Reviews (50)

3 stars for format...
4 stars for the movie, 3 for the DVD.

Love the movie. Remember it from my youth. Highly recommended for young aspiring kings and princes. It's a laughter-filled romp, and Disney at his best for great storytelling, and great character development.

However, this DVD gets only three stars from me because it is in Full Screen format, when the original was widescreen. As usual in these cases, in the tiny print at the bottom of the box, the dreaded words for any 16:9 TV owner:

"This presentation has been modified from the original. It has been formatted to fit your TV screen".

You'd think by now, the studios would get a clue, ESPECIALLY Disney, and release either the original with letterbox, or put both on the disc like so many do... Does anyone here like "Pan and Scan"?

My complaint ends there. It is otherwise a wonderful film to share with your kids... I enjoyed watching it again after so many years, this time with my four-year-old son. We laughed and marvelled together over the antics and magic of the Wizard Merlin, and the adventures of young "Wart". He was ready to see it again as soon as it ended.

Another must-have Disney classic!
I remember the first time I saw this movie. I've always loved Arthurian legends, and in its usual style, Disney puts aside many historical facts in favor of a more entertaining movie, fun for the whole family. Sword in the Stone ranks up in the top 3 of my favorite Disney movies of all time. The characters are well done, Merlin is hilarious, and the artwork and colors are beautiful, making this movie great scenery for the younger kids, and great, enriching fun for the older ones.

A Classic Disney Film that is sometimes overlooked.
This may not be as iconic as some of the other films that the Walt Disney company has made, but it is definately a classic. This gives us a more lighter whimsical look on Camelot. The voice talents are great. The animation is in the classic 60s style that Disney was into at the time. The whole movie is fun. See it, it is not a masterpiece landmark of an animated film but very very good indeed.

My #2 Favorite Disney Movie!
This is my #2 favorite Disney Movie.Sleeping Beauty is My #1 favorite,but just because it is my second favorite does not mean it is not a good movie,because this movie is absolutely great Especially Merlin.He steal's the show with his hilarious Magic spells and his extream intelligence.Merlin's wise talking pet owl Archimedes (who is voiced by the same person as rabbit on winnie the pooh) also is very funny who helps Wart (Future king Arthur) during movie,especially when Merlin turns him into a fish .This is a very good movie your whole family will enjoy.

Disney's 18th Animated Masterpiece!
This 60's Disney film was the last one that Walt Disney cooperated in all the way throughout it's making and theatrical release, he died in the middle of the making of The Jungle Book. The film is really great, and highly entertaining, although not a film I would personally watch over and over. This is the story of Merlin, a kind but a bit grumpy enchanter, on a quest to teach young Arthur that intelligence and strategy are more powerful than brutal strenght, and to teach him about science and math and how to read and write so that someday he'll become the greatest king in England.

The DVD is pretty decent, although the bonus features don't really relate to the film, I have to say that they are just enough to make this DVD acceptable. ... Read more

Reviews (1)

My Fair Lady 30th Anniversary Collector's Edition
I really enjoyed the movie. I was never into these types of movies until my girlfriend sat me down and had me watch it. I loved it and world recomend that everyone see it at least once and give it a chance ... Read more

Reviews (3)

Milland in his element
Ray Milland again delivers a fine performance, in the tradition of "Lost Weekend" and "The Big Clock". A fine outing for Lang; his angles and lighting in this genre are second only to Herr Siodmak (Siodmak was German; Lang Austrian). Marjorie Reynolds' performance, however, is wooden, and her "Austrian" accent leaves much to be desired. Sure, she's beautiful: But her faux German accent alongside brother Willi is hideous (he's obviously a native speaker) and adds nothing to the sense of reality of the film. Scene with "blind" man on train during Nazi bombing raid is particularly gripping. True noir devotees will want this for the collection.

It Begins At 6 O'Clock
Director Fritz Lang masterfully blends Nazi espionage, psychological intrigue, and dangerous romance into the 1944 noir classic Ministry of Fear. Ray Milland stars as a man wrongfully accused of murder who must prove his innocence. Stephen Neale (Milland) innocently guesses the correct weight of a cake at a charity fair and immediately becomes entangled in a series of bizarre events. Lang's suggestive use of camera angles, dark ominous lighting, and slow tracking frames provide added suspense to his mysterious sets which include: a seance, an asylum, a train car, and a book store. Probably the most innovative murder scene ever captured on film is when Carla ( Majorie Reynolds) shoots her brother Willi ( Carl Esmond) in the pitch darkness of a hotel room. Frequent noir visitor Dan Duryea appears as Mr. Travers, a well groomed tailor who actually is a Nazi spy. The film's shadowy mood pervades the context, which is a testament to Lang's creative genius. Ministry of Fear was one of the films that inspired Alfred Hitchcock to new artistic heights.

One of the best mysteries from the 40's with great imagery
This mystery has many interesting plot changes, great photography and is one of Ray Milland's best. Highly recommended and not as overplayed as many of the WWII era films are. ... Read more

Reviews (98)

Solid, entertaining classic restored
It's a fun movie. You can argue with the the "science"; you can argue with some of the optical effects (the use of poorly matted lizards vs. stop motion animation is a minor drawback to the film)and you can argue with some of the deviations from Verne's classic novel but none of this off sets the sheer aura of fun that surrounds this 50's classic. Made at the tail end of the science fiction boom that made the cinema profitable again during the threat of television, Journey succeeds through the top flight direction, witty dialog and performances of the cast.

James Mason is perfectly cast as Professor Lidenbrook and Arlene Dahl plays his spirited romantic interest. The plot is fairly well known so I'll stick to the quality of the film, restoration and DVD transfer. Pat Boone's career as an actor was often blighted by his singing career. He wasn't considered a "serious" actor. He gives a energetic performance that counter balances Mason's intense take as Liddenbrook.

The direction by Hollywood vet Henry Levin sparkles with a number of inventive set pieces. Michael Todd's spare no expense production allows this lavish production to continue to shine nearly 45 years later. The art direction is often imaginative and, despite the limitations of the time, manage to convey the wonder of Verne's original novel.

The optical effects are quite good half a century later. The matte paintings and miniatures still allow one to suspend disbelief and sink into the world portrayed here. The use of redressed lizards for the grand finale does undermine the conclusion a bit. Surprisingly, Todd and director Levin opted for using this approach instead of the more time consuming stop motion animation of Ray Harryhausen or Willis O'Brien. Although it would have delayed the film a bit and increased the budget as well, this brief sequence would have been more believable and lively if it had been made using O'Brien or Harryhausen.

All of this would have been to no avail if not for Bernard Herrmann's moody, inventive and idiosyncratic score for the film. Herrmann's best scores (North by Northwest, Psycho, Citizen Kane among many other classic scores)helped elevate the quality of many films. Hitchcock, Welles, Ray Harryhausen, Brian DePalma and Martin Scorese all recognized that Herrmann's scores were important characters in the films they directed.

The transfer is beautiful given the age of the original negative and condition of many of the films from this time frame. While the restoraation isn't as rich as that given to cinematic classics like Vertigo and Spartacus, the film benefits from the restoration efforts. The colors are vibrant and rich and, with few exceptions, the transfer is sharp and not as grainy as one would expect (particulary during the optical effects sequences).

The DVD transfer is quite good as well. Again, grain problems to crop up now and again and the widescreen transfer isn't flawless but these are fairly minor complaints. Fox has, on the whole, done a marvelous job restoring this classic adventure film. Sadly, Mason, director Levin and Todd are all deceased so we don't get any first person observations about the production of the film on a second audio track. Since Pat Boone is still very much with us, it would have been interesting to hear his memories on the production of this fine film.

