Description

Rags-to-riches tale of a 15-year-old tomboy who becomes the toast of 1930's Hollywood. ... Read more

Reviews (18)

A study of Behind the Scenes Hollywood in the 1930's.
One of Natalie Wood's best performances in the role of Daisy Clover, a young woman who discovers that fame and fortune in Hollywood doesn't come without a price. Superb supporting performances by Ruth Gordon as Daisy's hapless mother, Robert Redford as her movie star boyfriend whose true lifestyle is in the closet, Christopher Plummer as the CEO of the movie studio; Katherine Bard as his frustrated, lonely wife, and Roddy McDowall as a studio Executive Assistant. For the film buff, some excellent shots around the backlots and stages of Warner Bros. Pictures, doubling for the story's "Swan Studios."

so bad it's good
Despite being uneven and overdramatic in some spots, this movie is absolutely intriguing. The first fifteen minutes are basically pointless, but the rest is fabulous. The characters are so complex that at the end you're still wondering who was the bad guy and who was the good guy. Natalie Wood as Daisy Clover managaes to look beautiful even though she looks like a frumpy teenager. Roddy McDowall is the producer's snippy assistant. Katherine Bard plays Mrs. Swan, who tells Daisy "your husband never could resist a charming boy." Robert Redford looks extremely handsome as bisexual actor Wade Lewis (my favorite scene is when he talks to Daisy in the beautiful white bedroom). But the piece de resistance is Christopher Plummer as the ambiguous studio producer Raymond Swan. That guy is truly an amazing actor. The scenes he has with Daisy are my favorite (the swimming pool and beach house). The memorable script, the main actors, and the gorgeous, glamorous 1930s Hollywood setting make this movie worth seeing.

Quirky, But Charming
I watched this last night. Stayed up waayyy too late. What a movie. Natalie Wood is amazing. Flopping around on the boardwalk . . . an awkward, strong and oddly attractive waif-like character, barefoot, in dirty clothes with crazy hair, that at one point she cuts, instead of combing. Ruth Gordon is lovely. Robert Redford is convincing. And you always wonder what the heck is going on in Christopher Plummer's mind. Creepy. Generally, things end up on a sad note, this ain't Singing In The Rain, and I did get sick of hearing the song, Wood's character kept singing over and over, and not very well, about how she's gonna be a big star. But everything else is wonderful. A great movie.

Above Daisy Clover
This film, about the struggle of a young star movie to mantain her personality against Hollywood cruelty, will probably gives you a headache (and not a "HEARTACHE!, as it says one character), as it fastly turns on a bombastic, hopelessly phony melodrama.
The problem around "Inside Daisy Clover" is its superficiality, that makes its characters a little more than mere caricatures. It has good moments, really fascinating ideas, but the general tone is fastidiously icy.
Natalie Wood, performing a young talent (such a mix among Judy Garland and herself), gives an often exaggerated performance. However, she's always a lovely presence.

Inside Daisy Clover
I saw this movie when I was a child and thought it was great. As an adult you remember things and wonder if they are just as good and sometimes find them and view them and are disappointed, but I must say that "Inside Daisy Clover" is just as good now as I remembered it to be then. This movie told the inside story before it was the popular thing to do, I can't wait for it to come out on DVD. ... Read more

Reviews (7)

TEMPLE, COOPER & LOMBARD SHINE.
With a knock-out cast like this movie has, it will almost certainly please lovers of vintage movies. Jerry Day and Toni Carstairs (Cooper & Lombard) are a pair of vagabond thieves in love. On a boat from Shanghai, Jerry receives word from Connecticut that the parents of his dead wife want to take possession of his little daughter, Penelope. Jerry is willing to sell the tyke to his brother-in-law for $75,OOO - but Toni has different ideas....Although this "Temple film" isn't exactly ideal for the kids (its theme is really too mature) it will please those who will appreciate the clever antics which ensue. The talented, chubby Alice Faye-like Dorothy Dell was originally supposed to play Lombard's role but she was killed in an auto accident. Dell played the female lead in LITTLE MISS MARKER. If vintage moviegoers saw her sing WITH MY EYES WIDE OPEN I'M DREAMING - in SHOOT THE WORKS - you haven't forgotten her. The original title of the source material for this film was entitled HONOR BRIGHT by Jack Kirland and Melville Baker.

Deeper than it first appears,
... I hasten to say that Now and Forever is a worthwhile
film. Shirley Temple gives a great performance with memorable scenes
and lines, as in "Oh, Daddy, you said Honor Bright," when Cooper, as
her father, breaks a promise.

Gary Cooper is trying hard not to be
completely villanous,and he has his daughter's best interests at
heart. My favorite thing about the movie is the way it shows life as
being more complicated than just right vs. wrong. That a child is
affected by grownup vices seems realistic to me.

No easy answers,
and good acting. I loved it.

Not a movie for young children
My entire family disliked this movie and found it inappropriate for children. First of all, Gary Cooper is featured much more than Shirley Temple, and Shirley seems tired throughout most of movie, especially during her dull, listless song and dance routine. Gary Cooper and Carole Lombard were not able to rise above their unrealistic, jaded dialogue, which failed to make them sympathetic characters nor explain why they'd chosen a life of swindling and double-dealing.

I think several events in this movie would be disturbing to children: Gary Cooper's attempt to sell his daughter for a large sum of money, his theft of a valuable necklace and his lies to his daughter about it, his murder of another man, and finally his supposedly selfless act in giving his daughter to a wealthy old woman--without telling his daughter that she was being given away!

This movie could have had some redeeming value if the Gary Cooper character had undergone a true reformation. Carole Lombard's character does but then essentially becomes a filler role. The ending is quite depressing, because it offers no hope for their family. Perhaps one positive aspect is that it does demonstrate the consequences of one's actions, but I still don't see that children would enjoy or be uplifted by a movie featuring as many serious crimes and breaches of ethics as this one.

One of little Shirley's best roles
Now and Forever is a perfect showcase for the acting ability that Shirley Temple had as a young child. Less contrived than some of her later pictures, the script gives her the chance to really play a three-dimensional character. Her range of emotion is simply stunning, considering she was only six years old at the time. Although there is little of the singing and dancing Shirley was known for, this is nonetheless a great movie.

Now and Forever Shirley Lives
Well for a while in this movie (the beginning) Shirley hasn'came on the screen yet and you wonder,is this the right movie ? But it later is ,as she is cute little Penny Day. I think in this movie she really is adorable,although she always is in this movie she is even more precious. I think the most touching thing in the movie is when she finds out her daddy stole the necklace,when she finds it on her bear. She breaks into a crying scene which I think is so sad. " Oh Daddy,and you said Honor Bright" says young Penny. The movie isn't the most interesting movie but I wouldn't miss it just because of that.Some scenes in the movie look very fake like the rollercoaster,but then remember this is the 30's ,you're lucky they made movies! I would also say if your looking for one which Shirley Temple totally stars in this isn't exactly the one.Although she's in it,it's not exactly her movie.The movie follows Gary Cooper mainly but she's in it alot though. I wouldn't recomend this movie as great but I wouldn't recomend it as horrible. But I do recomend it for you to see.I hope you find this helpful. ... Read more

Amazon.com essential video

Just as Roberto Benigni found himself on the receiving end of some finger-wagging for making a comedy set during the Holocaust, so the great Ernst Lubitsch caught some heat for this extraordinary 1942 satire set behind enemy lines during World War II. In his best performance on film, Jack Benny stars as Joseph Tura, the lead actor and head of a Polish theater troupe that is suddenly enlisted as a Resistance organization when an American pilot (Robert Stack) requires protection. The twist is that the pilot has been having a series of trysts with Tura's wife (Carole Lombard), the hilarious evidence being the disruptive departure of Stack's character from a theater audience each night as the hammy Tura unknowingly cues the lovers by launching into Hamlet's famous soliloquy. The remarkable script by Edwin Justus Mayer ingeniously folds the tensions of a betrayed marriage into the comic suspense surrounding Tura and company's efforts to pull off a Mission: Impossible-like sting on the local Nazi command. Many unforgettable moments and lines of dialogue adorn this black comedy, and the performances--most memorably Sig Ruman's crisp volleys with Benny--are a dream. Above it all, however, is Lubitsch's unmistakable Continentalism, his accent on Old World manners especially in a dangerous situation, suggesting the Nazis' very vulgarity was a reflection of their profound evil. --Tom Keogh ... Read more

Reviews (22)

Vintage Jack Benny
Though generally known as a radio and television superstar, this movie shows that Jack Benny was also a fine film actor. Everything about this movie is top flight: the acting, script, supporting performances and even the sets. Though designed as an anti-Nazi propaganda movie, the film is not dated and has held up remarkably well considering it's 60 years old.

