Reviews (9)

Stunning Tribute To War Time Nurses Everywhere
"So Proudly We Hail", often comes in for more than it's fair share of criticism over it's depiction of the sterling work carried out by nurses in the South Pacific during World War Two. Mention is made of the nurses looking like they have just stepped out of the beauty parlour with makeup and hair all looking perfect. I'm always mystified by that reaction as I feel this production goes a long way towards depicting the back breaking and often extremely dangerous work that nurses carried out during the war in the Pacific. The film was made with the very best of intentions at a time when the outcome of the war was still far from certain. Criticism has also been leveled at the propaganda inherent in parts of the script. Once again one has to view this film in it's time and place and if it motivated people to feel patriotic about their country in time of war and at least partly informed the movie going public about some of the work of wartime nurses then that is a job well done in my belief.

"So Proudly We Hail", traces the stories of 9 nurses from the time they leave San Francisco through the trials and tribulations of their service with the armed services in the South Pacific. Three in particular are focused on, team leader Lt. Janet Davidson (Claudette Colbert), vivacious Lt. Joan O'Doul (Paulette Goddard) and inwardly tormented Lt. Olivia D'Arcy )Veronica Lake). Their stories are interwoven through the real life action of the group first being sent to Hawaii and then after a torpedo raid which sinks some of their companion vessels, being removed to the Bataan and Correigador regions where they care for and then help evacuate the military and civilian wounded. The saga ends with the remains of their party being evacuated after much loss and suffering to Australia before embarking for home at the end of their tour of duty. The women experience all the deprivations of war and personal loss along the way as Lt. Davidson falls in love with Lt. John Summers (George Reeves) only to live in daily fear of him being killed while still having a job to do as the team's main source of strength. Lt. O'Doul (Paulette Goddard) experiences similiar feelings for "Kansas" (Sonny Tufts), the gangly soldier who wins her heart and in the most tragic situation Lt. D'Arcy who confronts old demons and the loss of her fiance at the hands of the Japanese. Many frightening incidents darken the daily grind of the nurses work such as regular bombing of their medical camp by the enemy and having to experience all the pain and suffering of wartime casualties and death of loved ones. Each woman is touched in some way by her involvement in the action and emerges the better for her experience. We see the women work under not only hazardous conditions but in those that would test the sanity of the strongest person with daily shortages of supplies, shelter and food a constant feature in the daily work.

The film places great emphasis on the inner strength of the individual under fire whether it be soldier, nurse or wounded civilian. In this respect the film could never be judged superficial as many real life elements of this period are tied into the story. Powerful scenes abound in "So Proudly We Hail", a standout is the scene during the evacuation of the camp when the nurses are stranded in one of the huts under fire and the real life treatment of war nurses in Nanking is mentioned as a telling reminder of the brutality of war. Lt. D'Arcy's ultimate self sacrifice for the good of the group still is a scene that packs a real punch with it's graphic depiction of a suicide killing of enemy soldiers. All three lead actresses are standouts in their own unique way. Claudette Colbert delivers yet another powerful and totally convincing performance as the leader of the group. Long associated with extremely glamourous roles here she portrays a character forced under terrible conditions to still be strong for the sake of her nurses. Paulette Goddard in an Academy Award nominated performance is excellent as the flighty mantrap with only men on her mind who develops into a responsible and dedicated nurse as her wartime experiences deepen her character. Veronica Lake also minus her o usual glamourous persona is effective in her role as the bitter nurse who is out to punish all Japanese because of the loss she has suffered. Despite the reported tension between Claudette Colbert and Paulette Goddard during filming none of that shows on screen as the main three actresses work very effectively together as the one team. One last standout in the cast is actress Mary Servoss who plays Capt. "Ma" McGregor the lead of the camp and in ultimate charge of all nursing staff. Her beautiful scene where she faces the death of her wounded son is a stunner and the emotional highlight of the whole film.

Passed off as Hollywood's removed idea of what war is like, "So Proudly We Hail", offers much more than that and contrary to popular belief in a number of scenes where appropriate, the women do show what the wear and tear of war work does to the individuals. I find the film a powerful depiction of war and the terror it causes. Mixed with horrific scenes such as Lt. D'Arcy's suicide are inspiring ones like the simple Christmas celebration on the boat and the scenes showing operations being conducted right in the middle of air raids. These can't help to move the viewer and instill even in the most hardened cynic a belief in the basic good of man. A true epic is how I would describe "So Proudly We Hail", and a film I recommend to anyone who believes in the power of a person's inner strength to beat outside adversity.

ONE OF THE BEST WARTIME MOVIES MADE!
If there had been a 6-7 star rating for the picture, I would've given it 6-7 stars. Excellent writers, Good direction, + an excellent cast made for an excellent wartime drama.

excellently acted war drama
Story of nurses on Bataan & Correigador during WWII. Paulette Goddard deserving of her oscar nomination for this film. Other performances uniformly good. Reflects role of women early in war & also attitudes at home when film was made.Events depicted in film are true.Love story fiction.Well worth viewing

Truly A Great Movie!
I think that So Proudly We Hail is one of the best movies that I have ever seen. It definately keeps you on the edge of your seat! It has everything that a good movie needs...plenty of action, romance and even humor. The ladies play very convincing roles as the nurses, with the exception of Veronica Lake, whose acting leaves a little to be desired. All in all this movie is the BEST and I would certainly recommend it to anyone who enjoys good movies.