I have very fond memories of watching this on the 3:30 Afternoon movie on KGO-TV in San Francisco (and, if memory serves, a couple of times on John Stanley's Creature Feature program as well). It's a perfect rainy day Saturday movie. It's enjoyable for the kids and, yes, even for this adult despite the wonderous explosion in visual effects over the years. While you're at it, you might also enjoy Jon Amiel's The Core an update of sorts of this classic film. Amiel's film vividly recaptures the sense of wonder and power of this type of film with his modern day take on the same theme.

Grand "Cinemascope" family entertainment from the 1950s!
OK, there's been some controversy here about the quality of this release, so let me put it to rest. This DVD is spledid! I think this adaptation of Jules Verne's 1864 French novel is a prime example of 1950's wide-screen motion picture family entertainment -- it's wholesome and has a little something for everyone. This is the best film version of this story, the most recent of which was done for the USA Channel on cable in 1999 and was very campy. They couldn't match the 1959 production values of this 20th Century-Fox film that has excellent color photography and art direction, and Bernard Herrmann's wonderfully atmospheric music score. These elements have continued to make it a favorite with fantasy film fans who can appreciate older movies, though it's true that some of it is silly at times, but I don't think the film's makers were trying for a serious movie. It also contains one of James Mason's best performances (He was always good). It's wonderful "Cinemascope" escapism from the bygone Eisenhower-era of the 1950s. Even though I've been watching it on TV since I was a kid in the sixties, I'd only seen pan&scan versions, and it wasn't until I got it letterboxed on laserdisc that I finally saw what a big-screen entertainment this movie was meant to be. It has splendid scope and a score by Bernard Herrmann that takes you right down into the bowels of the earth. Listen to it and you'll notice what I mean, as the movie progresses the music keeps going into a lower and lower register. Five organs were used, including one meant for a Cathedral. (The complete original recordings of the score are available on CD from Varese Sarabande.) Sure it's long in the telling and takes a while to get you down that extinct volcano in Iceland, but it's fun all the way with great special effects work by L.B. Abbott and matte paintings by Emil Kosa Jr. It's been a long wait for this to come out on DVD but it's now worth it. Although Fox should have known that fans would want more extras, including a production and poster still gallery and audio commentary by Pat Boone and Arlene Dahl perhaps?, or an expert on the production? (Perhaps we'll get it in a future release?), they have thankfully included the original theatrical trailer, whic is a lot of fun. They've also gone to great efforts to restore the color negative, and this 16X9 ANAMORPHIC TRANSFER has been struck from a newly made interpositive print, and has been further enhanced with digital video. The original 4-track MagOptical soundtrack is here offered in Dolby Digital 4.0 surround. Although the directionalized dialogue is often off the mark, the aged soundtrack sounds great and will really rumble your room if you've got a subwoofer. If you are a fan of 1959's JOURNEY TO THE CENTER OF THE EARTH, you'll be very happy with this DVD. I'd give this DVD five stars but for Fox skimping on the extras. Boy, you people at Fox can be real dummies!

A film for the whole family
Fox Studios was so successful with this film that they immediately made another Verne classic, "The Lost World" with Claude Raines as Professor Challenger. "Lost World" didn't fare as well. The reasons were obvious.

"Journey" was put together by a team of Hollywood professionsls at all levels: script, direction, actors, production deisgners. They were all dedicated to one goal: to entertain the audience while not pandering to them. The actors take their roles seriously, bringing them to vivid life.

This is a long film for a general release, family oriented project. It goes into good, solid character development, rather than settling for action over story, as they did with "The Lost World." The only thing both films have in common appear to be dinosaurs.

The special effects are excellent. Try not to compare them to what can be computer-generated today. Matte painting artists of the old Hollywood studio system could truly be called artists; this film is a prime example of this art.

Bernard Hermann's score is one of the true stars of the picture. It supports the film; it is like a character all its own; it complements the story rather than overpowering it.

This is a movie that can be seen over and over through the years and it still appeals. Once again, the DVD format presents the film in its original CinemaScope aspect ratio, which is the only way to appreciate a truly excellent example of the old Hollywood in its finest form.

all time classic
i remember seeing this movie as a re-release in t he 1960's
these are the type of movies that should never be put to dvd,
instead released to the theatres every so often where
mom's can drop off the kids for saturday afternoon fun.
james mason did a great job
alene dahl was hot to trot
pat boone played a 2nd fiddle good performance
thayer david ( what a wimpy creep..!)

Rated "G" for "Great"
This movie captured my imagination as a child, and I'm pleased to say that it retains all its adventurous charm twenty-five years later.

Based loosely on the Jules Verne novel, the movie tells the story of a group of scientists (and a scientist's widow ... and a hunky Icelander ... and a duck) as they follow the trail of a long-dead explorer into - wait for it - the center of the Earth. The film is partly a vehicle for Pat Boone's singing career, partly an excuse to design one fantastic set after another (partly filmed in Carlsbad Cavern National Park), but it's mostly a decent adventure story with the ever-wonderful James Mason leading the way. Sure, some effects are poorly done with blue screens, matte paintings, and miniatures (not bad by late '50s standards, though), but it doesn't take much suspension of disbelief to get into spirit of the thing (my 4-year-old screamed at the Dimetrodons), and an emotional connection is built between the audience and the characters (Count Saknussem's fate is richly deserved). Be sure to watch for Alfred the Butler (Alan Napier) as a University of Edinburgh dean.

The limited bonus materials are all worthwhile (as opposed to DVDs that cram in the extras, mostly mediocre). Included are movie trailers for nine Fox sci-fi movies (Sean Connery's Zardoz must be seen to be believed) as well as the trailer for Journey. The only other bonus is a before-and-after comparison of how the film was restored. There's no documentary showing the process, but the side-by-side and split-screen comparisons help you realize how close this treasure was to being lost.

This is a great film that deserves to be part of anyone's collection. The effects may be dated, but the adventure and characterizations are as powerful today as they were in 1959. If you're looking for a film the whole family can enjoy that isn't so sugary sweet it necessitates a visit to the dentist, Journey to the Center of the Earth fits the bill. ... Read more

Reviews (10)

Karloff has to contend with the plague and maybe a vampire
Boris Karloff ends up on the "Isle of the Dead" in this 1945 film directed by Mark Robson. The tale is set during the Balkan War of 1912, as General Nikolas Pherides (Karloff) visits a tiny Greek island to visit the grave of his wife, accompanied by Olvier Davis (Marc Cramer), an American reporter. Finding the coffin looted, they spend the night at the house of Albrecht (Jason Robards, Sr.), an antique collector. Then they discover the island is infested with plague and people start dying off. Kyra (Helene Thimig), an old crone, says this is all the fault of beautiful young Thea (Ellen Drew), claiming the girl is a vampire. This film is suitable atmospheric although it does get a bit slow at times and the sudden switch to a vampire supposedly being responsible for the deaths instead of the plague seems a bit much to me. However, the conclusion involves a woman (Katherine Embry) being buried alive in a cataleptic trance, which creates some nice moments. Certainly "Isle of the Dead" has better production values than most horror movies made at this time but it is a step shy of being a first-rate chiller.

Karloff has to contend with the plague and maybe a vampire
The chief attraction of this film is that it is Boris Karloff who ends up on the "Isle of the Dead" in this 1945 film directed by Mark Robson. The tale is set during the Balkan War of 1912, as General Nikolas Pherides (Karloff) visits a tiny Greek island to visit the grave of his wife, accompanied by Oliver Davis (Marc Cramer), an American reporter. After finding the coffin looted, they spend the night at the house of Albrecht (Jason Robards, Sr.), an antique collector. Then they discover the island is infested with plague and people start dying off. Kyra (Helene Thimig), an old crone, says this is all the fault of beautiful young Thea (Ellen Drew), claiming the girl is a vampire. This film is suitable atmospheric although it does get a bit slow at times and the sudden switch to a vampire supposedly being responsible for the deaths instead of the plague seems a bit much to me. However, the conclusion involves a woman (Katherine Embry) being buried alive in a cataleptic trance, which creates some nice moments. Certainly "Isle of the Dead" has better production values than most horror movies made at this time but it is a step shy of being a first-rate chiller.