Benny's performance as the Polish actor Joseph Tura is hilarious and his scenes with "Gestapo Mueller" are memorable and beautifully acted. Carole Lombard and a young Robert Stack support Benny admirably, but this is Benny's show all the way. As always, he did not disappoint.

Let It Be
There were plenty of his contemporaries, George Burns and Johnny Carson among them, who thought Jack Benny was the best American comedian of the 20th century. This film does nothing to detract from his reputaion; it just confirms it. Benny is utterly superb here in a wonderful and difficult project by the German-Jewish director Ernst Lubitsch. He effortlessly dominates a great cast in every scene and his timing, for which he was already famous on stage and in radio, is equally flawless. The film about the invasion of Poland was produced before the full extent of the anti-Semitic atrocities committed in Europe were known, and the great Lubitsch took a somewhat more diplomatic approach than more heavy-handed directors like Mel Brooks would today, but this artistic detachment certainly made a better movie. There are some flat-out riotous lines. When a Gestapo agent leeringly tells Carole Lombard he would like to launch a romantic blitzkrieg her way, she responds: "I'd prefer a slow encirclement." Movie comedy doesn't get much more sophisticated.

World famous in my eyes!
Too bad this movie isn't better known than the weak Mel Brooks remake of the same name. Jack Benny as that great, great stage actor, Josef Tura (world famous throughout Poland!), and Carole Lombard are hilarious. Aside from the first couple of minutes, the whole movie is a laugh riot. Amazing how well the script and performances have stood the test of time. Truly one of the greatest comedies of the 40s! Best lines: "So they call me Concentration Camp Airhart, eh?" and "What he did to Shakespeare, we are now doing to Poland." and "To be or not to be ..." Rent it, borrow it, buy it -- whatever you do, watch it. You'll love it.

Time to produce a DVD version with commentary track.

Carole Lombardo's final movie and Jack Benny's best
"To Be or Not to Be" has the distinction of being the last movie starring Carole Lombard before her tragic death in an airplane crash in 1942 and is also remembered as having Jack Benny's finest film performance. But beyond the qualities of the stars Ernst Lubitsch's film deserves to be singled out for its anti-Nazis position, a distinction shared with Charlie Chaplin's "The Great Dictator" and few other films. Keep in mind that the film was released on February 15, 1942, not only a month after Lombard's death but only two months after Pearl Harbor, which means it was in the works before the United States entered World War II.

Lubitsch and Melchior Lengyel came up with the story, which was turned into a screenplay by Edwin Justus Mayer. The story of "To Be or Not to Be" is of a Polish theatrical company that is in Warsaw preparing to perform an anti-Nazi melodrama on the eve of World War II. In the leading roles are the husband and wife team of Maria (Lombard) and Joseph Tura (Benny), who are trained in Shakespeare. However, the production is canceled by the Polish government because they are afraid Germany will attack the country is a play critical of the Nazis goes on (you know how touchy Hitler can be). So the Turas put on "Hamlet" instead and while Joseph does Hamlet's "To be or not to be" soliloquy, Maria is visited backstage by Lieutenant Stanislav Sobinski (Robert Stack), a young pilot in the Polish Air Force. Then the war breaks out, Sobinski makes it to London to fight with the RAF, and the Turas remain in occupied Warsaw.

While in London Sobinski meets with Professor Siletsky (Stanley Ridges), a Nazi agent posing as a Polish patriot, who gets the names of friends and relatives from the pilots. Sobinski becomes suspicious and is sent to Warsaw to recover the list from Siletsky before he gives it to the Nazis. In Warsaw Maria helps Sobinski, but then she is arrested by the Gestapo as Siletsky tries to get her to join the Third Reich. To rescue his wife Joseph and the other actors masquerade as Nazi soldiers and end up with one of them (Tom Duggan) dressing up as Hitler to help in the great escape.

This is a comedy, but it is not a broad comedy in which the whole thing descends into slapstick, otherwise the overt attempts at anti-Nazi propaganda would not work. There is a similarity between "To Be or Not to Be" and the television situation comedy "Hogan's Heroes," in terms of presenting the Nazis as incompetent buffoons, personified by Sig Ruman as Colonel Ehrhardt. The difference is that Lubitsch still manages to work in the idea that the Nazis are also killer clowns. However, the biggest joke is that these actors, less than inspiring on the stage in Shakespeare, are so convincing playing Nazis. Meanwhile, Joseph cannot quite bring himself to belief that Maria is actually cheating on him.

Keep in mind that when this film was made "concentration camps" did not mean what they mean today; the terms was used by the United States to describe the camps in which Japanese-Americans were interred during the war. But then when you see Jack Benny walk in as a Nazi you know this is a different time and place. The humor is pretty coarse for a film from the early Forties (e.g., Ehrhardt recalls Joseph's performance of "Hamlet" and declares, "What he did to Shakespeare we are doing to Poland"), but then keep in mind who is being made fun of here and you have to admire the bite that they put into some of these bits. Benny is pretty much perfect for this part and Lombard sparkles throughout. As is usually the case, the original is much better than the 1983 remake with the husband and wife team of Mel Brooks and Anne Bancroft.

Extremely funny.
I was on a tour in Europe, when this movie was put in. Instead of a much needed rest, I got a great laugh fo an hour or so. Its a classic. Worth the purchase price and a lot more! ... Read more

Amazon.com

Before Hollywood had entirely typecast Alfred Hitchcock as the master of suspense, with Mr. & Mrs. Smith he was allowed to fashion an elegant romantic trifle starring Robert Montgomery and Carole Lombard. It probably won't replace Rear Window or Psycho in your affections, but the film is more than a curious footnote to the director's career. The two leads play David and Ann Smith, a devoted but endlessly squabbling couple who discover their three-year marriage isn't legal. When he unexpectedly hesitates to arrange a second wedding, she storms out in a huff and soon begins dating his solid, dependable business partner Jeff (Gene Raymond). The rest follows the formula laid down by such previous screwball comedies as The Awful Truth (1937) and Bringing Up Baby (1938): David employs fair means or foul to win back Ann's heart, causes all sorts of complicated mischief, then... well, three guesses what happens in the end.

The intriguing thing about the movie is how Hitchcock takes Norman Krasna's paper-thin script and adds sly undercurrents of menace. Violence seems about to erupt in the recurring scenes where Ann shaves her husband (suggestively holding a razor up to his throat)--and there's a touch of Vertigo in one scary moment when a jammed amusement park ride leaves two characters dangling helplessly high above the ground. Montgomery and Lombard keep the mood acceptably frivolous, while indicating the flawed nature of the marital relationship. From the evidence of this one-off, Hitchcock might have been among the best comedy directors in the business, had he so wished. --Peter Matthews ... Read more

Reviews (19)

Best romantic comedy
(...)This is a wonderful movie!