Excellent movie, showing a little known part of World War II
Excellent action movie depicting a little known women's role during World War II. The pride in duty, country and extreme courage in the face of adversity is something lacking in todays world. That particular battle is one of shame to our government in leaving military personnel to become prisoners of war or die. This movie says it all. Nitengail8 ... Read more

Amazon.com

This fun and stylish Rene Clair comedy gave two big Hollywood names--Fredric March and Veronica Lake--a chance to break away from their stereotypically serious roles (as intense leading man and film noir vamp, respectively) and exercise their funny bones. The sultry Lake stars as a Salem witch burned at the stake who returns to haunt the descendants of the Puritans who let her smolder, namely aspiring politician March. Lake concocts a love potion for her victim that will get him to fall in love with her, rather than his snooty fiancée (Susan Hayward in one of her early roles). Things get a wee bit complicated when said potion works its spell on Lake instead and she falls head over broomstick for March. Blissfully hilarious and romantic, this Witch is blessed with great chemistry between March and Lake (who never looked lovelier), dryly funny one-liners, and a scene-stealing performance by Cecil Kellaway as Lake's perennially drunk warlock dad. Robert Benchley of Algonquin Round Table fame also pops up in a supporting role. Rumored but never actually confirmed to be the basis for the hit TV series Bewitched. --Mark Englehart ... Read more

Reviews (14)

THE JERSEY HILLS
A delightful ghost-witch film which spoofs the genre. Kellaway and his fetching daughter Lake are branded witches in 1690 and condemned to a New England stake. In 1942, Lake comes back to life and marries Fredric March and the results are hilarious! Veronica Lake does amazingly well condsidering she had been in films only a year and Susan Hayward is both pretty and surly at the same time, no small feat of acting. This is indeed a film to keep on video, for it would repeatedly soothe away a wakeful night. Almost carelessly, it use the most professional means to entrance eye and ear throughout its running time. It's not the kind of film which requires roars of approving laughter: the occasional quiet chuckle is much more in its line, as it dispenses a delightful sense of oddity and enchantment. The film's only sin is that it more or less wastes Mr. Benchley, though he has one delightfully confused exit line after light has dawned on him that his friend's wife is really a witch: "Oh well, it's late, I've got to be getting into my strait jacket. "I'll call a broom". Rene Clair's direction is swift and sure and this is Hollywood moonshine, impeccably distilled.

Wow! What a witch!
Veronica Lake reveals a glittering comic ability and proves that she was more than just a luscious film-noir femme fatale type in this gem, a talent she would further go on to display in the equally enjoyable "Sullivan's Travels." The peekaboo-tressed, doll-faced actress is flawless in the role of Jennifer--she manages at the same time to be warm, funny, endearing, vulnerable, and just plain adorable as the "witch" who alternately infuriates and enchants and ultimately is married by Fredric March. March is excellent as he plays off his somber, sedate persona to hilarious effect in his performance as Wallace Wooley, a gubernatorial candidate whose boring, orderly life is turned upside down by Jennifer. A pre-stardom Susan Hayward attracts much deserved notice and is very good in her role as March's beautiful though perpetually bad-tempered fiancee, as is Cecil Kellaway as Lake's mischievous father. To show what pros March and Lake were is evident in their illusory rapport onscreen; offscreen they detested each other--March called Lake a "talentless sexpot" and she called him a "pompous poseur" in return. During the fire scene where March carries her, lake attached 40-pound weights to her gown (which exhausted hims strenuously during the several takes) and in another whre they were filmed together from the waist up, Lake threateningly jiggled her knee between March's legs (she later said he gave her hell for THAT). Despite the hokey title, this is one film you should pop in your VCR whenever you're in the mood for a light-hearted, sparkling, feel-good comedy.

A Bewitching Comedy With Sexy Witch Veronica Lake
It's rare nowadays when you can say that you have seen a totally delightful comedy in the cinemas. That rare marriage of charming scenerio, ideally cast players, and romantic setting seems to be sadly a thing of the past which is why I always find "I Married a Witch", such enjoyable viewing. Here we have two very famous performers in dramatic veteran Fredric March, and Film Noir siren Veronica Lake playing against their usual "type" and having a field day cutting loose with this romantic screwball tale that combines sexy humour with elements of the supernatural. Based on the unfinished novel by "Topper", author Thorne Smith, "I Married a Witch", gave us a whole new image of what witches were like minus the warts and crooked nose and in much the same vein as the later legendary series "Bewitched", showed us witches who were playful and extremely sexy. Veronica Lake had I feel her most appealing role here and proved herself adept at frothy comedy and capable of far more than just looking slinky hiding behind her famous peek a boo hairstyle. Her chemistry with Fredric March is magical here (no pun intended!), and goes a long way towards making "I Married a Witch", the great success it is.

Veronica Lake plays a Salem witch who along with her father is burnt at the stake on charges of scorcery. Before her death however she places a curse on the decendants of the man responsible for the burning, one Wallace Wooley. They are all cursed to marry "unhappily", and then we are treated to a series of highly amusing "historical snippets" showing how each generation of the Wooley family falls victim to the curse with wives they would probably much prefer to see burnt at the stake! The action then moves to the present where we see aspiring political candidate for the State Senate Jonathan Wooley (March) fully involved in the run up to not only his wedding to the hot tempered Estelle (Susan Hayward), daughter of media big shot J.B. Masterson (Robert Warwick), but also the upcoming election financed largely by his overpowering future father in law who is calling the shots in the upcoming election. During a storm both Jennifer (Veronica Lake), and her no good father Daniel (Cecil Kellaway) are freed from their imprisonment inside the tree that grew on the spot where they were burnt. Jennifer sets out to make life a complete misery for Jonathan during this important time in his life. She tries to create a scandal after Jonathan supposedly "rescues" her from a burning building by being "caught", in compromising positions in his bedroom right under the nose of both Estelle and disapproving housekeeper Margaret (Elizabeth Patterson). She tries to sabotage Jonathan's wedding day and in an hilarious scene causes a huge wind to come in and literally destroy the whole event. When she pretends to "die by gunshot", in an adjoining room causing an even bigger scandal which will set Jonathan up on a murder charge Jennifer however gets more than she bargained for. Earlier she had concocted a potion that will make Jonathan fall in love with her, Jonathan now accidently uses it to revive Jennifer and she finds herself madly in love with him! Fed up with Estelle's rages and her greedy father planning his every move Jonathan begins to realise that the disorder and excitement that Jennifer has brought into his ordered existence right down to flying through the air in a car, has revitalised him and love blossoms. When Jennifer's menacing and perpetually drunk father sees the change in her and threatens to take the families revenge out on Jonathan himself he takes Jennifer's powers away from him and ends up back in the bottle that will be his home for all eternity. We then see a flash forward to when Jonathan and Jennifer are a comfortably married middle aged couple and the witch streak is still there when their daughter begins feeling "right at home",playing with a broomstick.