Vampires, Suspense...and Karloff!
I bought a copy of this movie when our local video store decided to clear out some of its old VHS horror section. I bought it mostly because it said the name "Boris Karloff" on the front. Well, me and a group of my friends decided to watch it one night in the wee hours of the morning. The movie was great. I was not let down. Karloff delivers an impressive performance as a Greek general who gets stranded on an island. Believing the people on the island (himself included) to be possibly infected with the plague, he quarantines the group of people he finds living there to the island. But is this all a result of the plague...or is it a vampire?? You'll have to watch it and find out. Great film.

Dark, Moody, Atmospheric... and Ellen Drew too!
Another Val Lewton masterpiece of horror through suggestion, shadow, and surrealism. Karloff is at his best as a grizzardly Greek general whose mind is caught between the rationalism of modern secular thinking and the oppressive superstitions of his native culture. Do Vorvolika (vampires) really exist on the dark, dreary Island off the Greek coast? Even worse, is delicately beautiful Ellen Drew one such creature? See for yourself in this well-made tale of psychological terror. Karloff is splendid in his role as the well-intentioned general whose only wish is to protect the party stranded on a dreary island overcome by a terrible plague. But is it really the plague, or is it the spell of vampires? Great support from Alan Napier, Skelton Knaggs, and Jason Robards, Sr. Of course, Ellen Drew, one of Hollywood's truly beautiful and ladylike actresses of the late 1930s and early 1940s is effective as well as gorgeous in the role of the young Greek servant whom one rather superstitious and jealous old hag believes is a "vorvolika." Is she? And how will Karloff deal with the situation? Purchase this film. Like "The Body Snatcher" and "The Cat People," the directing is magnificent. Lewton's genius at utilizing shadows and suggestions creates more terror than a million slasher films with gallons of blood splashing across the screen. A great horror film with fine performances both in front of, and behind, the camera.

Excellent Movie, but a very bad tape, ending cut out!!
The movie is very good and the build up to then end is excellent but I will never know the actual ending. My version (which I bought through Amazon) is made by "Video Entertainment Corp" is very poor quality and the worst part is that the tape ends (runs out of tape) before the end of the movie. I was very disappointed with my purchase. Just as a side note, I also bought the "Cat People" with the same purchase and while the tape has the complete movie..... the quality of the tape is horrible. It is also made by Video Entertainment Corp and it is as if someone taped this off the TV using extended play mode on their VCR..... very poor condition. ... Read more

Amazon.com

A certified film noir classic, Criss Cross embraces the genre'sdarkness with an uncompromising tale of doomed lovers and multilayered betrayal.Reuniting with director Robert Siodmak after their success with TheKillers, Burt Lancaster plays a love-struck loser who seals his fate when hereturns to Los Angeles to find his ex-wife (Yvonne DeCarlo) eager to rekindletheir love against all better judgment. She encourages their torrid affair butmarries a mobster (Dan Duryea); to deflect suspicion, Lancaster lures Duryeainto an armored-truck robbery, creating a vortex of greed and passion from whichhe cannot escape. Featuring the brief screen debut of Tony Curtis, CrissCross is a stylish masterpiece of clashing fates and fatal attractions;Franz Planer's cinematography creates a shadow world in which every desire istainted by the threat of violence, and Miklos Rozsa's score underlines a lovestory that could never end happily. Film noir doesn't get any bleaker--orbetter--than this. --Jeff Shannon ... Read more

Reviews (18)

FIRST RATE FILM NOIR....
"Criss Cross" has all the classic elements of good film noir. Lust, crime, betrayel, murder, mobsters, the stalwart anti-hero and a sultry femme fatale all in the netherworld of b&w. With crisp direction by Robert Siodmak and a tight script, "Criss Cross" starts on a roll and doesn't stop until the finale. Steve (Burt Lancaster) can't keep away from his ex-wife Anna (Yvonne de Carlo) even after she marries mobster Slim Dundee (Dan Duryea). So he concocts a robbery at the armored car business where he works to throw Slim off the scent. He gets double crossed, winds up in the hospital and ironically labeled a hero by the press. But that's not the end. There's still Slim and Anna. The cast is compelling and reason enough to watch this classic but Siodmak crafted an exciting film as a whole. It seethes with tension, anxiety and a pall of doom seems to hang over everything. The sensual de Carlo is seen to good advantage and is noir perfect as the catalyst for the robbery. When Steve sees Anna dancing in a roadhouse that features a very good rhumba band (Esy Morales and his group), it's exciting because she's really sexy as she dances, tossing her dark hair. Her partner (barely glimpsed) is a young Tony Curtis. The rhumba music is exotic and pulsating and you can see that Steve is one gone dude as he watches her. So much to recommend about "Criss Cross". If you're a noir collector, this is a first rate addition. The DVD looks very good. Enjoy.

Lancaster Hoodwinked
"Criss Cross" could not be a more apt title for the 1948 film noir thriller in which Burt Lancaster is caught in the middle of a double cross orchestrated by Dan Duryea and Yvonne De Carlo. The film marked a reuniting of star Lancaster and director Robert Siodmark, who two years earlier teamed up in the noir classic "The Killers."

Lancaster, playing former armored truck driver Steve Thompson, returns to the tired section near downtown Los Angeles where he lives with his mother and younger brother Richard Long, who would ultimately star on television in "Seventy-Seven Sunset Strip" and "The Big Valley." Thompson left L.A. for one year, hoping to put his painful divorce to opportunistic good time girl Anna, played with fidelity by Yvonne De Carlo in one of her most impressive roles, behind him for good. The returning prodigal convinces no one when he insists that Anna holds no more memories for him, after which he ventures over to the old hangout, a local bar called The Roundup, to look in on the old gang. He tries to convince himself he is not looking for Anna, but realizes how futile his effort is as he spots Anna dancing with Tony Curtis, making his film debut.

The dance ends and so does Curtis' involvement in the picture. A smiling De Carlo spots Lancaster, going over to resume acquaintances. Before long Lancaster learns that Dan Duryea, a favorite film noir heavy, is romancing his ex-wife.

Before long De Carlo marries local mobster Duryea to better herself economically. Even then Lancaster will not lay off, failing to listen to his mother and old neighborhood buddy Steven McNally, now a prominent local police detective. In fact, after McNally, at the behest of Lancaster's mother, warns De Carlo to leave his old friend alone or he will find a reason to run her in, a furious, drunken Lancaster takes a wild swing at his him, then promptly falls to the floor.

The film's shrewd "Criss Cross" occurs when De Carlo and Lancaster reheat their old romance while gangster Duryea is in Detroit on business. De Carlo makes an arranged visit to Lancaster's house with Duryea and his mob cronies, led by John Doucette, arriving shortly thereafter. Needing a quick explanation as to why De Carlo is there, Lancaster, who has gone back to work driving an armored truck, explains to Duryea that they were discussing the possibility of pulling an armored truck holdup. Lancaster explains that such a holdup, while deemed impossible, is possible with the cooperation of someone on the inside, namely himself.

While Lancaster is convinced that he is launching into the criminal world for De Carlo and himself, after which they will be together again, the woman he loves is actively cooperating with Duryea. Eventually she will tell Lancaster, "In this life you have to look after yourself."

Events ultimately spiral out of control after the holdup occurs. Eventually a showdown will occur involving the opportunistic De Carlo and the two men she has used for personal gain, Duryea and Lancaster.

"I never cared about the money," Lancaster morosely muses to De Carlo at one point. "I just wanted you." He learns ultimately that the feeling was far from mutual.