Carole Lombard gives a brilliant, elegant & understated performance in this film. It is often overlooked for her more over-the-top roles such as Mildred Plotkin in "Twentieth Century" or Maria Tura in "To Be or Not To Be". Watch her facial expressions carefully, especially in the hallway scene on the way to the bedroom - -"Get goin' Annie". But enough boring analytics. Why should you watch this film?

1)Robert Montegomery & Carole Lombard have unbelievable sexual chemistry in this film.
2)If you've ever been in a relationship (...) you will get a good laugh out of this movie. It shows up both men & women and their foibles but in light-hearted way.
3)Robert Montegomery is hilarious as a manly, capable, sexy & yet hen-pecked husband.
4)It has a politically incorrect ending but it is still funny and very sexy.

So if you enjoy a good romantic comedy like me and are fed up with the trash Hollywood has been putting out lately (bad acting, bad scripts, lots of sex & NO sex appeal), ignore the stodgy Hitchcock fans (remember the word fan originates from fanatic), feminists and other assorted dour & unromantic poops and watch this film. By the way, why is this movie not out on DVD?

Not a Typical Hitchcock, but His Trademarks are Still There!
Hitchcock was "The Master of Suspense." His films were famous for combining action, big stars, Bernard Herrmann music, suspense, and even traces of wry and subtle humor. However, in his long career, Alfred Hitchcock only made two films that can be classified as total comedy. One was 1955s The Trouble With Harry, which was a black comedy, but still definitely a COMEDY. His only other comedy, he made 15 years prior to this, in 1940. He made the film as a favor to a friend of his. That friend was Carole Lombard, the undoubted Queen of Screwball Comedy. She had read the script and fallen in love with it, yet she couldn't find a director, so Alfred Hitchcock agreed to do it for her. The film was Mr. and Mrs. Smith, and it starred such comic legends as Carole Lombard, Robert Montgomery, Gene Raymond, and a young Jack Carson.

Mr. and Mrs. Smith is the story of a bickering, but non-the-less happily married couple. In the films hilarious opening scene, the Smiths are locked in their bedroom. It seems that they have a set of rules they follow each time they get into a quarrel. They lock themselves in their room and do not come out until the fight is solved. One time, they stayed in the room for 8 days. When they finally solve the dispute, they sit down for breakfast, where they are as happy and as "in love" as ever, but rule number 7 permits Mrs. Smith to ask Mr. Smith a question, and she asks him, "If you had to do it over again, would you have married me?" He tells her how much he loves her and how happy he is, but he concludes by saying that married life is too much for him, and that if he had the chance, he wouldn't have married her. At first a little disappointed, Mr. Smith soon comes to see that her husband really does love her, and he goes to work happy, and she blissfully starts the chores.

Unfortunately, a man comes to Mr. Smith's office and informs him that because of the fact of "the town is across the river and is in one county and has been considered in another county, but the other county isn't in the state" that Mr. David Smith and Mrs. Ann Smith aren't legally married. The laughter and humor keep rising after he is kicked out of the apartment and has to live in a local men¡Çs' club. Each gets a temporary partner and after a hilarious restaurant scene, a crowd of three is off for a weekend in the county in the uplifting conclusion of Hitchcock¡Çs classic Screwball Comedy.

Marvelously scripted with beautiful and flawless performances by all the cast, Mr. and Mrs. Smith is a breathtaking and fast paced classic. Although not typical Hitchcock, his traces are still evident. There are small incidents of suspense, a small chase scene in a department store, a stalled Parachute Jump in the rain at the World¡Çs Fair, and some great chemistry and rapport between the stars on the screen. If Carole had not died tragically a few years later, in 1942, I would not have been surprised if Lombard and Montgomery had made more films together. Looking at them here, how can one have doubt as to how successful they would have been?

When is the DVD going to come out!
I wish that this movie would come out on DVD soon. It is a wonderful comedy filled with humor and action. It is truly a wonderful movie to see if you are looking for a really good classic, but like other Hitchcock films, this movie is a comedy, not a thriller. So, if you are looking for a mystery by Hitchcock, don't pick this one. Hitchcock has a great sense of humor when he created this spectacular classic. If there is a DVD, (which I hope) I hope there are great special features. If you are looking for a great film to make you laugh, Go see this one!

Extremely Funny!
This is a funny movie! It should be put on DVD. If you are expecting a mystery from Hitchcock, this is not the movie to see, but if you are looking for a funny and entertaining film, this is a great one. I recommend this to everyone. Go see it.

Hitchcock Does Comedy!
Alfred Hitchcock has always shown sly humor even in his darkest moves. This 1941 black and white comedy shows what he can do with obvious comedy as well. Mr. (David) and Mrs. (Ann) Smith are a well off couple who find that they are not legally married. When David (Robert Montgomery) is given this information, does he tell his wife? No way. Instead he chooses to toy with her first. Unfortunately, Ann (beautiful and talented Carol Lombard) and her mother have received the same information. Ann's mother makes her promise that as an unmarried woman she won't ---?!. 'Of course not' she promises. Later, Ann and David talk on the telephone, she asks about his day, he does not mention their invalid marriage but he does tell her that they are going to what used to be their favorite restaurant. As David is talking, he writes "Mrs.", crosses it off and replaces it with "Mistress" then smiles. This unshared knowledge starts a wonderful, sexy cat and mouse game between Lombard and Montgomery. The getting ready for bed scene is just super. Gene Raymond as Jeff Custer, David's friend and law partner is full of southern charm and is wonderfully sly as he double crosses David. Jack Carson as the hard drinking womanizing club friend Chuck, who helps to land Montgomery in more hot water than he is already in, is perfect for this role. One of my favorite scenes is the hilarious 'restaurant' scene where Montgomery and Carson are on dates with two of Carson's lady friends. Watch Montgomery's face as he desperately tries to make his nose bleed. It's our loss that they don't make sophisticated screwball comedy like this any more. (~.~) ... Read more

Amazon.com

Some of the most impressive numbers from the golden era of MGM musicals are contained in this video, the third of the That's Entertainment films. Have no fear that the studio was scraping the bottom of the barrel when assembling these clips after having produced two earlier films using the same formula. In fact, it can be argued that this particular compilation would be attractive to a general audience of today, as it contains a wealth of material that hasn't been widely seen. And almost none of it would be produced today, as these complicated dance scenes would simply be too expensive to film in the modern era. An example is a lavish production number featuring the great dancer Eleanor Powell seen in split screen, so the viewer watching the video can see not only what the movie audience saw, but what the soundstage looked like as a small army of stagehands performed artful illusions by removing gigantic portions of the stage as Powell danced across it. Interesting outtakes featuring Judy Garland and Lena Horne are also featured, and former MGM musical stars who introduce the production numbers (and provide background on the filming) include Gene Kelly and Esther Williams. The title doesn't lie: it's all entertaining. --Robert J. McNamara ... Read more

Reviews (12)

Enjoyable Mix of Classic Moments & Rare Footage
Opening with a Gene Kelly-introduced segment concerning early efforts to develop musical stars and material, this third installment of the THAT'S ENTERTAINMENT quickly seques into celebrity-introduced film clips from MGM musicals--film clips that range from familiar favorites to out-takes, rareities, and numbers that were cut from films before their release. The narrators are well scripted, well filmed, and often interject insightful personal notes by introducing clips from their own movies.