This slapstick piece of Americana was ably handled by none other than French director Rene Clair who really produced his best work during the 1930's before leaving Europe in the wake of Nazi aggression. Here however he seems totally at home with his rapid fire direction and rarely has a director got a more lively and delightfully kittenish performance out of Veronica Lake than Rene Clair does here. Fredric March and Lake combine extremely well here despite the very public clashes they had on the set during filming. Indeed March has rarely been more pleasing on screen where he is normally associated with such diverse dramatic roles as in "Dr. Jekyll and Mr. Hyde", "A Star is Born", and "The Best Years of Our Lives". He brings a frustratingly frantic skill to his acting that makes Lake's cool and deliciously wicked playing of this sexy witch seem even more amusing. Cecil Kellaway almost succeeds in stealing every scene he is in as the permanently drunk father of Lake and Susan Hayward, an actress I greatly admire has a quite difficult character to play here that nevertheless indicated what she was capable of delivering in later better roles. For 1942 the magical special effects are first rate where we have scenes of Jennifer and her father's disembodied presences in the form of smoke going inside bottles etc. First rate all the way for this time.

Often passed off as the inspiration for the TV series "Bewitched", we will never know for sure if that was indeed the case. What we do know is that in "I Married a Witch", we are in possession of a delightfully wicked little comedy that crosses many sexual boundaries that might not have been gotten away with elsewhere at this time. For those viewers only used to seeing Veronica Lake as Alan Ladd's costar in numerous glossy Film Noirs do yourself a favour and check out her bewitchingly delightful performance opposite Fredric March in Rene Clair's "I Married a Witch". Grand entertainment.

A comedy fantasy

Format: Color
Studio: Warner Studios
Video Release Date: January 31, 1995

Cast:

Fredric March ... Jonathan Wooley/Nathaniel Wooley/Samuel Wooley/Wallace Wooley
Veronica Lake ... Jennifer
Robert Benchley ... Dr. Dudley White
Susan Hayward ... Estelle Masterson
Cecil Kellaway ... Daniel
Elizabeth Patterson ... Margaret
Robert Warwick ... J. B. Masterson
Gordon De Main ... Man with Masterson on Radio
Ralph Dunn ... First Jail Guard
Frank Elliott ... Magistrate

Franklyn Farnum ... Country Club Extra/Man at Fire
Jack Gardner ... Radio Voice
Robert Greig ... Town Crier
George Guhl ... Fred the policeman
William Haade ... Policeman
Reed Hadley ... Young man
Oscar 'Dutch' Hendrian ... Tom, Bartender
Robert Homans ... The Fire Chief
Arthur Stuart Hull ... Wedding Guest
Peter Leeds ... Ambulance Attendant
Jack Luden ... Ambulance driver
Renny McEvoy ... Bellboy
David McKim ... Newsboy
Charles Bates ... Woolley Jr.
James Millican
Frank Mills ... Joe, cab driver
Charles R. Moore ... Samuel's Servant
Edmund Mortimer ... Wedding Guest
Emory Parnell ... The Hotel Owner
Brooks Benedict ... Country Club Extra
Ralph Peters ... Prisoner
Gerald Pierce ... Newsboy
Mickey Rentschler ... Boy at Country Club
Cyril Ring ... Country Club Extra
Ronald R. Rondell ... Country Club Extra/Wedding Guest
Billy Bevan ... Puritan vendor
Ernest Shields ... Waiter
Lee Shumway ... Fireman
Walter Soderling ... Chess Player
Bert Stevens ... Country Club Extra
Billy Bletcher ... Photographer
Monte Blue ... Doorman
Harry Tyler ... Prisoner
Dan White ... Fireman
Wade Boteler ... Cop who arrests Daniel
Aldrich Bowker ... Justice of the Peace
Al Bridge ... Second Jail Guard
Eddy Chandler ... Motorcycle Cop
Chester Conklin ... Party Bartender
Gino Corrado ... Onlooker in Crowd
Florence Gill ... Chess player
Esther Howard ... Bit Role
Georgia Backus ... Older woman
Donivee Lee ... Bit Girl
Eily Malyon ... Tabitha
Viola Moore ... Martha
Kathryn Sheldon ... Elderly wife
Helen St. Rayner ... Vocalist
Marie Blake ... Purity Sykes
Jan Buckingham ... Young Woman
Ann Carter ... Jennifer Jr.
Nora Cecil ... Harriet
Georgie Cooper ... Wedding Guest
Beverly Andre ... Girl at Country Club
Emma Dunn ... Justice's wife
Mary Field ... Nancy
Bess Flowers ... Maid of Honor

A couple of witches are burned in Salem during the pilgrim days, but they first put a curse on the Wooley family and all of their heirs: they will all marry the wrong women. A curse, indeed!

Then Wallace Wooley (Fredric March), in modern times, is running for Governor at the same time that the spirits of the two witches resurface, at the very time that Estelle Masterson (Susan Hayward) and Wally are about to be married. But things go awry when Jennifer, the witch (Veronica Lake) takes a love potion by mistake, and falls for Wally.

This is a funny movie, and was the inspiration for the TV series
starring Elizabeth Montgomery based on the same premise.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and Freedom
and other books

Suberbly Great
This movie is one of the best movies I have ever seen. It is hilarous and the character of Veronica Lake is sooooo great. I have seen this movie at least 10 times and it does not loose its wonderful quaint humour and overall movie viewing joy. I would give it 10 stars out of 5 if I could. ... Read more

Reviews (9)

Stylish, but not genuine noir
The opening shot may be one of the most knowing and beautiful ones in film noir, a focus on the word 'Hollywood' which after the camera pulls away, is actually a destination on a bus sign. With fiml noir, just utter "Hollywood" and there is no need to explain betrayal, hypocrisy, seediness, injustice or pretence.