McNally had the whole situation intelligently analyzed. In his last meeting with Lancaster, he exclaims in total frustration, "I should have been a better friend and kicked your teeth in!"

Potent film noir
You may cosnider this film as an authentic elite of this genre.
Lancaster plays the role of a man who hasn't been capable to forget to his ex-wife (Ivonne De Carlo) . She is trying to remake her life and wants to marry with a villain .
This script will become progressive more intriguing till the climax is a shock for the viewer. Robert Siodmak was one of the key film makers all along these decads of creative and dramatic film noir. The essential clues are present here. The hopeless ; the happiness never smiles the guy ; the girl uses to fall in love with the mistaken man ; the long arm of the fate seems to dictate its own rules ; the sinister and dark shadows of the envy , the cruelty and the greed establishes a typified behavior ; the insatisfaction surrounds the couple , and many times it seems to touch the model citizen turning in a evil human being . There are bits of melodramatic concerns but it never becomes in the narrative nucleus.
Lancaster makes a convincing role nnd Curtis makes his screen debut.
If you are a hard fan about this genre. This is for you. There was a remake in 1995 titled Underneath : but you may ignore this last one. It doesn't keep the black and bitter atmosphere of Criss cross . Don't forget another trimph that Siodmak also directed The dark mirror (Olivia de Haviland).

CRISS CROSSED ON A SCANT DVD PRESENTATION
Robert Siodmak's "Criss Cross" is a stylishly bleak, torrid and brilliant ménage a trois of shadowy intersecting lives in which all the multilayered plot entanglements are tainted with a threat of violence and ultimately lead to ruin and betrayal. Burt Lancaster is Steve Thompson, a love-struck mama's boy who returns from a one year sabbatical after his painful divorce from the love of his life, Anna (Yvonne DeCarlo) only to discover that Anna is eager to rekindle their love. The lure is not without its own subtext. Against his better judgment, Steve jumps into the deep end of the pool, so to speak, and once more, ignites his tawdry lust that ends miserably when Anna decides to better herself - financially, at least - by marrying mobster, Slim Dundee (Dan Duryea). But Anna isn't quite ready to give up her playtime with her former husband. When the two are nearly exposed by one of Slim's bodyguards, Steve plots against Slim by saying that the two are planning on an armored-truck robbery, one which results in a maelstrom of greedy, godless passion from which no one escapes.
THE TRANSFER: Universal has done a bare bones job of remastering "Criss Cross" for DVD. The gray scale is very well balanced with deep solid blacks and whites that are clean. There's a hint film grain and some age related artifacts. Also there's more than a hint of edge enhancement and pixelization that tends to distract from a visual presentation that, overall, is a considerable improvement over previously issued VHS tapes.
BOTTOM LINE: There are, unfortunately, no extras on this disc. Nevertheless, it is a good disc to add to your library of classic cinema.

Idealism vs. Realism
In faithful accordance with classic film noir convention (a modus operandi also reminiscent of the Greek tragedies of old), armored truck driver Steve Thompson, protagonist of 'Criss Cross', Robert Siodmark's and Burt Lancaster's follow-up to the outstanding 'The Killers', brings about his own ruin and demise through two primary tragic flaws, namely hopeless infatuation and unfounded optimism.

The object of his affection is his ex-wife Anna, memorably played by the stunning Yvonne De Carlo, whose hubris prompts her to wed sleazy gangster Slim Dundee (Dan Duryea), apparently to spite Steve's detective friend Pete Ramirez (Stephen McNally) for intimidating her the night before. Regrettably I cannot be too sure of this plot point, though, as at the time my attention was solely focused on Miklós Rózsa's wonderfully dark and driving underscore.

Naturally a torrid affair ensues between Mr. Thompson and the now-Ms. Dundee, and -- even more naturally -- they are almost immediately caught together by her new husband, which impels Thompson to divert Slim Dundee's attention by unexpectedly suggesting a heist of his armored truck. It remains somewhat unclear whether this is something he'd been planning all along or just an inspired attempt to weasel himself out being killed on the spot, but the gangsters thankfully decide to go along with it. Crosses and double-crosses follow, Anna somehow escapes with the money, lovesick Steve stupidly leads the mobsters to her hideout, and Slim shoots them both in cold blood.

Undeniably this summary, either through simplification or omission, paints Steve Thomson as a bit of a nitwit, but although he makes some unbelievably bad choices, they are always well-rooted in his character, which screenwriter Daniel Fuchs (working from a novel by Don Tracy, if I'm not mistaken of 'Death Calling Collect' fame) takes great pains to establish in the first third of the story. The real conflict here is one of ideology, Steve being an idealist and Anna being a realist. One Imdb user cites Steve's refusal "to become completely cynical and hard-bitten" as his most admirable feature, likely unaware of the famous H.G. Wells quote that states "A cynic is what an idealist calls a realist." Steve is more than just a hopeless romantic, he possesses and indefatigable optimism that allows him to rationalize any action not just for the sake of being with Anna, but due to the firm, absolute conviction that they belong together and that nothing will stand in their way. Alas, in film noir love does not necessarily conquer all and, as Anna put it, "you've got to watch out for yourself."

In the end, when taking one of the gangsters to Anna's hideout for a payoff, Steve has obviously abandoned all logical reasoning and is acting on pure, emotion-fueled impulse. He is so blinded by love, so single-mindedly focused on Anna, that he gives no second thought to Slim or the money, certain that his police friends will take care of the matter eventually. In many ways, the traditional gender roles of him and Anna are reversed here. She is the tough, down-to-earth pragmatist struggling for survival; he is the longing, pining fool, willing to sacrifice everything for her love. It is the against-type casting of Burt Lancaster, THE blue-collar macho idol of the time (and dressed alternately like either Bruno Hoffmann or Stanley Kowalski), that makes this reversal fascinating. ... Read more

Reviews (20)

More than the Sum of It's Parts
There's a pivotal scene in Vincente Minelli's "The Bad and the Beautiful" where Kirk Douglas and Barry Sullivan, portraying a fledgling Hollywood producer and director are given the task of making a horror movie with little more than a title (and a silly one at that). In a flash of desperate inspiration, they eschew the typical men-in-suits method that never works anyway, relying instead on the two oldest and most reliable special effects in filmaking: the Dark and the Imagination. Needless to say their film is a hit. I have no doubt this scene was a direct tribute to the careers and films of an unjustly obscure pair of visionaries, producer Val Lewton and director Jaques Tourneur and their most "famous" film, 1942's "Cat People."

Shot at RKO in under a month for less than $140,000, this dark little gem stars Simone Simon as Irena, a Serbian woman (immigrant? refugee?) who is convinced that her blood carries the curse of a race of European Satanist druids, and that any hint of passion, love, desire, anger, jealousy will turn her into a murderous cat-creature. The tiny, lovely Simon plays the role beautifully, with a fragile, feline grace that hints at something very dark (kinky?) lurking just underneath her almond-shaped eyes and alluring smile. Kent Smith plays her husband Oliver Reed rather woodenly by comparison, but Tourneur is smart enough not to try making him any deeper than a typical all-American boy type - at one point he describes his life as "swell" and somehow we don't laugh...maybe you could say stuff like that in the 40s.

DeWitt Bodeen's script efficiently zips through the boy-meets-girl part, but not without giving us things to think about. After brazenly inviting (luring?) Oliver to her apartment for tea after having just met, we soon find Irena humming an exotically European lullaby in the darkened room as Oliver lays on her sofa...though both characters are fully dressed and on opposite sides of the room, the feeling that something did/will/should/wants to happen is palpable. Particularly chilling is a moment when Irena and Oliver enter a pet shop only to find every single animal in the room shrieking with horror, the din ceasing the moment Irena opts to stand by herself in a pouring rain while Oliver shops in the now peaceful establishment. I've seen more graphic depictions of the excluded outsider, but none more poigniant. At a party thrown in honor of their engagement, a mysterious and beautiful stranger who "looks like a cat" according to one guest greets Irena as a familiar, saying something in a language only the two of them understand. It's a simple moment, but a dark one...dark because the audience realizes that Irena truly is something other than what she seems, and because the people around her don't believe it, something bad is going to happen.