Such is the case with the legendary Lena Horne, who presents a casually-spoken but quite powerful narrative about the Hollywood racism that limited her career and ultimately prevented her from playing Julie in SHOWBOAT. But the real power of THAT'S ENTERTAINMENT III is in it's "never-before-seen" footage--footage that includes memorable performances by Judy Garland, Fred Astaire, Cyd Charisse, and Lena Horne among others. The film also offers the chance to see some truly rare bits of film, including Vaudeville acts hoping for film stardom, scenes from the early Technicolor and never-completed film MARCH OF TIME, and pre-code bathing-beauties. THAT'S ENTERTAINMENT III doesn't have quite the same dash and splash or variety as the original THAT'S ENTERTAINMENT, but it moves at a smart pace, and fans of movie musicals will find a great deal to enjoy. Recommended.

A little something for everyone
Hey -- don't look at me that way! They were showing it on TV, and how could I resist? Like the previous installments in this series, this scrapbook documentary patches together some of the most dazzling and outlandish dance numbers from the golden age of MGM musicals, using hackneyed narrations by old-time studio stars such as Gene Kelly, Lena Horne and Esther Williams. The numbers whiz by like lightning, deftly navigating the shoals of countless half-forgotten tossoffs and classic A-list films. Naturally, some bits will appeal more to some viewers than others... my attention began to wander when the Esther Williams and Gene Kelly sequences went on too long: her movies were too bland to merit the extra attention; his were too good to merely nibble at in a forum like this. But the clips from lesser-known films are pure gems, and since many of these films are still out of print (or better left unrented), having the best material lifted out of them is a real treat. I did feel gypped, though by the meagre sampling of Carmen Miranda's work... she had some really distinctive routines, and it would be nice to see more of her! A fluffily produced featurette, yet evocative of a golden era.

The world is a stage, the stage is the world of entertainmen
THis is when Hollywood was at it's best and we were blessed with the MGM Musicals and no one did them better.I have all 3 "That's Entertainment" on Lazer Disc and it is pretty wonderful, but TE 3 is not only more of the same wonderful singing and dancing but also takes you behind the scenes to show you how some of the MGM magic was done. I also ran this film at my theatre in Florida and it was longer than this version. It seems for some reason they have edited out the Cinerama segments and i don't know why.I so much wish that MGM would release these onto DVD in 5.1. One of the neat things about this TE 3 is how the sound keeps switching from center speaker to all five. The sound is rich and thrilling. If you buy this video it will be like a wonderful history lesson of the movie musicals.They simply don't make them like this anymore for several reasons. The first and most important is that there isn't anymore great talent left in Hollywood anymore. Second, we don't have really good directors. Third, there is no creative power anymore and forth is the cost. So just sit back, relax and take a walk down memory lane and enjoy the best of what MGM had to offer. Now "That's Enterainment."

Really not especially good...
...none of the TE compilations are, in my opinion. The numbers are always chopped up to the point where most musical enthusiasts won't want to watch them (TE3 uses several clips that appeared in the first two films), and the in-between segments by the stars, pleasant though it is to see them again, are kind of a downer.

The redeeming features in this one are the rare outtakes/alternate versions, and Lena Horne, who has kept her looks marvelously and speaks of her MGM days without that Vaseline-lens glow of unchecked nostalgia that makes the other stars' reminiscences so curiously depressing.

AS GOOD AS THE FIRST "THAT'S ENT!", MAYBE BETTER!
Nobody made better musicals than MGM, and they certainly had reason to celebrate their legacy when THAT'S ENTERTAINMENT! was released in 1974. That all-star compilation of great musical numbers from the studio's past was, and is, a non-stop whirlwind of joy and phenomenal clips. The sequel in 1976 (PART 2) had some great footage, but some curious inclusions, and there was no rhyme or reason as to what was being presented. It took almost 20 years, but the studio went back to the golden vaults again for THAT'S ENTERTAINMENT! III and came up with a winner.

Although it didn't get the kind of theatrical release that it should have, T.E. III got virtually unanimous rave reviews, and deserves to be seen. (Why on earth haven't they released a DVD of this great film?). As the AMAZON reviewer indicates, anyone who feels a third entry in the series would be created from "leftovers" would be happily mistaken. There are more than 50 terrific numbers in this entry, but more importantly, THIS is the "Entertainment!" that really takes us behind-the-scenes into the process that went into making these films. The truth behind the MGM dream factory. The MGM stars that returned to the studio to host the segments are all terrific, particularly Lena Horne who deals frankly with the racial issues that subdued her career opportunities. The highlight of this picture are at least a dozen never-before-seen outtakes featuring Garland, Astaire, Debbie Reynolds, Horne, etc. that are as good as anything that they DIDN'T leave on the cutting room floor.

Produced with class and intelligence, and compiled and edited with skill and wit, this is a best-best for any fan of MGM musicals or classic Hollywood for that matter! ... Read more

Reviews (1)

Carole Lombard is the only asset of this film
A film that is not THAT important. It is not even very entertaining. But it raises an important question about journalism. A journalist is only aiming, according to this film, at increasing the circulation of his paper no matter how. Here this policy is entirely based on a fake event. It is overdramatized and it is super-effective in New York. Millions of people react to the story in the most sentimental and sympathetic way. And they cannot be moved from their support of the poor dying girl that is presented in this story. It is a complete sham. And yet it works. This raises the question of the responsibility of the journalist and the conclusion is alas very negative. Journalists are opportunists.

Dr Jacques COULARDEAU ... Read more

Reviews (5)

MCA/Universal Classic 1933 - early look at Cary Grant!!
MCA/Universal is re-releasing the great Stars of early Hollywood Classics. It is truly great to see these stars in their early careers.

"The Eagle and The Hawk" - starring A young Fredric March & Cary Grant. (With a cameo of the fabulous Carole Lombard). This World War I film is a psychological battle of the aerial dog fighting between young men and the lasting effect on these young pilots and observers.

March & Grant are bitter enemies who respect each others professional abilities. Who team up to become the squadrons best aerial team. The stress of the job and the constant exposure to death take their toll on our stars.

Excellent protrayal of young men and their experiences in war.

The acting of March & Grant are tops. A brief visit of Carole Lombard eases the pain & sufferings.

This VHS, Standard version is a good copy with an original trailer included. Enjoy.

A Shining Example of Good Film
We've been watching a lot of Fredric March movies in the past several months. It amazes me how many times he appears in uniform. This is one of at least four times in WWI uniform. Anyway.

It was really interesting to see him working with Cary Grant, who plays a former labourer with an attitude. But deep down he has compassion on Fred's character, a former polo player who can't deal with all the killing and death he is witnessing. He thought the war would be a party. The movie shows his progression from a carefree soldier to one who has nightmares and is losing his sanity. Although Cary Grant acts as if he can't stand Fred, in the end he steps in and - well, watch the movie and you'll see.

Jack Oakie plays a loafer at home and a loafer at the front. Occasionally he does fly the airplane, but only once do you see him in the plane - always he's sitting in a wheelbarrow reading "A Night in a Turkish Harem", lounging in a bathtub, and so forth.

Carole Lombard had a platinum blonde and overly made up bit part as a trampy-looking woman who shows kindness to Fred when he's on leave. I couldn't really figure out what purpose she played in the movie... kind of strange.

I don't have a lot to say about this movie except that it is really really good, and you should see it by all means.