The screenplay is classic Raymond Chandler, sharply brilliant with rat-a-tat fire exchange. But the plot fails -- it's too simple, too linear, and not convuluted enough to darken the shadows and reflect the torn morals noir characters have to face. Veronica Lake as the femme fatale isn't quite vicious enough, and her own private agenda is boring enough to bleach white into the noir. In fact, that credit should go to man-caught-in-the-middle Johnny Morrison's (Alan Ladd) ex-wife, who goes out of her way to make a war hero look bad.

The Best of Everything
The Blue Dahlia is the finest noir film of it's kind and everything is absolutely perfect in the third of four films Alan Ladd and Veronica Lake would make together. Raymond Chandler wrote the origional screenplay and George Marshall turned in his finest directing job in this screen classic. This film has the perfect blend of grit and gloss, romance and female treachery, and for my money is better than the film often held up as the perfect noir, Casablanca.

Ladd returns from WWII with his two buddies only to find his wife has been unfaithful, in your face unfaithful, and responsible for his son's death while he was away. He confronts her at a party and blows out in a storm, unaware that someone kills her with his gun only hours later. Veronica Lake picks him up in the pouring rain and an attraction begins between the two.

The dialog is crisp and the atmosphere perfect as Ladd finds out by accident he is being sought for the murder of his wife. Like Ladd, Lake is running from something as well and trying to help Ladd takes her right back to The Blue Dahlia. Ladd's loyal buddies, who have been through so much together overseas, are on hand to help also. Did his shell shocked friend, played nicely by William Bendix, kill Ladd's wife or was it the owner of The Blue Dahlia, or maybe someone unknown?

Finding out is about the most entertaining 100 minutes you'll ever spend watching a movie and this is certain to be one of your all time favorites after you see it for the first time. Alan Ladd and Veronica Lake were the perfect screen duo. Ladd tells Lake early on in the film that every guy had seen her somewhere before, meaning the girl we all see in our dreams. When things are all wrapped up Ladd stops her from driving away, reminding her of what he said. We know then as she does that she is Ladd's dream, and ours as well.

This film is everything others of it's kind during the '40's tried to be. The Blue Dahlia is a film you HAVE to own if you love the movies.......

Why isn't this on DVD
Alan Ladd and Veronica Lake made some of the best film noir movies of all time and none of them are on DVD. These are great movies if you love old black and white intrigue and mystery however. They are worth getting in any format.

Engaging Early Noir
Although riddled with improbabilities, Raymond Chandler's tough story and script is well served with a glossy look and the hard-edged performances drawn by director George Marshall from a superior cast. THE BLUE DAHLIA concerns a recently discharged military man Johnny Morrison (Alan Ladd) who returns home to find his wife Helen (Doris Dowling) has been as unfaithful as the day is long--and is presently carrying on with club owner Eddie Harwood (Howard da Silva), over whom her hold is not entirely romantic. After stomping out into the rain, Morrison learns Helen has been murdered, and must race to prove his innocence before the coppers pick him up.

Ladd would give considerably more sophistocated performances in his later years, but he strikes all the right ultra-tough chords, and although Veronica Lake is a rather wooden actress she is remarkably beautiful and as a team the pair has considerable chemistry. The standouts in the cast, however, are Da Silva, who gives the role of the heavy a surprising interpretation, and William Bendix, who plays Ladd's war-wounded buddy to great effect. THE BLUE DAHLIA lacks both the moodiness and grittiness of truly great film noir, so it is not in the first rank of the genre--but it is no less enjoyable for that. The film cracks along at a rapid pace with plenty of action and a surprise twist or two that will keep you guessing to the very end. Ladd and Lake fans will love it, and any one who likes the hardboiled style will be in for a real treat. Recommended.

One Of The Best Noir Films I've Ever Seen!
I love Noir films. And while Hollywood tries to keep this genre alive today, the movies that come out now, can never be compared to the "classics" of the 30's and 40's. If a noir film doesn't have Alan Ladd, Lana Turner,Veronica Lake, or Orson Welles in it, then, I don't want to see it! "Dahlia" was the first time fammed novelist Raymond Chandler took a crack at writting a screenplay. And the results were amazing. Directed by George Marshall (Some might know him for directing a couple of Bob Hope films like "Fancy Pants", and Monsieur Beaucaire")this movie has all the mystery, suspense,and entertainment you could want from a movie. Alan Ladd plays Johnny Morrison, an ex millitary man comes home to find out that wife has been cheating on him since he's been away with Eddie Harwood (Howard Da Silva) who runs a club called "The Blue Dahlia". When Johnny and his two friends return Buzz (William Bendix) and George (Hugh Beaumont)he's furious! He's yelling and screaming and is even more bitter when he finds out that it's because of his wife that their daughter has died! After a house detective notices that Johnny is pushing his wife around, he warns him if he plans on doing that he can at least close his shades. Johnny full of hate steams out of the room and is never seen again. The very next morning his wife is found dead! But did Johnny actually do it?? Well, all I'll say is be was with Joyce Harwood (Veronica Lake) at the time picking up a ride. Soon he finds out tha she's Eddie's wife, and she finds out he's on the run from the police. A lot of twist and turns take place and make this movie enjoyable to watch. We're lead to believe one thing and then in the end, find out something complete different is what happened. A classic noir film is I ever saw one. Great acting by Lake and Ladd, not to mention Da Silva. Good solid directing by Marshall, and a terrific screenplay by Chandler. ... Read more

Reviews (2)