This is when Tourneur and photographer Nicholas Musuraca do their work, mixing our own expectation of something awful with shadows, sounds and silence, standing by as we push our own buttons. Utterly normal things like walking to a bus stop, answering the phone, taking a swim and even having coffee and pie morph from the common into hair raising incidents. As we watch we're more frightened each time something dosen't happen, convinced that it's going to be really awful when it finally does. It isn't until the film's bittersweet finale, that we realize that Tourneur and Bodeen have been toying with our very conception of what scary is...conning us into scaring ourselves because we already know how.

DOOMED TO SLINK & PROWL & COURT BY NIGHT....
1942's "Cat People" is one of the finest horror films ever made. The first of a series of classics directed by Jacques Tourneur and produced by Val Lewton, it retains its' classic status to this day. A New York fashion artist, Irena (the unforgettable Simone Simon) falls in love and marries but won't consummate the marriage due to her fear of an ancient Balkan legend whose women (of whom she is a descendant) turn into cat creatures when aroused. Her husband turns to a female co-worker for "consolation". The co-worker (Jane Randolph) is then stalked at night by an unseen thing lurking in the darkness. Two scenes stand out as great examples of power by suggestion---the swimming pool scene and Randolph walking along the street at night followed by the creature in the dark. Masterfully handled by Tourneur and thick with film noir terror, these scenes have been imitated in other films but never duplicated. Another great scene takes place in a bar when a mysterious, cat-like woman passes by Irena and her husband and says "Sister"...directly to Irena. Irena is visibly shaken. She has been detected by another "relative". When Irena turns to psychiatrist Dr.Judd (Tom Conway), the beast is unleashed when he crosses the line. The whole film has an eerie, foreboding sense of doom as would Lewton's and Tourneur's other horror films ("The Seventh Victim", "The Leopard Man" etc.) A must see for those who've never seen it, "Cat People" may be tame for some, but this was precisely the point: the power of what lurks in the dark and the psychological impact it has when you know it's there but can't see it can be terrifying. Sound and shadow become monsters as well as the shape behind them. I hope this opens the door for the other films to be released. There should be a whole Lewton/Tourneur collection on DVD. They deserve re-discovery by a new generation of lovers of classic films.

if it weren't for the exquisite Natassia Kinski...
...I would've given this zero stars.

It felt like a bad 1970s made-for-TV movie: clumsy pacing, cheesy keyboards on the soundtrack, tacky "matte" color photography, high-school-drama-class production standards during the absurd prehistoric Africa scenes... CHEEEEEEEEE-SY!!!

There's a little sex and some bared breasts I suppose, but far from "Basic Instinct" quality.

This little pussycat doesn't roar, it just kinda sorta meows.

Great film. Horrible tape.
This movie is every bit as wonderful as other reviewers say, but the tape I received is easily the lowest-quality commercial VHS tape I have ever seen. I'd give zero stars if I could: the image is that poor. A huge disappointment.

Absolutely amazing...
More often than not, it's much better to show nothing than anything at all. Hitchcock knew this, and that's how he essentially became known as The Master of Suspense. Had he shown Norman's "mother" from "Psycho" killing the girl in the shower in greater detail, the horror of the scene would have been more greatly ineffective as compared to just how haunting it is today.

Jacques Tourneur obviously understood this idea and used it to his advantage in "Cat People." An experienced director of cult horror films from the 30s and 40s, Tourneur's story of a woman with a mysterious background still works as a pinnacle thriller sixty years later. Movies like this aren't made anymore--and I mean that in a literal sense. A more modern director would use bad CGI effects to reveal the "cat woman" for what she is, and I can only imagine how an idea like this would translate to the screen nowadays. But the key to "Cat People" is that we never even see the cat people. We don't see anything. We don't want to see anything.

"A Kiss Could Change Her Into a Monstrous Fang-and-Claw Killer!" boasted the tagline in 1942. Of course, this is an ancient filmmaking technique for that age--symbolic of the loss of one's virginity, the essential background of the tale is rooted deeply in the nature and misconceptions of sexuality at the time.

The monogamy of it all is very subtle and, at first glance, nonexistent--but the deeper you look into the hints the clearer the signs appear. Irena is not allowed to kiss a man or she changes into a monstrous beast. A metaphor for loss of virginity and the result stemming from this is old folklore, and the film's use of Irena's background is more than just an explanation for her genetic traits--it is a way of creating the central idea that she lives in fear of her own background of sexuality. It's as subtle and effective as the entire film's approach to horror.

Irena Dubrovna (Simone Simon) is a fashion artist living in New York City. Born from a Serbian background, she lives under the impression that her own family's roots lie in an ancient curse of the "cat people" that were thrown out of a city in Serbia hundreds of years before.

Animals do indeed react strangely to her. She is unable to enter into a pet store, because the squawks of scared birds and the barks of sensitive dogs drown out the entire area. It is almost as if she is truly an animal. When she is given a pet kitten, she takes it back and exchanges it for a bird. The bird dies from fright weeks later.

When she meets Oliver Reed (Kent Smith) downtown in the city, she falls desperately and hopelessly in love, but the depression of her own fear of unleashing the cat within prevents her from coming in close contact with her own boyfriend--and eventual husband.

Left untouched by his own wife, Oliver eventually turns to his co-worker Alice Moore (Jane Randolph) for satisfaction (only lightly hinted at by the film), which ends up sparking a terrifying anger and hatred within Irena. Hounded by a curious psychiatrist (Tom Conway) and feeling like an outcast around her own husband, Irena's inner cat is indeed released and wreaks brief havoc upon those around her.

We never see the cat, and we never see Irena's transformation into another species. But, as I said before, it's much better--and certainly more effective--this way, as the suspense and mystery of the film propels it towards repeat viewings. The movie is even a bit like "Ginger Snaps," in a way, only it's certainly more moody and suspenseful. And there aren't any fake-looking dog puppets in this version of the tale.

It's always pleasant to watch classic movies late at night on a Friday or Saturday night. No one cares about them anymore--cheap straight-to-video movies air on television earlier than the classics. But these are the staples of every existing genre--specifically horror, when it comes to films like "Cat People." These types of films should be appreciated much more than they have been in the past, say, sixty years.

"Cat People" is an amazing achievement with a distinct sense of classic horror and a good dose of suspense. If you like horror--or if you don't--this is a must-see film, and it is certainly one of the most memorable cult horror classics of all time, led by some great performances and a very talented director behind the camera. What a treat. ... Read more

Reviews (11)

Timeless "Boy And His Dog", Story That Will Touch Your Heart
Here we have the "ultimate", Lassie experience with the classic film that first introduced this famous Collie to moviegoers in 1943. Film and TV audiences ever since have had an ongoing love affair with this beautiful dog that always seemed to understand humans better than they often did themselves. It was these "human", qualities that Lassie seemed to possess that made her so endearing to audiences and which made her a movie icon. I know I grew up watching the Lassie television series starring child actor Tommy Rettig however it is this beautiful movie which shows Lassie in her prime, full of love for her master, tremendous strength of character often under difficult circumstances, and a touching warmth that made her almost human and was guaranteed to tug at the heart strings. "Lassie Come Home", provided yet another stunning showcase for child actor Roddy McDowall as Lassie's devoted master Joe and was also very significant in marking the MGM debut of an incredibly beautiful 10 year old Elizabeth Taylor as Priscilla thus beginning the long career of this legendary actress.