Another Great Fredric March Performance
Just this year I have discovered Fredric March, and what a great actor he is. He does not disappoint in "The Eagle and the Hawk" either. He plays an ace American flyer in the Royal Flying Corps, who was at first eager to go to war, but once in France and actually participating in the war, he finds that war is not the romantic glamour thing he envisioned it would be. War, he found, is actually killing people. It disturbs him greatly to realize that so many must die, and that he has a part in so many deaths. He begins to slowly lose his grip on his sanity, for none of the other men seem to feel the way he does, about the senslessness of war, of killing young boys just free from their mothers. He is a skilled flyer and earns many medals, but in the end they mean nothing to him, for he earns them by killing, which he cannot stand. The commanding officer grants him 10 days leave to hopefully "cheer" him up, but it does not work, for at the party he attends, all people want to talk about is the war; even one woman's young son asks him gory details about planes going down and people dying. It is during the leave that the Carol Lombard character enters the picture. I don't think she was really necessary. I personally felt she wasn't right for the role. I didn't care for her personality, her make-up and hair, and her ridiculous fur coat! But she was there to listen to Fredric talk to himself about the senselessness of war, and he needed to vent, and she was there. I think another woman would have been better, a more naturally beautiful one, one with more naivity and gentleness of spirit. I believe that the scene had much more potential than it was given. Anyway, Fredric goes back to war, and finally cracks up, and kills himself. The Cary Grant character, who was antagonistic toward Fredric March in the whole movie, is kind to him in the end, and makes it so noone knows he lost his sanity, but that instead he died a war hero. I do not know why Fredric March is not on the cover of this video, HE is the star, not Grant or Lombard! I recommend this for a good example of Fredric March's acting. I should mention that his scene where he was having the nightmare of all the people who died was very touching. This isn't a very long movie, so give it a watch, you'll like it.

Memorable Movie!
This is a memorable antiwar movie with Fredric March as a reluctant hero, co-pilot Cary Grant, everyone's pal Jack Oakie, and society dame Carole Lombard. Great film. Wonderful Acting. Important Message. --Diana Dell, author, "A Saigon Party: And Other Vietnam War Short Stories."

The Eagle and the Hawk
"The Eagle and the Hawk" is an excellent anti war movie and has good aerial footage. All the actors in it did a great job! If you are a fan of classic movies you are sure to enjoy it. ... Read more

Reviews (5)

Rare Early Teaming of Bing Crosby and Carole Lombard
"We're Not Dressing", produced by Paramount in 1934 sadly seems to be a film that is largely forgotten today. Nevertheless it is a film which displays alot of important elements that later became the acknowledged "trademarks" of the performers involved in the production. Foremost here we see a very early example of Bing Crosby's relaxed crooning style of musical delivery that became his trademark in countless memorable film performances in the decades to come. Beautiful leading lady Carole Lombard was just starting to fully emerge as the glowing Paramount star beloved of film audiences around this time and "We're Not Dressing", gives her a wonderful character to work with in uppity society girl Doris Worthington who learns a lesson or two about humility while stranded on a desert island. Ethel Merman also displays her high voltage and totally arresting performing style in an energic supporting performance as Doris's man chasing sidekick Edith. The film despite it's obvious short falls compared to later big budgeted musicals is an enjoyable treat that is unique in it's teaming of two very different performers in Crosby and Lombard.

"We're Not Dressing", has a quite famous pedigree having been loosely based on the novel "The Admirable Chrichton", by James M. Barrie. It had already served as the source material for the legendary Gloria Swanson in one of her most famous roles in Cecil B. DeMille's production of "Male and Female" in 1919. This version while obviously accomodating the musical talents of Bing Crosby takes a far more lighthearted approach in telling the story of society heiress Doris Worthington who along with her friends and a deck hand from her yacht becomes marooned on a tropical island when her yacht sinks after hitting a reef. The film interestingly explores the whole issue of the "roles" society imposes on people and how the "order" of things can be reversed when circumstances change . In this case while on the ship the roles were very much master and servant, once on the island they are reversed as sailor Stephen Jones (Bing Crosby) possesses all the common sense and practical knowledge to survive in the wilderness while Doris and her spoiled society friends are ill equipped to look after themsleves minus the comforts of life and servants. While on board Doris is pursued by two hangers on in the vapid Prince's Alexander and Michael (Jay Henry and a very young Ray, billed as "Raymond" Milland) however her real affections are diverted to the singing sailor on board who in between scrubbing decks must do thankless tasks such as caring for Doris's pet bear Droopy. Conflict arises between Doris and Stephen once they manage to get to the island as she is the one used to giving orders and now she finds herself having to follow Stephen's orders if she wants to survive while stranded. There are many lighthearted moments while they wait for rescue which include the hopeless efforts of Doris and her friends to build a hut which collapses while Stephen's effort holds up to the elements and when the group encounter eccentric husband and wife Botany team George and Gracie (George Burns and Gracie Allen essentially playing themselves to hilarious effect). Of particular note are Gracie's bizzare "animal trap" inventions that get George in particular into all kinds bother and trouble. Despite their personal conflicts with each other which involve a number of slapping scenes followed by a kiss, true love does blossom for Doris and Stephen and when the group are finally rescued the two cast aside their preconceived ideas of the different levels of society not mixing and decide to let romance rule between them on the boat back to civilisation.

First and foremost above being any deep commentary of the values of different levels of society, "We're Not Dressing" is a musical treat for one and all. Bing Crisby is given a number of memorable tunes to croon throughout the film and prominent among them are "A Sailor Must Be True To Any Girl", "May I?", "She Reminds Me Of You" and especially the beautiful "Once In A Blue Moon". Ethel Merman also has an oportunity to shine in the highly energic "It's A Spanish Custom" which is a real showcase for her big voiced singing style. Directed with a nice pace by veteran Norman Taurog who was responsible for helming such diverse films as the classic "Boy's Town" (1938) through to a number of 1960's Elvis Presley vehicles, here he manages to smoothly incorporate the comedy elements of the story in between the many musical numbers with ease. It is fascinating to see two such different talents as Bing Crosby and Carole Lombard combining together in their only screen appearance with each other here. Carole Lombard famous for her screwball comedy antics here is wonderful as the spoilt rich girl who learns a few lessons about life and while the young Bing Crosby would never register as matinee idol material, here he manages to add alot of dimension to his at first subserviant character that learns to assert himself and take charge of those who's orders he once had to follow. Being a big budget Paramount production this film has "A" class production values and the numerous location shots done at Catalina island which stands in for the Pacific Island in the story are first rate and give alot of the film less of a studio bound look.

"We're Not Dressing", is an interesting and entertaining early 1930's musical vehicle which helped pave the way for many much more grander "South Seas" efforts in later years. Bing Crosby in only his fourth or fifth film here displays the obvious talents that endeared him to audiences ever after and while her truly great years were still ahead of her when she made "We're Not Dressing", Carole Lombard reveals here the stuff that help make her a top rate Hollywood legend . Enjoy Crosby and Lombard and other colourful characters stranded on an island and having to reassess their "stations in life" in Paramount's amusing 1934 effort "We're Not Dressing".

charming musical with Carole Lombard and Ethel Merman
WE'RE NOT DRESSING is a charming 1930s musical starring Bing Crosby, and is noteworthy for several songs, the legendary Broadway belter Ethel Merman and the comedic stylings of co-stars George Burns and Gracie Allen.

Bing Crosby plays Stephen Jones, a crooning deckhand of the yacht owned by charming society heiress Doris Worthington (Carole Lombard - MY MAN GODFREY, NOTHING SACRED). Also on board are Doris' best friend Edith (Broadway's Ethel Merman) and the continually-sloshed Hubert (Leon Errol). After Stephen and Doris clash several times during the voyage, he is fired, but not until a freak storm crashes the yacht and dumps all the occupants on a desert island. Also living on the island are George and Gracie (George Burns and Grace Allen, essentially playing themselves).

There are a few choice songs in this delightful musical, including "Love Thy Neighbor", "May I?", "Once in a Blue Moon" and "She Reminds Me of You". Ethel Merman also impresses with her infectious number "Spanish Custom".

A lovely little movie indeed.

MCA/Universal presents Bing Crosby & Carole Lombard!!!
MCA/Unicersal Clacssics have restored and re-released "We're Not Dressing" on home video. This movie falls under the Bing Crosby Collection.

Early Crosby croons several catchy tunes in this semi-musical at sea comedy / love story.

