go all the way with O'Neil's origial vision. Fans of Robeson, O'Neil, and early 1930s film will find it an interesting failure, but most others should give it a miss.

GFT, Amazon.com Reviewer

Dated but Powerful
Unfortunately, we are left with a relative paucity of Robeson's powerful talent. This early film will give you some indication of the majesty he must have conveyed live. No other figure in the first half of the 20th century conveyed the collective black consciousness as did Robeson. We have a few markers left us, amongst them the recordings and these few celluloid records. If you want to see one of the giants of the 20th century on film, buy this edition. It also represents a cinemataographic record of one of O'Neill's most famous, but least successful plays. True, the plot has its tensions and the play had its merits, but, in comparison to his monumental "Morning Becomes Electra" and "Desire Under the Elms," this play is decidedly secondary, in league with "The Hairy Ape."

Well Worthy Of Praise.
Having regard to the fact that "Emperor Jones" is Robeson's first major film role, the quality of both picture and sound is outstanding and far above copies of later films, which I purchased at the same time. The "Tribute" is extremely moving and informative and an absolute MUST for any Robeson fan. I have nothing but the highest praise for its quality. Home Vision are to be commended.

Robeson in his prime!
Along with "Body and Soul," this is among Robeson's finest screen work. Sort of an African-American version of a Greek tragedy and the idea of the corruption of power. The screenplay was co-written by DuBose Heyward, of "Porgy and Bess" fame. ... Read more

Description

Mature portrays a Confederate soldier who, along with his young daughter, is traveling through Indian country.En route, he rescues two women from an Indian abduction and must escort them to safety...despite relentless pursuit. ... Read more

Reviews (1)

Good Western...
Victor Mature, the star of this little Western, is not thought of as a Western actor, but in several oaters [e.g, THE LAST FRONTIER and ESCORT WEST] he proves he can shoot and ride with the best of'em. ESCORT WEST is very enjoyable if not exceptionable, certainly worth the investment and certainly repaying the occasional re-viewing. Look for standout co-stars Ken Curtis [of GUNSMOKE fame] and Leo Gordon. Recommended. ... Read more

Reviews (1)

Phil Silvers and Cornel Wilde in a Technicolor panto?
This is a super film. I bought it because Carole Mathews plays a handmaiden, but her part is so small you could blink and miss it. Instead I was lucky enough to see the rare double act of matinee idol Cornel Wilde and Phil Silvers turn the traditional tale of Aladdin into the nearest a cinema can get to pantomime.

There are a few things which might be considered dodgy by today's standards, a Persian princess with blonde hair, and the racial references are all muddled, but this is to some extent a spoof on the European "Arabian Nights" take on Persian legend, so it is not wholly incompatible. The most stunning thing is the art direction, which was Oscar nominated, and this manifests itself in the great sets and also the costumes. Technicolor was made for films like this and give a quality that is almost more than real. The script seems very contemporary and not at all 1940s, and Silvers seems like an American Frankie Howerd, placed in the period setting to give modern audiences some point of identification. He and Wilde sparkle throughout the movie, as do panto villains Hoey and Van Zandt and the two beautiful ladies playing the Princess and the Genie.

Even if you don't spot Carole Mathews, try to see Shelly Winters, also playing a handmaiden! ... Read more

Reviews (4)

Pushing The Limits
Perhaps one seeing this film for the first time, in this day and age, will not realize just how racy this picture was when it was produced (in 1958). I watch it now, and I still can't believe that they "got away with it". The picture, a yarn concerning a Georgia hayseed family, took the "Ma And Pa Kettle" concept to new heights!

The gist of the story is that Ti-Ti, and his strapping sons, are digging for his pappy's gold, which, legend has it, is buried somewhere on their Georgia farm. They've been digging in the ground for fifteen years.....and haven't found anything yet. The characters seem, to me, to be the basis for the Clampetts on the Beverly Hillbillies........especially Darlin' Jill (who surely was the model for Ellie Mae).

The picture includes one of the hottest forbidden love scenes to ever be committed to celuloid (between Tina Louise and Aldo Ray). This was back in the days when things had to be creatively SUGGESTED (to avoid censorship). Things are different today, when anything goes and a "love scene" is thrown in for mere titillation, showing yet another improbable, sexual acrobatic endeavor between two participants. This scene between "Griselda" and "Will" has actual BEARING on this story. Those were the days.

It might seem quite campy (it is!). It certainly is hilarious, and even tragic at times. I recommend "GOD'S LITTLE ACRE" highly!

ugh, what drivel
I'm a big Mann fan, and i even enjoy his not very good non noir or western films, thunder bay for instance. a great director, but this one stinks. i can't even get up the enthusiasm to criticise it

One of my FAV Tina Films!
I have a lot of Tina Louise's Movies, but I have to say to me this is at the top of my list!( with "Friendships Secrets and Lies" in first place) the plot is terrific and exciting and Tina's role as Griselda proves what a true chameleon she is!! she can play any role and do it beautifully! the acting from everyone in this movie was great! and all of Tina's scenes are touching and powerful. Especially the one tragic scene, and if u see the movie, you will know what scene I am talking about! this is for any die hard classic movie fan! so check it out, and see TINA LOUISE in one of her best roles EVER!!

*TINA*
TinaLouise4ever!!

They don't make movies like this anymore!
Review are you kidding, they just don't make movies like this anymore. Two plots going on at the same time the main being a treasure hunt which causes men to test what their true treasure is and the love story which for its time was almost scandelous. This is a good old fashhion movie. Did I say good. I mean great. ... Read more