Originally there were not high hopes for this "dog picture", as it was termed, so much so that the film was relegated to MGM's "B" department as a minor feature to possibly please wartime audiences. Strangely for a second string film it was shot in colour which was a blessing as it greatly enhanced the story of a Collie's efforts to cross a whole country to return to her master. The immortal story of Joe Carraclough (Roddy McDowall) whose love aand devotion to his pet Collie Lassie is mutually shared is just as touching now as it was for war time audiences. Joe is the only son of struggling family head Sam Carraclough (Donald Crisp)who is currently out of work. Along with his wife (Elsa Lanchester) everyday is a trail to put food on the table and as their financial situation worsens they are forced to sell Lassie to the local Duke of Rudling (Nigel Bruce) who lives at the nearby manor with his little granddaughter Priscilla (Elizabeth Taylor). Lassie however missing Joe makes numerous attempts to escape from the kennel at the Manor. Taken by the Duke to Scotland Priscilla can see how unhappy Lassie is away from her real master and she allows Lassie to escape and return home to Yorkshire where she belongs. However the long journey home proves to be an exhausting and at times terrifying one for Lassie. She has to endure frightening electrical storms and having to swim across fast moving rivers in her quest to return home. Injured in a fight with a hunting dog where she is shot at for tresspassing Lassie now near death from exhaustion and hunger is taken in by a kindly elderly couple and nursed back to health. The old woman, (Dame May Whitty), grows very attached to Lassie but rightly senses that she is in the middle of a journey of some kind which she must now resume. Lassie next encounters a lovable travelling salesman Rowlie (Edmund Gwenn), who with his little dog Toots temporarily takes Lassie along on his selling travels. Tragedy strikes however when Rowlie is robbed and Toots is killed and finally Rowlie also senses that Lassie must go on to what she needs to do. Finally Lassie makes it back home to Joe and his family and when the Duke and Priscilla visit they can see that Lassie is where she belongs with her loving family. All ends happily when the Duke offers Sam a job caring for the dogs at the Manor.

First class entertainment is the only way to describe "Lassie Come Home". Based on the equally loved novel by war veteran Eric Knight the films rich "English", feel despite being filmed in the United States due to the war is typical MGM and was what studio head Louis B. Mayer loved to see in his movies. Inspired by the huge success of other "English", themed movies such as the classic "Mrs. Miniver", it went on to enjoy huge success at the Box Office. Certainly apart from Lassie's obvious screen appeal the cast of "Lassie Come Home", is a memorable one. Donald Crisp and Elsa Lanchester as Joe's devoted parents who are tortured by the necessity of selling their son's dog in order to survive are heartbreakingly sincere in their playing. Nigel Bruce and Edmund Gwenn in their respective roles provide the necessary local feel to this story so totally associated with the British Isles. Elizabeth Taylor even at this early age shows a delightfully enchanting screen presence that enabled her to mature into one of Hollywood's greatest adult legends and here her beauty even as a 10 year old is startling. She was selected for the role due to her still present English accent as like Roddy McDowall she was a recent evacuee from war torn London. Director Fred M. Wilcox who is perhaps best remembered nowadays for his direction of the sci fi classic "Forbidden Planet", shows a particular flair in directing the younger members of the cast such as the still largely inexperienced Elizabeth Taylor. The films has a beautiful musical score and also boasts "A" grade cinematography, that gives the film a rich authentic English feel to it. "Lassie Come Home", has something for all viewers to cherish and if you are someone that thinks sentiment should be seen more often in movies like myself, then you can't go past this great film.

Wholesome and moving family entertainment is not common nowadays and it seems hard to imagine in our present movie culture a dog like Lassie becoming a star in her own right as she did in 1943 with this film. "Lassie Come Home",is guaranteed to move even the hardest cynic with its simple message of the devoted love that exists between a person and their dog. You dont have to even been a dog lover to enjoy this film as the wonderful characters, excellent photography and great acting by veteran performers and the younger cast members alike make this a classic not to be missed. Treat yourself to a viewing of this superb film soon and you will see why the legend of Lassie has endured for over 60 years.

What Love and Devotion mean to a boy and his dog!
This movie was such a treasure for me to watch. What Love and devotion R.M. and Lassie had for each other. Roddy was so cute when he was a little boy and Liz Taylor was just as beautiful as she is today! It is great that they grew up to be friends! The movie made me cry but I knew Lassie would come home! Roddy McDowall is the BEST actor to me from just a little boy till he left this world behind! I will Love and miss him allways, LOVE YOU R.M., Anna Marie

The Love of a Dog for a Boy
This is a superb film, taken nearly word-for-word from Eric Knight's novel about the faithful collie who travels a thousand miles from northern Scotland to England to return to the boy she loves. Lassie is neither Superdog or magically endowed, just following ancient instincts and the love in her heart. The entire cast is marvelous, the color brings the countryside to life, and small scenes will tear your heart out, including Dame May Whitty as a lonely old lady willing to let Lassie go rather than have her fret.

That was then, this is now
And I love this movie now as much as I did back then! Wonderful cast, wonderful acting, and awesome-beyond-compare plot. You just don't get good movies about dogs nowadays. This is a classic.

Excellent overall--but one scene upsetting to 4-yr old
We enjoyed the movie overall, but one scene was very upsetting to my sensitive 4-year old girl. One of the villains kills a dog friend of Lassie's with a stick. The scene itself was not that violent, but the fact that the dog was killed upset my daughter a great deal. If we had known about this scene, we could have prepared her for it (or fast forwarded it). ... Read more

Description

Dazzling color and brilliant animation bring the medieval legend of King Arthur to life in THE SWORD IN THE STONE. With a forest full of charm, spectacle, and wizardry, Disney's classic tale conjures up delightful entertainment for all ages! England is in the midst of a dark age and without a proper king, Young "Wart," an orphan and squire-in-training, is content with kitchen duties in his foster home -- until he drops in on the extraordinary wizard Merlin and his articulate owl, Archimedes. Through three life lessons, Wart learns to set his "sights on the heights," armed with the most powerful forces on earth -- intellect, wisdom, and love. When it's time to contest who will be king, Wart must use his newfound knowledge to do what no mighty knight has done before! Join in all the magical marvels that make THE SWORD IN THE STONE a classic animated film and pure Disney gold! ... Read more

Reviews (50)

3 stars for format...
4 stars for the movie, 3 for the DVD.

Love the movie. Remember it from my youth. Highly recommended for young aspiring kings and princes. It's a laughter-filled romp, and Disney at his best for great storytelling, and great character development.

However, this DVD gets only three stars from me because it is in Full Screen format, when the original was widescreen. As usual in these cases, in the tiny print at the bottom of the box, the dreaded words for any 16:9 TV owner:

"This presentation has been modified from the original. It has been formatted to fit your TV screen".

You'd think by now, the studios would get a clue, ESPECIALLY Disney, and release either the original with letterbox, or put both on the disc like so many do... Does anyone here like "Pan and Scan"?

My complaint ends there. It is otherwise a wonderful film to share with your kids... I enjoyed watching it again after so many years, this time with my four-year-old son. We laughed and marvelled together over the antics and magic of the Wizard Merlin, and the adventures of young "Wart". He was ready to see it again as soon as it ended.

Another must-have Disney classic!
I remember the first time I saw this movie. I've always loved Arthurian legends, and in its usual style, Disney puts aside many historical facts in favor of a more entertaining movie, fun for the whole family. Sword in the Stone ranks up in the top 3 of my favorite Disney movies of all time. The characters are well done, Merlin is hilarious, and the artwork and colors are beautiful, making this movie great scenery for the younger kids, and great, enriching fun for the older ones.

A Classic Disney Film that is sometimes overlooked.
This may not be as iconic as some of the other films that the Walt Disney company has made, but it is definately a classic. This gives us a more lighter whimsical look on Camelot. The voice talents are great. The animation is in the classic 60s style that Disney was into at the time. The whole movie is fun. See it, it is not a masterpiece landmark of an animated film but very very good indeed.