Summary - Crosby a crooner deck hand on a millionairesses (Lombard) yacht. Lombard (beautiful & funny) falls for Crosby but acts as the totally spoiled rich girl. As all 1930's musical comedies we have a great supporting cast to include; comedians - Leon Errol, George Burns & Gracie Allen, a very young singing Ethel Merman. A young Ray Milland trys to swoon Lombard. This funny crew ship wrecks on an island & Crosby becomes the "IN-Charge" go to guy. This is some funny stuff with catchy tunes to beat.

An original trailer is included. Enjoy this 1935 Hollywood Film with Crosby & Lombard.

DER BINGLE AND THE QUEEN OF SCREWBALL.
The beautiful, multi-talented Lombard plays Doris Worthington, a beautiful but spoiled heiress, who is being courted by Princes Michael and Alexander Stofani on her private yacht. Bored with her aristocratic life, Doris begins a cheeky alliance with a poor singer named Stephen Jones - Bing, naturally. It's one of those comedy romances in which the two mis-matched parties fall in love and strive to mend their differences - for better or for worse. Charming and beautifully photographed, it shows the two stars at their most appealing. Some scenes were filmed on Catalina Island and reviews of the day widely compared this film's plot with a 1902 play by a Sir James M. Barrie entitled THE ADMIRABLE CRICHTON.

a fun romp with great music
I remember first seeing this one as a kid and been on the prowl for it ever since.
For fans of Bing this is a must.
His voice is still new (1934), crisp and delightful.
Burns & Allen are up to thier usual madness.
An all around good film.

Basic plot: Carole is a spoiled rich girl with her posse on an ocean liner. Bing is a lowly cabin boy who runs into trouble with her (love that "smacking" scene). When the boat is shipwrecked they land on an island where Burns & Allen are horticulturists(!) and love blooms!

That's all I'll tell you!
Give it a try, you're sure to enjoy. ... Read more

Reviews (12)

Enjoyable Mix of Classic Moments & Rare Footage
Opening with a Gene Kelly-introduced segment concerning early efforts to develop musical stars and material, this third installment of the THAT'S ENTERTAINMENT quickly seques into celebrity-introduced film clips from MGM musicals--film clips that range from familiar favorites to out-takes, rareities, and numbers that were cut from films before their release. The narrators are well scripted, well filmed, and often interject insightful personal notes by introducing clips from their own movies.

Such is the case with the legendary Lena Horne, who presents a casually-spoken but quite powerful narrative about the Hollywood racism that limited her career and ultimately prevented her from playing Julie in SHOWBOAT. But the real power of THAT'S ENTERTAINMENT III is in it's "never-before-seen" footage--footage that includes memorable performances by Judy Garland, Fred Astaire, Cyd Charisse, and Lena Horne among others. The film also offers the chance to see some truly rare bits of film, including Vaudeville acts hoping for film stardom, scenes from the early Technicolor and never-completed film MARCH OF TIME, and pre-code bathing-beauties. THAT'S ENTERTAINMENT III doesn't have quite the same dash and splash or variety as the original THAT'S ENTERTAINMENT, but it moves at a smart pace, and fans of movie musicals will find a great deal to enjoy. Recommended.

A little something for everyone
Hey -- don't look at me that way! They were showing it on TV, and how could I resist? Like the previous installments in this series, this scrapbook documentary patches together some of the most dazzling and outlandish dance numbers from the golden age of MGM musicals, using hackneyed narrations by old-time studio stars such as Gene Kelly, Lena Horne and Esther Williams. The numbers whiz by like lightning, deftly navigating the shoals of countless half-forgotten tossoffs and classic A-list films. Naturally, some bits will appeal more to some viewers than others... my attention began to wander when the Esther Williams and Gene Kelly sequences went on too long: her movies were too bland to merit the extra attention; his were too good to merely nibble at in a forum like this. But the clips from lesser-known films are pure gems, and since many of these films are still out of print (or better left unrented), having the best material lifted out of them is a real treat. I did feel gypped, though by the meagre sampling of Carmen Miranda's work... she had some really distinctive routines, and it would be nice to see more of her! A fluffily produced featurette, yet evocative of a golden era.

The world is a stage, the stage is the world of entertainmen
THis is when Hollywood was at it's best and we were blessed with the MGM Musicals and no one did them better.I have all 3 "That's Entertainment" on Lazer Disc and it is pretty wonderful, but TE 3 is not only more of the same wonderful singing and dancing but also takes you behind the scenes to show you how some of the MGM magic was done. I also ran this film at my theatre in Florida and it was longer than this version. It seems for some reason they have edited out the Cinerama segments and i don't know why.I so much wish that MGM would release these onto DVD in 5.1. One of the neat things about this TE 3 is how the sound keeps switching from center speaker to all five. The sound is rich and thrilling. If you buy this video it will be like a wonderful history lesson of the movie musicals.They simply don't make them like this anymore for several reasons. The first and most important is that there isn't anymore great talent left in Hollywood anymore. Second, we don't have really good directors. Third, there is no creative power anymore and forth is the cost. So just sit back, relax and take a walk down memory lane and enjoy the best of what MGM had to offer. Now "That's Enterainment."

Really not especially good...
...none of the TE compilations are, in my opinion. The numbers are always chopped up to the point where most musical enthusiasts won't want to watch them (TE3 uses several clips that appeared in the first two films), and the in-between segments by the stars, pleasant though it is to see them again, are kind of a downer.

The redeeming features in this one are the rare outtakes/alternate versions, and Lena Horne, who has kept her looks marvelously and speaks of her MGM days without that Vaseline-lens glow of unchecked nostalgia that makes the other stars' reminiscences so curiously depressing.

AS GOOD AS THE FIRST "THAT'S ENT!", MAYBE BETTER!
Nobody made better musicals than MGM, and they certainly had reason to celebrate their legacy when THAT'S ENTERTAINMENT! was released in 1974. That all-star compilation of great musical numbers from the studio's past was, and is, a non-stop whirlwind of joy and phenomenal clips. The sequel in 1976 (PART 2) had some great footage, but some curious inclusions, and there was no rhyme or reason as to what was being presented. It took almost 20 years, but the studio went back to the golden vaults again for THAT'S ENTERTAINMENT! III and came up with a winner.

Although it didn't get the kind of theatrical release that it should have, T.E. III got virtually unanimous rave reviews, and deserves to be seen. (Why on earth haven't they released a DVD of this great film?). As the AMAZON reviewer indicates, anyone who feels a third entry in the series would be created from "leftovers" would be happily mistaken. There are more than 50 terrific numbers in this entry, but more importantly, THIS is the "Entertainment!" that really takes us behind-the-scenes into the process that went into making these films. The truth behind the MGM dream factory. The MGM stars that returned to the studio to host the segments are all terrific, particularly Lena Horne who deals frankly with the racial issues that subdued her career opportunities. The highlight of this picture are at least a dozen never-before-seen outtakes featuring Garland, Astaire, Debbie Reynolds, Horne, etc. that are as good as anything that they DIDN'T leave on the cutting room floor.

Produced with class and intelligence, and compiled and edited with skill and wit, this is a best-best for any fan of MGM musicals or classic Hollywood for that matter! ... Read more

Reviews (7)

The greatest classic comedy no one has seen
Of the great screen comedies from the Golden Age of the Hollywood Studio system, few are seen as rarely as TWENTIETH CENTURY. This is tragic for a number of reasons. First, this film is usually considered the first of the Screwball comedies that glorified the thirties and forties. Howard Hawks holds the unusual and unique distinction among the great directors of not only having mastered a huge number of genres but having actually invented several of them. In 1932 he invented the gangster film with his great classic SCARFACE. In 1950, he created the alien Sci-fi film, when he directed (without credit, though the credited director Christian Nyby always acknowledged that Hawks actually directed) THE THING FROM ANOTHER WORLD. He also made significant contributions to a host of other genres, including the detective film (THE BIG SLEEP), the adventure film (TO HAVE AND HAVE NOT), and the Western (RED RIVER). He not only invented the Screwball comedy with TWENTIETH CENTURY in 1934, he went on to direct two of the greatest Screwball comedies ever in BRINGING UP BABY and HIS GIRL FRIDAY. No other director in the history of film had Hawks's gifts as an originator of new types of film or his range as a director.