A mixed bag... but still good nostalgic fun
Bing Crosby croons the closing number in this flimsily-scripted wartime tossoff in which Paramount Studios hosts a patriotic all-star revue to entertain our men in uniform. Eddie Bracken is a goofy sailor back home to get a girl... Lucky for him that Betty Hutton -- in her first major role -- has her eyes set on him as well. She fast-talks and finagles (in a very Lucy-like way) to get Bing Crosby, Bob Hope, Fred MacMurray and a bunch of other stars to come on board for the (spontaneous, yet amazingly elaborate) really big show, and in the process Hutton gets her man. The song and dance numbers, despite being written by Johnny Mercer and Harold Arlen, are notably not first rate, although the Golden Gate Quartet have a nice cameo (even if they are playing train porters...) and a trio of starlets -- Paulette Goddard, Dorothy Lamour and (aroooogah!! woof! woof!) Veronica Lake -- do a hilarious number together, based on their images as stars. Also notable is a silly, prolonged skit in which men pretend to be women (eek.) and Bing's big patriotic number at the end, which is some of the clumsiest wartime propaganda committed to film. Betty Hutton is given the film's biggest role, and though she hams it up, she's still totally adorable. Let's see more of her!! Film buffs will also enjoy the chance to see director Preston Sturges and studio legend Cecil B. DeMille onscreen.

Absolutely crazy!
This combination of Paramount's stars during World War II is great! The storyline is typical of musical comedies from that era: Betty Hutton is a telephone operator at Paramount who, along with Victor Moore, pretends that Moore is the head director of the studio in order to impress Moore's sailor son (played by Eddie Bracken) and his shipmates. In reality, Moore is only a gate guard known as Pop, and when he is discovered by the director whom he is impersonating (Walter Abel) he and Hutton are fired and thrown off the lot. Unfortunately, they have promised Bracken that the stars of the studio will put on a show for the men on his ship. Hutton manages to sneak back into the studio and coaxes several actors and actresses to help their beloved Pop. The whole movie is a lot of fun. My family loves it, especially the part when Hutton is trying to get back into the studio! With a few exceptions--Hutton, Moore, Bracken, Abel, etc.--everyone in the movie plays themself, including several well-known Paramount directors of that time. Definitely a must-see if you love goofy movies from the forties! ... Read more

Reviews (7)

A great film noir
Great performances in the classic thriller from the 40's. There is good chemistry between Lake and Ladd. It is a whodunit that will keep you guessing. A must for any collection of movies from that era.

Strong Supporting Cast
Alan Ladd and Veronica Lake star in this remake by Paramount of the Hammett classic. Brian Donlevy has the role of Paul Madvig, the political boss. The script is not too faithful to Hammett's original work but I still recommend the movie. William Bendix and Joseph Calleia round out a strong supporting cast.

My favorite Ladd/Lake vehicle, good book adaptation
There are many reasons to check out this film. First, it is the second and best on-screen teaming of Alan Ladd and Veronica Lake (they were first paired in This Gun For Hire with Ladd playing the bad guy) Second, it is based on a novel of Dashiell Hammett whose exterior narration style transfers very well to screen. Third, it's just a good 40s whodunit.

The book is toned down but for the most part its satire of politics is allowed to remain intact. Most of what gets eliminated are subplots and partying which, though interesting, do not add to the story much. The movie is much leaner but less complex than the book but it is still faithful to the overall spirit.

Alan Ladd plays a tough guy/toadie to a local politician, Madvig, who has his fingers in a few too many pies. Madvig falls in love with Veronica Lake and burns a few political bridges to win her hand. Lake is the daughter of a senator, one of Madvig's political rivals. All seems to be going well until Lake's no good brother is found dead in a gutter and all fingers point at Madvig. The only person who seems to care about proving him innocent is Ladd. Even Madvig seems determined to get himself convicted. Ladd becomes obsessed with finding out the truth and goes through beaurocratic red tape, underworld sleaze, a torture session and his own feelings for Lake to find out who the real killer was.

Alan Ladd does a great job in the strong-silent role. He is stoic without being cartoonishly so. (The injury makeup is so convincing that you want to flinch for him) Veronica Lake is also good but really isn't given much to do besides show up onscreen in a series of ever more outlandish hats. (I love 40s fashion!) She isn't given any really good scenes until the last third of the movie. The supporting cast is universally good, it includes former Nancy Drew actress Bonita Granville as Madvig's kid sister. (changed from daughter in the book to make up for the relative youth of the actor)

This is a good bit of film history and a very good mystery (you think you have it figured out when it suddenly takes another twist) It is also a chance to see one of the great 40s screen teams in action. A must for classic film noir fans, don't miss it

Fairly good adaption of an excellent book.
I was impressed how this movie stuck very close to the story and dark overtone of the book itself. I highly recommend the book, you will get a sense of Hammett's brilliance as a writer. The movie itself stands fairly well by itself. Alan Ladd plays the dark hero (Ed Beaumont, Ned in the book) and henchman of political magnate Paul Madvig. Madvig is currently busy on promoting his newest senator candidate into power. Madvig's sister however is secretly seeing the candidate's gambling, conniving son behind his back. After an ultimatum by Madvig to his sister, the senator's son is found shortly thereafter dead in the street. Thus the mystery begins. Veronica Lake (who is stunningly beautiful) plays the senator's daughter who Madvig is in love with. Won't go into more detail, but will say that it is well worth your time to both watch the movie and read the book. Crime noir at it's best.

William 'Billy' Benedict a bad guy? Never, well maybe
What ever happened to William Bendix "Boys' Night Out (1962) ASIN: 6302985293" and "Life of Riley Vol 02 (1953) ASIN: 6304212550"? I always thought of him as a good guy. Boy, this shatters my image of him.

They mention "the glass Key" at the beginning of the film as the key to a position. A warning says, "it is a glass key, be sure it does not break off in your hand."

This movie was supposed to be the one that made it for both Veronica Lake and Alan Ladd. I did not read the book but Dash-it-all Hammett is usually a lot darker and his characters are usually a lot sleazier. The only really dark scene was probably the encounter between Ed Beaumont and Jeff. The mystery was good. The who-done-it and why lasted up to the end. ... Read more

Reviews (13)

A Tortured Soul Finds Peace
This was the first time Alan Ladd and Veronica Lake were in the same film together, and when box office receipts exploded because of the gritty and tortured performance of Ladd as the killer Raven, Paramont knew it had a star. The chemistry of Ladd and Lake together was electric also, and Paramont also knew it had a couple. Ladd might not have gotten her in this one, but they ended up together in the other three films they would make and everyone loved it.