My #2 Favorite Disney Movie!
This is my #2 favorite Disney Movie.Sleeping Beauty is My #1 favorite,but just because it is my second favorite does not mean it is not a good movie,because this movie is absolutely great Especially Merlin.He steal's the show with his hilarious Magic spells and his extream intelligence.Merlin's wise talking pet owl Archimedes (who is voiced by the same person as rabbit on winnie the pooh) also is very funny who helps Wart (Future king Arthur) during movie,especially when Merlin turns him into a fish .This is a very good movie your whole family will enjoy.

Disney's 18th Animated Masterpiece!
This 60's Disney film was the last one that Walt Disney cooperated in all the way throughout it's making and theatrical release, he died in the middle of the making of The Jungle Book. The film is really great, and highly entertaining, although not a film I would personally watch over and over. This is the story of Merlin, a kind but a bit grumpy enchanter, on a quest to teach young Arthur that intelligence and strategy are more powerful than brutal strenght, and to teach him about science and math and how to read and write so that someday he'll become the greatest king in England.

The DVD is pretty decent, although the bonus features don't really relate to the film, I have to say that they are just enough to make this DVD acceptable. ... Read more

Reviews (10)

The Mole
The Mole People is an interesting movie. John Agar is the leader of an anthropological expedition looking for another lost tribe somewhere in the mountains of the Middle East. The expedition (includes Beaver's dad Hugh Beaumont) accidentally find the lost Sumerians (Batman's Alfred, Alan Napier is the high priest). The Mole People can't stand the sunlight, offer sacrifices, have a terrible dance scene, and end the end appear to be destroyed. It's not a bad movie and the Mystery Science 3000 version is even better.

Great Fun for the whole family
If you are a leave it to beaver fan, its is amazing seeing hugh beaumont in another role and you keep waiting for him to call wally or the beaver and it just doesnt happen. In one of the beaver episodes ward cleaver talks about the old sci fi horror films being good fun a direct plug for his movie which is kind of cool to see the movie. aside from beaver fans, you normal sci fi fans will love this well plotted out adventure and journey below the earth. This is much better then the stupid garbage put out by hollywood today and you can sit and enjoy it with your whole family and it actually has a couple scary moments when you ignore the silly rubber glove and masks wore by the mole people. this is a keeper.

JOHN AGAR LIVES!
This movie was a Saturday afternoon TV favorite of mine when I was a kid in the early 70s. It's actually a fun movie and has some nice touches. As a kid I really sympathized with the Mole Creatures. I thought they looked cute!
But the albino Sumerian culture that Agar & his cohorts discovers is really well-done and creepy looking..
Don't miss this 50s classic!

Fascinating, Classy, Wierd, A "Thinking Man's" Horror Flick
Obviously lower-budgett, Possibly by black-listed geniuses?....Great ideas, dialogue, sets, costumes, make-up, music, acting, directing...A "message" flick, in the tradition of "Invasion of the body Snatchers", etc.....when "B" movies and sci-fi were employed to convey more than just the superficial story. I love this flick. I only own a dozen or so, and this is one of them.

Beware of Mount Kuitarra
In the beginning, there was Frank Baxter, a professor of English, explaining to us various theories through the centuries of how man views his planet in relation to the solar system. Some have seen us looking inward at the stars, others see the earth as a big onion with layers and each layer has inhabitants but there is always, in all the theories a way to reach the center. This is what Mole People is about, three geologist/anthropoligists who accidently stumble onto an ancient Sumerian-like civilization hundreds of feet down. John Agar, Hugh Beaumont and Nestor Paiva are our heroes. They are regarded as gods by the subterranean natives because they possess the fire of Ishtar (a flashlight). The Mole People are slaves to these none too benign pale omnipotents. Gradually, the quasi-Sumerians figure out that our heroes are not gods and try to kill them by placing them in a white hot, brillantly bright hole. Meanwhile, the Mole People attack, killing off the pale bunch, but the good girl escapes with the help of the MP into the bright hole. Strangely enough, the ending has a surprise for us. Goody! There have been better 50's flicks, but there have been a whole lot worse. The atmosphere was dank and creepy in the caves and you never knew when the Mole People would drag you under. Four stars. ... Read more

Amazon.com essential video

A half-century later, Mark Twain's yarn still doesn't seem like an ideal vehicle for Bing Crosby, and Jimmy Van Heusen and Johnny Burke certainly wrote better songs than those offered up here. Still, this droll 1949 musical, like its star, has an easygoing charm and affability that'll win over young and old alike. Der Bingle plays Hank, who wakes up in A.D. 528, rousted by palooka-like Sir Sagramore (William Bendix).

At Camelot, not even Hank's impending doom--not to mention the temporal disconnect--can stop him from making eyes at Alisande (Rhonda Fleming). Codgerly, chronically allergic Arthur (Cedric Hardwicke) is impressed with Hank's hubris and dubs him Sir Boss. Problems arise when Hank woos Alisande to Sir Lancelot's ire, while Merlin (Murvyn Vye) has it in for virtually everyone.

A too-convenient deus ex machina and truncated finale mute the happy ending. The story and the performances are understated amid the pomp of the lavish production values (Ray Rennahan's vivid camerawork handily takes it all in), but in these days of virulently overheated storytelling (even in family films), the casual nature of the work here seems a distinct virtue. --David Kronke ... Read more

Reviews (5)

a great and enchanting film
This film, "A Connecticut Yankee in King Arthur's Court, is so very romantic and charming. It is a great escape movie into a wonderful land of Camelot, that makes oyu bleieve it could really be. Rhonda Fleming and BIng Crosby are both wonderful in it and a very romantic and beautiful couple. The song "Once and for Always," is one of th elovliest an dmost heartfelt songs ever. It's a must see film for the entire family, an done never tires of watching it. Each time of viewing it is like the first time. Bing has some catchy tunes and is great as Hank the machanic. It has a charm and old fashion romance that is so often lacking in today's films.

A great Movie adaptation
The adaptation of Mark Twain's book "A Connecticut Yankee in King Arthur's Court" to the screen left in the fun parts of the story and took out all the point of the book. The book contains many lessons and thoughts that did not make it into the movie. However the movie is fun to watch and can be quite funny.

An auto mechanic and inventor Hank (Bing Crosby) is transported back to A.D. 528 with his almanac. After realizing where he is, he uses his wits and knowledge of the future to survive. He has many adventures. He helps a King (Cedric Hardwicke) to understand his people, overcomes a tyrant and finds a loyal friend (William Bendix). Naturally being Bing there is music and incantations to blot out the sun. Eventually there is true love Alisande (Rhonda Fleming). The movie leaves the questions: Will Hank settle down with his love or will he be dispatched with one of his own inventions?

Yankee Stay Here
Amidst the current state of world affairs, which usually concern the Mideast, this is a couple hours of light entertainment. Bing Crosby provides romance, song, and humor. William Bendix in a support role adds some charm and humor as well. This film has done well over the years because of the good mix of characters and the excellent sets and costumes. It is well worth a look. I pre-ordered it on DVD to be delivered 3/4/03.

MARK TWAIN'S CLASSIC IN TECHNICOLOR
Twain's grand fantasy is pleasing from every angle in this lavishly mounted production rich in color and songs. Crosby, at the height of his immense popularity is the Connecticut blacksmith knocked unconscious in a wild rainstrorm and sent into another world, waking up in King Arthur's Camelot.The quality of this Crosby version far outstrips previous ones with it's gorgeous color and imaginitive sets. Rhonda Fleming is stunning as the titian haired Alisande. The direction by Tay Garnett is excellent and the film was very popular among the public upon it's release in 1949. A highly recommended family film.