Another problem with this film being shown so rarely is that it keeps us from seeing two of the greatest performers in American cinema, John Barrymore near the end of his star career and Carole Lombard near the beginning of hers. This was one of the very last films Barrymore made before the years of heavy drinking began to catch up with him. After he made this film, his remarkably handsome features began to fade, and for the last few years of his career he specialized in playing comic drunks. This he did exceedingly well, but more because it was the only kind of role left for him to play. But here, in this film, we get the real John Barrymore for one last, great role. Lombard had made a gigantic number of films in the twenties and the early thirties, but it was only with this film that she became an "A List" actress. From this point on, she would be regarded as one of if not the greatest screen comedienne, and would be in some of the finest comedies ever made until her premature death in 1942.

The plot is simple: Broadway impresario Oscar Jaffe's (Barrymore) career had been on a long slide since his greatest discovery, Lily Garland, has departed the stage for stardom in Hollywood. They accidentally meet on the Twentieth Century Limited, and he decides play every trick in the book to get her back into his life, both professionally and otherwise. The script is exceedingly witty, and was a reworking of a stage play written by Ben Hecht and Charles Macarthur, whose work Hawks would film again in 1940 in HIS GIRL FRIDAY. The tight, terse, fast-moving dialogue that we associate with Hecht and Macarthur are evident at every point in TWENTIETH CENTURY. Between Hawks's deft direction, Barrymore and Lombard's performances (as well as the work of several crack character actors such as Walter Connolly), and such a superb script, this film was can't-miss from the start.

A bit of trivia: Howard Hawks and Carole Lombard were second cousins.

One of the first screwball comedies
A fast-paced and hilarious screwball comedy. Howard Hawks directing Barrymore, Lombard and some great character actors ( with great dialogue by Ben Hecht) -- all this on a speeding train -- what more could you ask for?

John Barrymore As...O.J.?
Nobody gets decapitated, however, as the acronym here stands for Oscar Jaffe. Nearly 70 years after its premiere, TWENTIETH remains a perfect comedy and a wonderful, visually sumptuous movie. Director Howard Hawks' hand is evident, though subtly, in the many ingenious setups and camera movements. For the most part he's wisely content to let the play be the thing, blessed as he was with a brilliantly funny property and cast. You all know about Barrymore's ego-monster producer and Lombard as his diva-protege (she's scrumptious to look at throughout, and funny besides), but not enough has been written in praise of the crack support of perpetually-soused Roscoe Karns, Walter Connolly (for once playing something besides a millionaire or a city-room editor), Charles Lane and a particularly unforgettable Etienne Girardot. Of course, Barrymore outshines them all, with his 'iron-door' pronunciamentos, his acting out every role in the antebellum play he's staging, and even his deliberate (and very funny) enunciation of the name 'Max Mandelbaum'. They don't make 'em like this any more (actually, they didn't often make 'em this well back then, either). People just don't talk this fast in movies anymore, nor do comedies hurtle along at such a clip, despite all the fractured MTV-style editing techniques giving the illusion of speed & motion. And when they try to adopt this screwball style nowadays, it simply feels - and plays - false. But never mind all that. Why are you reading this when you could be watching the video??

comedy masterpiece
Carole Lombard and John Barrymore star in the wacky backstage comedy TWENTIETH CENTURY, one of the best films in Lombard's career.

Lily Garland (Carole Lombard) is an actress plucked from obscurity to become the protegee of a fanatical theatre director (John Barrymore), and he gradually falls in love with her. The feeling isn't mutual so Garland leaves for Hollywood and almost destroys his career. It's not until they meet again on the Twentieth Century Express that he traps her into returning to the stage in the most crafty of ways!

A delightful comedy, Barrymore gives a remarkable performance, perfectly complimenting Lombard's. Very fun.

Great film with two great stars!
Lombard, a classic film great, and John Barrymore make this movie wonderful. The attitudes and personalities they bring to the characters bring this story to life. Nobody except Lombard could have made the snooty character likeable. And although you tend to dislike what Barrymore's character is about, you can't help but love the way he brings it across for the audience. This film and "My Man Godfrey" are must-haves for any fan of Carole Lombard! ... Read more

Reviews (3)

An okay DVD
This DVD is dated. It looked as if it was made no later that 1960. Poor picture quality, and they could've featured more love goddesses.

DVD just like the video
While most DVDs add something special to the disc, this one has nothing new to add. Both the video and DVD have some entertaining clips of Theda Bara, Marlene Dietrich, Clara Bow, Pola Negri, Ingrid Bergman, Marilyn Monroe and others, but, unfortunately, the cuts between the Love Goddesses are obvious, as if the producers have done a quick job of putting all the actresses on a list and then splicing from one actress to another, without rhyme or reason. That's a shame because the subject is interesting. Still, if you love to watch some fascinating footage and will forgive the sudden shifts from one actress to another, you will enjoy "The Love Goddesses."

Celebrating the Love Goddesses of the Silver Screen!
This film, produced in 1965, is a wonderful collage of the many kinds of vamps, starlets, love goddesses, girls-next-door and sirens that have graced the silver screen since the turn of the century. See Theda Bara, Pola Negri, Lillian Gish, Gloria Swanson, Greta Garbo, Marlene Dietrich, Elizabeth Taylor, Ginger Rogers, Rita Hayworth and even the child star Shirley Temple put their own indelible brand of love on the screen. It examines how, over the course of sixty years, women's sexuality has evolved, and played itself out in different arenas in film. While some of the film clips are a little iffy, it is exceptionally well made. A pure joy to own if you are an admirer of any of the actresses presented, interested in women's studies, pre-code Hollywood or the history of sexuality in film. ... Read more

Reviews (3)

"She started yellin' for her Mamma and then ran out!"
"The Princess Comes Across" is definitely in the second tier of Lombard films, but well-made and worth renting for fans.

Lombard stars as ordinary showgirl Wanda, aka "Princess Olga". With a fake Swedish accent (which Lombard pulls off very nicely) and a friend and fellow thespian posing as a lady-in-waiting, Wanda gets a free crossing on an ocean liner and a film contract waiting for her in Hollywood. Unfortunately, a body turns up in her stateroom and the ruse becomes dangerous, especially when bandleader and concertina-fancier Fred McMurray gets involved.

It's all pretty silly, but harmless enough with a few snappy lines and a host of character actors brightening the mix. McMurray and Lombard don't have much chemistry, but the costumes are glamorous and we do get to hear Fred sing. Pretty much a renter, but enjoyable.

GRADE: B-

A classic 'Thirties comedy
Carole Lombard and Fred MacMurray co-star in this swell screwball comedy in which Lombard, a down and out American actor posing as European royalty, comes up against MacMurray, a brash, wisecracking big band musician who casts a cynical eye on her masquerade. They, um, fall in love eventually, (duh!) but the hijinks and sharp quips in between are quite enjoyable. A classic! Plus, you get a chance to see MacMurray portray a tough guy, as well as sing and play the concertina! Lombard is a total dish, too.