This was a dark and star making performance from Ladd. From the very first scene, as Raven stops on the stairs, gun in hand, to pause and decide if he should shoot the little girl who has seen him, he was a star. Raven has been double crossed by "Neptune Club" owner Willard Gates (Laird Cregar) and is out to settle the score. Ellen Graham (Veronica Lake) has a nightclub act and a cop boyfriend played by Robert Preston.

The government wants Ellen to help get the goods on Alvin Brewster (Tully Marshall) who runs a chemical company that has sold poisonous gas to the Japanese and also happens to be Gates's boss, the man pulling all the strings. But when Ellen senses the pain inside Raven and becomes his only friend, other than cats, we know the bad guys don't have a chance.

Doom follows Phillip Raven also though, his horrific chidhood slowly revealed to Ellen, his willing captive. She begins to reach Raven and make him human once more, maybe human enough to make the ultimate sacrifice for his country, and put his personal demons to rest. It was a teriffic turn from Ladd and one of his most memorable roles.

It's a good movie made great by Ladd's performance. It was also the beginning of screen magic for he and Lake. You have to see this movie if you like crime noir and/or you like Ladd and Lake, and how could you not? They were lightening in a bottle and the cork is blown completely off here....

A nice, slick bit of 40s movie-making
This Gun for Hire was based on the Graham Greene novel A Gun for Sale and was considerably toned down and glammed up for the early 40s movie going public. Not that there's anything wrong with that.

I found this movie rather enjoyable, it is easy to see why Ladd and Lake were made into a screen team. They are supported by Laird Cregar as a plotting spy with no stomach for violence and Robert Preston as Veronica Lake's cop boyfriend. Alan Ladd steals the show as Raven, a killer for hire who really only likes cats. (as a cat lover, I was automatically more sympathetic to him) Cregar's Gates betrayed him to the cops and now he wants revenge.

Raven and Lake's Ellen, a nightclub magician, cross paths throughout the movie and she begins to strip down his tough guy veneer to reveal an abused childhood. Armed with her brains and a considerable amount of flag waving, Ellen tries to persuade Raven to give up his vengeance and uncover an Axis plot.

Ladd, Lake and Cregar are all marvelous but the usually wonderful Preston (best known for his smooth con-man in Music Man) isn't given much to work with and his cop character feels flat especially next to Raven.

This movie is really a must-see for any fan of 40's films and even with its flaws (I also found the final image to be annoying and totally against Lake's independant character), it is still a pleasant way to pass an evening.

Over-rated....Lake and Ladd make up for a tired scenario
This is the movie that made Alan Ladd a star, and his teaming here with Veronica Lake caused quite a stir back in 1942.

Sadly, THIS GUN FOR HIRE is really second-rate noir, a tired melodrama that really doesn't hold up, especially for repeat viewings.

Universal's DVD looks very similar to the old Image laserdisc release from a few years back. Not really any improvement

There's a lot of film-noir available on DVD, but this one doesn't live up to the hype. Skip it.

RAVEN A CHILLING SCREEN CREATION
"This Gun For Hire" is a watered down, glammed up version of Graham Greene's novel A Gun for Sale. It represents the first of four cinematic outings that teamed sultry Veronica Lake with the stoically handsome Alan Ladd, a potent cocktail of personalities that proved to be much in demand over the next decade. Perhaps a tad heavy on sentimentality than most film noirs, the plot concerns Philip Raven's (Ladd) obsession with Ellen Graham (Veronica Lake) a nightclub dancer with a rough and rumble cop boyfriend, Michael Crane (Robert Preston). Ellen is supposed to be working on exposing Alvin Brewster (Tully Marshall), a chemical company CEO who sold poisonous gas to the Japanese. But an odd and Freudian driven relationship surfaces between Ellen and Raven when she senses his childhood pain and angst. Ellen becomes Raven's willing captive, in the process transcending his nightmares and making him more human. The very first scene in this film is so incredibly chilling it begs special mention. After having been double crossed by ne'er-do-well, Williard Gates (Laird Cregar), Raven (Ladd) contemplates killing an innocent little girl who has seen him. Even though the resulting decision is typical "golden age" morality, Ladd makes one believe, if only for a moment, that such cold blooded silencing might be possible.
THE TRANSFER: Universal's DVD transfer is remarkably solid and clean. The gray scale is very well balanced with deep solid blacks and whites that are almost pristine. There's a hint film grain and some age related artifacts. Also, some edge enhancement and pixelization occur, but nothing that will distract from a visual presentation that is a considerable improvement over previously issued VHS tapes. The audio is mono and very well represented.
BOTTOM LINE: There are no extras on this disc. Nevertheless, it is a good disc to add to your library of classic cinema.

this gun for hire
In the world of film noire I found all the elements here, with wonderful casting. Lake and Ladd are imbued with a gorgeous chemistry, there is an underlying element that suggests that if the circumstances had been different:they would easily have succumbed to each other. This is indeed Ladd at his best,he carries the subtle,seething world of hatred just beneath the surface, and the camera is fascinated by the intensity of his physical gestures, and facial expressions. In particular when he recounts the nature of the injury to his wrist, you get a window into how his mind works and what motivates him to be who he is. Lake is strong, and vulnerable and I see no mistep in her performance. This is a film that mesmerized me when I was much younger and I still find it to do so. Laird Cregar as Willard Gates is as oily as grease and I felt his performance too was a standout,a coward at the core but willing to have murder done on his behalf . I enjoyed the whole spy-thing interwoven into the plot, and as well very memorable atmospherics, especially the scene where Ladd and Lake are trapped in the railroad yards; the fog just added an extra dimension to the scene. I also found Robert Preston did a fine job too in his role as Lake's detective love interest with an understated performance, but with just the right touch of resolve to win through the day. ... Read more