If there's one ounce of romance in your soul...
...you should see this movie. In today's "all too real world", this movie provides a welcome break...a return to "the way things used to be"...or the way you'de like them to be. It's a fairy tale (unfortunately!), so you'll have to "put your mind on hold"...but do it. Think back to lost love, future love...current love. And wish that life was "simple" again. This is a movie for lovers and romantics...or folks that want to be. You'll hum Bing's main theme song to yourself for days...and never forget it. ... Read more

Reviews (4)

Lyrical and elegaic Western
It is impossible to watch this at time breathtakingly beautiful movie without sadness not least because what survives is a mere fraction of the movie made by the great William Wellman -the studio interfered in the picture excising great swathes of the footage Wellman shot and adding a ponderous voice over narration declaimed in sonourous mannner by Howard Keel which adds nothing to the picture whatsoever .
It is a movie about the destruction of a way of life -that of the mountain men .The source material is a novel by Bernard de Soto which is based on the life of one such man , Flint Mitchell ,who controlled the trade with the Blackfoot Indians in the Rockies during the 1820,s .In many ways he was the very incarnation of the pioneer spirit , a trader and adventurer married to a Native American ,and the movie shows how this idyllic lifestyle is blown away by the inexorable rise of white society on the frontier as it gradually "civilises " previously virgin lands .

The society is one where whites and Indians co-exist and intermarry as a matter of course and even this comparative racial harmomy is destroyed by "society"and the violence it brings in its wake

Achingly lovely location photography make the movie a visual poem to the American landscape and it dwarves most of the players but Gable gives one of his strongest performances

This is a fascinating movie but I suspect if Wellman had been alllowed to pursue his original vision we would be talking about an acclaimed masterpiece rather than the rump left by an nervous studio

Wellman complicates civic history lesson.
'Missouri' feels more like a civic lecture than a film; it tries the impossible task of celebrating the American frontier spirit with a newly tolerant approach to Native Americans, who are kindly allowed do more than whoop menacingly. Well some are; this Western is only liberal to those Natives who agree to the white subjugation of their land - those who refuse are murderous, anti-family transgressors.

That's what the script says, and the cheerful narration and dazzlingly bright colours seem to confirm it. Us old Western hands know Wild Bill Wellman, though, director of bleak critiques like 'The Ox-Bow Incident'. The chilling climax, therefore, refuses to simplify the tensions between community, family, and the violence needed to protect them, and can be now seen as foreshadowing the complexities of 'The Searchers'.

Outstanding Frontier Adventure film
Clark Gable is excellent as a mountain man who leads a company of mountain men and trappers into the Blackfoot Indian Nation to trap beaver. It has humor, drama, action, and suspense. The "Run For Your Life" scene where Gable is given a choice by the Indians to either run or be killed is classic. Ricardo Montalban is also in fine form as the Blackfoot Indian War Chief who hates the intrusion into his country by Gable and his company. A must see for Clark Gable fans. Also, if you liked the movie, "The Big Sky" with Kirk Douglas, you'll love this one.

A Great Family Film
My Great Grandfather was in this movie as a French Trapper. It was great to see a man, whom I never met, on the big screen. It would be a great movie for the entire family. It has some excellent scenery shots and a great performance by Clark Gable. It combines history, comedy, and drama all wrapped into one film. ... Read more

Reviews (7)

Colorful Escapism
One of Douglas Fairbanks Jr.'s best films, "Sinbad the Sailor" (1947) is a lavish Technicolor adventure that resurrects the exuberance of his father's swashbuckling classics. The action sequences are worth the price of admission -- particularly Doug Jr.'s acrobatic escape from villain Anthony Quinn (who meets a rather fiery end). Fairbanks is perfect in the title role, with Quinn, Maureen O'Hara and Walter Slezak rounding out an excellent cast. Terrific fun for viewers of all ages!

Unintentionally amusing
Leonard Maltin says that this is a tongue in cheek adventure flick. I think you could enjoy it today if you were, say twelve years old or younger. For more mature viewers, the film can be an unintentional howl. The overacting by Fairbanks is a hoot. Maureen O'Hara as a smouldering Moslem woman is hilarious. George Tobias, as the comic sidekick, is simply pathetic. Anthony Quinn as a heinous Arab villain and Walter Slezak as an Asian are ludicrous. In short, a lot of fun for juveniles and the sophisticated film goer.

Sinbad the Sailor
I would like to purchase on of these in VHS/PAL system, as i live in australia, any leads?

Great, Old-Time, Comical Fun
This movie is a great flick, with the clean comedy of some older movies. Almost all the actors are great! Sinbad and his first mate are funny, and the "heroine" (which she is in the end) is well-acted. Worthwhile for anyone who likes clean fun, sword fights, and a bit of mystery and romance.

A REAL BLAST FROM THE PAST
THIS IS WHAT ALL THE NEW GUYS TRY TO DO AND JUST CAN'T QUITE MEASUREUP TO. THIS IS WHY WE CALL THESE MOVIES "CLASSIC". THIS IS WHY THERE ARE NO MORE GREAT ACTORS AND ACTORS IN HOLLYWOOD TODAY. HOW CAN YOU EXPECT SOMEONE LIKE SEAN PENN OR BRAD PITT TO DO A MOVIE LIKE THIS AND DO ALL HIS OWN STUNTS? FACE IT, FOLKS, WHAT WE CALL ACTORS TODAY JUST DON'T COMPARE TO THE REAL THING FROME A FEW YEARS BACK. WHY DO YOU THINK THEY CALL IT "THOSE THRILLING DAYS OF YESTERYEAR?" ... Read more

Reviews (7)

Colorful Escapism
One of Douglas Fairbanks Jr.'s best films, "Sinbad the Sailor" (1947) is a lavish Technicolor adventure that resurrects the exuberance of his father's swashbuckling classics. The action sequences are worth the price of admission -- particularly Doug Jr.'s acrobatic escape from villain Anthony Quinn (who meets a rather fiery end). Fairbanks is perfect in the title role, with Quinn, Maureen O'Hara and Walter Slezak rounding out an excellent cast. Terrific fun for viewers of all ages!

Unintentionally amusing
Leonard Maltin says that this is a tongue in cheek adventure flick. I think you could enjoy it today if you were, say twelve years old or younger. For more mature viewers, the film can be an unintentional howl. The overacting by Fairbanks is a hoot. Maureen O'Hara as a smouldering Moslem woman is hilarious. George Tobias, as the comic sidekick, is simply pathetic. Anthony Quinn as a heinous Arab villain and Walter Slezak as an Asian are ludicrous. In short, a lot of fun for juveniles and the sophisticated film goer.

Sinbad the Sailor
I would like to purchase on of these in VHS/PAL system, as i live in australia, any leads?

Great, Old-Time, Comical Fun
This movie is a great flick, with the clean comedy of some older movies. Almost all the actors are great! Sinbad and his first mate are funny, and the "heroine" (which she is in the end) is well-acted. Worthwhile for anyone who likes clean fun, sword fights, and a bit of mystery and romance.

A REAL BLAST FROM THE PAST
THIS IS WHAT ALL THE NEW GUYS TRY TO DO AND JUST CAN'T QUITE MEASUREUP TO. THIS IS WHY WE CALL THESE MOVIES "CLASSIC". THIS IS WHY THERE ARE NO MORE GREAT ACTORS AND ACTORS IN HOLLYWOOD TODAY. HOW CAN YOU EXPECT SOMEONE LIKE SEAN PENN OR BRAD PITT TO DO A MOVIE LIKE THIS AND DO ALL HIS OWN STUNTS? FACE IT, FOLKS, WHAT WE CALL ACTORS TODAY JUST DON'T COMPARE TO THE REAL THING FROME A FEW YEARS BACK. WHY DO YOU THINK THEY CALL IT "THOSE THRILLING DAYS OF YESTERYEAR?" ... Read more