VINTAGE LOMBARD COMEDY
An engaging little film from 1936. THE PRICESS COMES ACROSS adroidly combined a whodunit by Philip MacDonald with a romantic comedy novel by Louis Lucien Rogger, to give Lombard and MacMurray and delicious successor to their previous 1935 hit HANDS ACROSS THE TABLE. It took six writers to make up a brilliant script (for once, too many cooks didn't make hash!) Carole is a Brooklyn showgirl who took a third-class trip to Europe from which she returns first-class.............On the way back to the states, Carole assumes the idenity of a Swedish princess in the hopes of being discovered as a new Garbo! A zany comedy thriller with plenty of jokes has our Carole pose as royalty on an ocean voyage on a luxury liner where she meets romantic MacMurray; they soon become embroiled in a whodunit! This deft blend of satire, comedy and mystery is interesting for Lombard's obvious poke at Garbo and there's William (Fred Mertz) Frawley in rare form as Benton. William K. Howard directed Arthur Hornblow Jr.'s production and kept things skimming along at a fine rate of knots - to top it off, MacMurray even sings a little ditty entitled MY CONCERTINA. ... Read more

Reviews (4)

Carole Lombard in a strange little supernatural thriller
"Supernatural" is still available as a videotape because it stars Carole Lombard, but you will appreciate it more if you focus more on director Victor Halperin, whose previous film had been "White Zombie." We begin with the slimy Paul Bavian (Alan Dinehart), a fake spirtualist who wants to get his hands on the Courtney family fortune. Towards that end he tells young Roma Courtney (Lombard) that he is in communication with her dead brother, John (Lyman Williams). Bavian arranges a seance using his landlay, Madame Gourjan (Beryle Mercer) and uses a mask of John's face to convince Roma that her brother, reaching out from beyond the grave and tries to convince her that John was murdered by Robert Hammond (William Farnum), Roma's legal guardian. Of course, Roma is upset by this news and does not know what to do.

Meanwhile, in another part of town, we meet Dr. Houston (H. B. Warner), a psychologist who believes that the spirits of dead criminals can enter the bodies of the living and continue to commit crimes. To prove his theory, the doctor has made arrangements with Ruth Rogen, the "Greenwich Village love-murderess" who is about to be executed for the murder of three of her lovers, to perform experiments on her body when she is dead. Ruth has agreed because she wants to take revenge from beyond the grave on Bavian, who is the one who betrayed her to the police.

Now, if you understand the first part of the plot and accept the second part, then you can get a good idea of how this one is going to end. The biggest problem with "Supernatural" is achieveing a willing suspension of disbelief, but if you can get past that this is a nice little thriller in the tradition most of us would recognize as being akin to the "Inner Sactum" radio show or E.C. Comic's "Tales from the Crypt." If you were never in to such nonsense I can see where this one will strike you as stupid, and fans of Lombard the comedien will find nothing here of value, but in the context of 1930s horror movies, "Supernatural" is not that bad. This 1933 film is only a bit over an hour long, so it moves pretty quickly all things considered. The special effects are hokey, but, again, by the standard of the time it is still above average.

Early Lombard in a eerie little tale
It's wonderful that MCA Universal have released this rare and little seen film onto video. Without the benefit of this I feel this film would be completely forgotten. It comes over as a strange and rather haunting tale that is all wrapped up in roughly 65 minutes but never fails to leave a lingering feeling in you due to its rather different subject matter.

"Supernatural" is a unique and quite disturbing film that deals with certain issues, like using corpses for research , that would not have been filmed a few years later. It also is a great opportunity to see the great Carole Lombard in a very early film role prior to her becoming the screwball queen of comedy in such classics as "Twentieth Century" , "Hands Across the Table", "My Man Godfrey, and "The Princess Comes Across". Her's is a masterful portrayal of a girl, Roma Courtney who, in trying to contact her recently deceased brother at a seance becomes possessed by the evil spirit of a recently executed murderess. She begins to take on her characteristics and liking for murder. It is Lombard in a very different light and reveals her great talents for drama as well as comedy.

In this production Carole Lombard shares the limelight with Alan Dinehart in the showy role of Paul Bavian who plays the phoney spiritualist who tries to lure Roma into a rigged contact with her deceased brother via some tricks with lighting and strings. He portays a quite chilling character and his scene where he ruthlessly murders his prying landlady Beryl Mercer is very frightening and adds to the distubing feel that this film projects. Perhaps most memorable of all is actress Vivienne Osborne in the brief but memorable role of Ruth Rogen the executed murderess. Her few scenes are excellent and her chilling character with the sickening laugh awaiting execution on death row will stick in your mind for a long time. Leading man Randolph Scott lends his usual capable support to Lombard in the role of Grant, Roma's boyfriend.

"Supernatural" has a very polished look about it no doubt backed up by all the expertise at Paramount at the time. The visual effects and superimposing of images is very well done or the time and the fake seance scenes are quite riveting in the mood they create.

While not as famous as Carole Lombard's other memorable roles, I feel it is an interesting work and an important film in her career development. If like me you are a fan of Carole's make sure you include this in your video collection of her work to show the variety of roles she was capable of performing. In short enjoy the eerie story that "Supernarural" has to tell, you wont be disappointed.

An Underrated Chiller
Independent producers Victor and Edward Halperin are best known for "White Zombie," the 1932 horror classic that features one of Bela Lugosi's finest performances. However, the Halperins' 1933 follow-up, "Supernatural," is a must-see. Running only 64 minutes, this imaginative thriller boasts a memorable cast and some stunning visual touches. From a stylistic and thematic standpoint, "Supernatural" is quite similar to "White Zombie" -- right down to the memorable close-ups of Carole Lombard's eyes and the inventive use of superimpositions. Since the Halperins received backing from Paramount, "Supernatural" is a more polished production than "White Zombie," though it lacks the stature of the Lugosi film. Thanks to MCA Home Video, this underrated chiller has been rescued from obscurity. "Supernatural" is a minor classic of the genre.

Hidden gem.
This is an excellent film, however it was released by Paramount and not Universal. ... Read more

Reviews (4)

If you like "It Happened One Night" you'll love this movie
I first came across this film at a local video store that carries hundreds of old classic films that you can't find anywhere else. Because of the great characters and great acting, it is one of my favorites. The plot is so unique. I love how Babe wants to become an "honest man" but doesn't want Connie to know. And even more so that when Connie finds out he had been in jail for 90 days, she doesn't tell Babe that she knows. She just lets him tell his stories and loves him even more than she did before. What a fun love story!

GABLE AND LOMBARD.
Strangely, this little flick is the only one in which both Gable and Lombard appeared in together. Clark Gable was such a blazing new star in 1932 that acquiring him for NO MAN OF HER OWN was considered a major coup. It came about when MGM wanted Fredric March to star with Norma Shearer in SMILIN' THROUGH and in exchange was negotiated. Gable's potent magnetism had a responsive foil in Carole Lombard, he as a crooked gambler on the run from detectives, she as a wise, big city gal, hiding out as a small town librarian who falls for his advances and marries him..........When Gable returns to New York for more "easy money", he eventually surrenders to the law because a jealous confederate (Dorothy Mackaill) threatens to expose him. The routine plot caught fire from the Lombard-Gable spark, which also ignited a long (albeit intermittent) off-screen love affair which eventually led to marriage seven years later. Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana in 1908; she was originally a chubby Mack Sennett bathing beauty in silents. Gable was born William Clark Gable in Cadiz, Ohio on February 1, 1901; he got his start in show business doing theatre work in Portland, Oregon, much to the dismay of his stern German dad, who was never terribly impressed with his son's success in the movies; he thought acting was an inept way for a man to make a living.

Clark Gable meets and falls in love with Carole Lombard
I have in my possession a telegram sent by Clark Gable and Carole Lombard announcing their marriage, as well as a Christmas card signed "Clark and Carole Gable," so it was certainly interesting to see the film where the legendary Hollywood couple first met. Gable plays Babe Stewart, a big-time gambler, who is hiding out in a small midwestern town when things get too hot for him in New York. With nothing better to do he bets