Amazon.com

An esteemed educator in L.A. used to show Ramrod to his film noirclasses. A Joel McCrea Western a film noir? Few noirs come packing moredeception, betrayal, ambiguity (psychological and narrative), and sadism(physical and psychological). Add a camera strategy that habitually latches onto a character and backtracks before him as he enters an unknown environment,and you've got a fine study in (fully justified) frontier paranoia. André DeToth claimed that the assignment was handed off to him by John Ford, no less. There's nothing Fordian about Ramrod, but it does anticipate the run ofedgy Westerns that De Toth would direct in the '50s. Excellent cast, includingMrs. De Toth (Veronica Lake) as a femme fatale with father issues; adistinctive, sharply imagined Western town; an innovative sound mix attentive tonature and environment; and strong cinematography by Russell Harlan, soon tobecome Howard Hawks's favorite cameraman. --Richard T. Jameson ... Read more

Reviews (2)

Great psychological film noir!
This is an interesting western about power struggle and doing whatever it takes to get what you want! Joel McCrea and Veronica Lake give good performances and look for a young Lloyd Bridges!

Film noir Western
RAMROD is a superb little 'film noir' western; McCrea and Veronica Lake mesmerize. This film repays re-viewing. ... Read more

Amazon.com essential video

Writer-director Preston Sturges's third feature, 1941's Sullivan's Travels, remains the antic auteur's most ambitious screen effort. Having added the producer's stripe to his duties, Sturges combines breezy romantic comedy, arch Hollywood satire, and social essay into a single, screwball story line.

The titular pilgrim is John L. Sullivan (Joel McCrea), an Ivy League grad who's enjoyed a meteoric rise as the director behind escapist movies like Ants in Your Pants of 1938, but is now determined to raise his sights toward more exalted, serious-minded cinematic art. His proposed breakthrough, portentously titled O Brother, Where Art Thou?, elicits a studio response closer to "Oh, brother," given the director's utter lack of first-hand experience on the wrong side of the tracks.

Instead of capitulating, Sullivan sets off disguised as a tramp, ready to meet life's crueler lessons face-to-face--albeit followed at a discreet distance by a motor home filled with studio handlers and reporters. His ludicrous odyssey may give the boy director no real insight, but it gives Sturges the chance to inject some reliably fine gags and a romantic subplot featuring the luminous Veronica Lake. It's at this juncture that Sturges the writer's darker objective throws a jolting shift in tone. Suffice it to say that just when a comic, upbeat denouement seems imminent, Sullivan travels instead from the sunlit California of the comedy's early reels toward a darker, relentlessly downbeat world influenced more by the social realism of the movies the hero desperately wants to make. By the final reel, Sturges has flirted with real tragedy, turning his conclusion into a meditation on his own seemingly carefree, dizzily comic art.--Sam Sutherland ... Read more

Reviews (47)

The Original Oh Brother Where Art Thou
This is a wonderful movie about a successful comedy director setting out to find trouble in order to film his next project a serious movie about the Depression called Oh Brother Where Art Thou. Early in the film the studio owners try to disuade Sullivan from the movie and suggest making it into a musical; a suggestion which the Coen brothers took over 50 years later.

Initially Sullivan cannot escape his entourage which comes to include the beautiful and witty Veronica Lake. Later however life becomes more vivid for the restless director and his lesson is learned.

The film is divided into two distinct parts as many people have commented on. While some have said this makes the movie uneven I think that it moves the movie well beyond a simple romantic comedy giving it a complexity and color you don't expect.

The movie is brilliantly written by Preston Sturges. Watch it once for the sheer joy of it but watch it again to experience a brilliance of dialogue that few have been able to accomplish since.

Being a Criterion production the presentation is excellent and it has many extras that we have come to expect and appreciate from this company.

A MOVIE THAT COMBINES COMEDY AND DRAMA.
"Sullivan's Travels" tells the story of director John L. Sullivan (Joel McCrea), who is very famous thanks to his mainstream comedy movies. But now he is tired of making shallow comedies, and decides to start a career of more serious movies. However, Sullivan thinks that because during all his life he has enjoyed special privileges, he doesn't actually know what is the suffering, and he is unable of make a serious social statement in his upcoming film.

So he now decides to hit the road, disguised as a tramp, and live in those conditions for a few months, and to experiment in his own flesh the lack of luxuries. In the road he meets "The Girl" (Veronica Lake), an unemployed actress who knows what is to live in those conditions, so now she decides to help him with his experiment. However, not everything is going to be that easy, because in their adventure they are going to find several obstacles that could make difficult to complete Sullivan's movie.

"Sullivan's Travels" is a very amusing movie, the director Preston Sturges did a good job, he created scenes where the comedy and the drama are mixed together with satisfying results. The movie has interesting situations, because it has an intelligent story and good performances. Also, "Sullivan's Travels" benefits with the presence of the elegant Veronica Lake

A Review for Sullivan's Travels
Directed by Preston Sturges in 1941, this classic screwball comedy with a message is definitely one worth watching. The film opens with famous Hollywood director, John Sullivan, trying to persuade his bosses to let him make a picture about poverty, O Brother, Where Are Thou? His producers proceed to ridicule him about being privileged and that he knows nothing about troubles. They tell him how they had to grow up selling newspapers to get through college and having to support a widowed mother and three sisters and two brothers. Sullivan realizes they have a point and decides to set out to find some trouble. Of course, as soon as Sullivan leaves the office, the bosses confess they were lying about their troubles, adding a bit of comic relief.

Since the bosses feel it would be a liability to them if Sullivan were to travel all alone, they arrange for him to have an entourage following him, writing stories about his travels, and photographing his escapades. Sullivan starts out like a hobo walking alone on the side of the road. A young boy of 13 pulls up and offers him a ride. What next ensues is perhaps the funniest scene in the entire movie. The 13 year old wants to be a tank driver so he sets off like mad, driving insanely fast and wildly out of control. The entourage that has been following Sullivan in a massive bus tries desperately to keep up, hurdling its occupants all over the place. Most funny is the cook who ends up with his head sticking out of the roof of the bus and then falls back down to the floor and gets smacked on the head by the door of the oven. Then a bowl of what appears to be pancake batter falls on his head and he is a royal mess.

After the bus plows into a pile of hay, Sullivan orders the 13 year old hooligan to stop and goes back to his entourage and persuades them that their following him is not a good idea. He advises they just go to Las Vegas and wait for him there. Not crazy enough to turn down a work-free vacation, they agree and each party sets off on their own.

Sullivan next ventures into a small café where he meets a nameless girl, played by Veronica Lake. She has been trying to make a go at it as an actress, but has given up and has plans to head back home. Seeing Sullivan's misfortunes, she offers to buy him some ham and eggs. Sullivan immediately takes a liking to her and offers to give her a lift back home. Still in Hollywood, he goes and gets his own car to drive her there. The police, seeing a hobo driving a nice car, believe he has stolen it and so both Sullivan and his female companion get arrested. Well, they eventually get released when the police realize their error. Sullivan then fesses up to the lovely Veronica, and tells her his plan of finding trouble.

She decides to join him on his journey. They plan to travel east and eventually take her back home. However, Sullivan must first have his butler call the railroad to find out how hobos board trains, another moment of comedic levity. After an awkward boarding of the train, Sullivan and the girl fall asleep in a pig stall. Sullivan gets some sort of allergic reaction to the hay and so when they wake up, they decide to get off the train. They wander into another café where they realize they are now in Las Vegas and Sullivan's entourage is just across the road. Hungry and wear worn, Sullivan goes back to the entourage where his doctor mandates that he stay in bed for three day to get better.

Back on the road again, scenes fly by as Sullivan and his girl mingle with the down and out. He eventually returns to his entourage and is prepared to start production on O Brother, Where Art Thou? but he decides to give one last thank you to his street companions in the form of five dollar bills. As he is handing out bills late one night, he is knocked out, robbed, and thrown onto a train car. As the robber is running off with the money, he accidentally stumbles and drops the money on the train tracks. As he is picking up the money, he gets run over by a train and dies. The people who find his body see some of Sullivan's belongings on him and mistake him for Sullivan. Word circles around the film community that Sullivan met his death mysteriously one night on the train tracks.

Meanwhile, Sullivan's train stops and he gets out where he is confronted by a railroad worker who hits him for hitching a ride on the train. Sullivan retaliates by bashing a rock against the workers face a couple times. For this misdeed, Sullivan is sentenced to six years of hard labor. He is not allowed to make any phone calls or write any letters to let anyone know he is still alive, as he has already seen newspaper pronouncements about his fate. He comes up with a scheme to get his pictures in the papers by confessing to the murder of himself. Of course, the mistake is quickly realized and he is back in Hollywood set to make the picture which has caused him so much trouble.

However, in a twist, Sullivan decides not to make O Brother, Where Art Thou? and instead he wants to continue making comedies. For, when he was in the labor camp, the one moment of happiness he and his fellow prisoners experienced was one night when they got to go to a picture show and watch a Mickey Mouse cartoon. He decides comedy is important because, for some people, it's all they've got.

"Sullivan's Travels" - A Life Changing Experience
Oh, this film is grand! First viewed it at about age 16, formative years & all. Made a great impact. Convinced me to pack off & live life as a hobo. Ah, the rootless life! Between "Sullivan's Travels", "Lust For Life" and Hermann Hesse novels, my character was set. Ah, youth! Oh, brother, where art thou?

One of my all time favorite films
One of the great screen comedies, and one in a string of absolutely brilliant comedies that Preston Sturges made in the space of only a few years, unquestionably the hottest streak any comedy director has ever gone on in a short period of time. This film contains a great deal more slapstick than his other films, and a great deal more social satire. Sturges doesn't quite mean it as a "message" picture, but in the end it does have overtones of an apologia pro vita sua as a comedy director. Sturges wants to say that he is a comedy director, and he isn't going to apologize for it, because making people laugh in hard times is one of the highest functions of art.

SULLIVAN'S TRAVELS is one of two superb comedies that Joel McCrea made with Sturges, the other being the equally outstanding THE PALM BEACH STORY. As most are aware, McCrea plays director John L. Sullivan, who has made his mark in Hollywood directing lightweight comedies, such as the "Ants in Your Pants" series. But now he wants to make a serious, "meaningful" film: O Brother! Where Art Thou? The studio head points out that Sullivan knows nothing about real life, and conceding his point without giving up his intentions, Sullivan decides to hit the road and live as a hobo in order to discover real life.

Like nearly all Sturges films (at least before his rapid and dramatic decline in late 1944), this film features an absolutely outstanding cast. His best films seem to feature a cast with literally dozens of great character actors, and this is no exception. Most of the Sturges regulars are here, like William Demarest and Robert Warwick, along with a host of others whose faces will be familiar to any Sturges fan, even if the names are not. The film also features the first major role for Veronica Lake, who enjoyed only a short career at the top, but who endures in memory as one of most stunningly beautiful women in Hollywood history, so much an icon that in L.A. CONFIDENTIAL, Kim Basinger's character was a prostitute who would be with men impersonating Veronica Lake.

Most Sturges films are characterized by their rapid-fire dialog, manic pace, and enormous wit. He always wrote his own scripts, and as good as he could be as a director, he was much better as a writer. For several years before becoming a director, he distinguished himself along with Billy Wilder as perhaps the premier comic writer in Hollywood. This film contains moments that are classic Sturges. For instance, while arguing with the head of the studio about his next film, his boss makes the point that his last escapist film did well in Pittsburgh. Sullivan retorts: "What do they know in Pittsburgh." Studio Head: "They know what they like." Sullivan: "Then what are they doing in Pittsburgh." But in this film, unlike his others, Sturges dramatically slows down the pace at several points, and allows the film to take a much more serious turn, so as to make his central points about the value of making people laugh. ... Read more