Reviews (1)

Please Release This On DVD !!!
Excellent World War II movie about one of the most important convoys / supply lines in the European Theatre. I'm really surprised this movie hasn't gotten more support. PLEASE RELEASE THIS MOVIE ON DVD !! ... Read more

Reviews (8)

1970s Historical Mini-Series don't get better than this one!
Okay, I bought this mini-series on VHS to add to my very extensive collection of all-things Randolph Mantooth. I was pleasantly surprised by the depth of the story. (But Randy still looks great and acts great through the entire thing!).

It's too bad they just don't make 'em like this anymore. I miss the 1970's.

Oh, and "Bravo!" to Hannah Shearer, too. Well done!

The Seekers&The Rebels
I have seen The Rebels and The Seekers.
I highly recomend both.Kevin Tighe was
great as Thomas Jefferson in The Rebels
and Randolph Mantooth was great as
Abraham Kent in The Seekers.They are
great actors.It's a must see.

The Seekers
I'm a huge Randolph Mantooth fan.
I loved him in The Seekers.
Delta Burke was fabulous as Abraham's
wife Elizabeth.I don't like how Abraham's
brother took Abraham's son Jared away
from him at the end.I cry everytime I
watch the scene where Elizabeth tragically
dies.It's a must see for Randy fans.

One fantastic movie!
This is one fantastic movie! Randolph Mantooth is one of the best actors I have ever seen. Plus this movie stars alot of other well known actors and actresses. If you haven't seen this movie....you just have to! It is awesome! Thanks for such a great movie!

John Jakes epic saga comes alive in "The Seekers"!!!!!
For many years I have been a great fan of the historical fiction written by writer John Jakes. The epic series of novels "The Kent Family Chronicles" comes alive with great historical relevancy, making the events of history march through the screen. Personally, I love all kinds of miniseries (espically North & South the miniseries), and I very much enjoyed this third part of the televison adaption of his books. They acting, background and costuming is excellent, with a wonderful supporting cast. I highly recommend this video who enjoys, action, adventure or just good old romance. This is one film I have viewed that accurately depicts historical events to audiences of all ages. Except for a few scenes with brief scenes of nudity. I truly love, and enjoyed this sweeping plot and they way it made history come alive!!!!!!!!!!!!!!!! ... Read more

Reviews (1)

Friendly witness to a changing West.
'Broken Lance' has many admirers, and there are many good things about this sober Western. The film has been called an updated 'King Lear' - an all-powerful, tyrannical father unwisely cedes control (land) to his children, all turning against him except for the youngest, who is the most ill-used - but the adaptation is loose and mercifully unliteral: there are no raging storm scenes or impertinently wise Fools, just a grandeur-exuding atmosphere of a great man and the power he created declining. Though filmed in Fox's ugly Technicolour - that muddy colour that would be called 'lurid' if it didn't yearn for the respectable - there is an intelligent compositional eye, filling the landscape with dramatic and symbolic imagery. The prologue is particularly striking - a moody young man, Robert Wagner, released from three years in prison, rejects a financial offer by brothers eager to be rid of him. The journey he takes into the past is one of progressive decay and danger - first he is forcibly brought to the governer, in whose building gleams an imposing portrait of his father. When he visits his father's land, with all its traces of former activity abandoned, he is shot at from a distnace by a man who turns out to be an Indian friend -- the surreal shot of a seemingly self-standing gateway in an empty plain points to the importance of this sequence, as a kind of mythical portal into another realm; when he finally enters his family home, it is a ghost house, a gothic ruin, its dereliction shrouded in shadow. Like the films noirs with which director Huac Dmytryk made his name, the movie begins with an end; a heavy air of fatalism hangs over the subsequent long flashback.

What probably most appeals to fans is the film's (relative) political sophistication - as a backdrop to the usual Oedipal structures is a portrait of the West as it moves from a mythical plane into the modern era. It especially highlights two problems that would blight the nation in the next century - race and advanced capitalism. Spencer Tracy is an Irishman whose second wife is the daughter of a Cherokee chief. He is too important a landowner to ignore, so the locals refer to her as Spanish; the wives of these friends are nevertheless terminally indisposed whenever he gives parties. Of his four sons, the elder three from his first marriage, his favourite is the youngest, Wagner, through whose eyes the film unravels, and on whom centres the crises of race (he is a half-breed who loves a WASP whose father disapproves) and property. The actual catastrophe of the film occurs when a copper company on Tracy's land dumps refuse in his river, poisoning his herd. A fight at their headquarters, in part sparked by a racist comment directed at Wagner, leads to a court case, to offset the risks of which, Tracy is advised to divide the land between his sons. The old pioneers who tamed the land have been superceded, leaving only division and hatred in their wake.

You have got to admire a Western that interweaves its themes intelligently and without sensation (although a ridiculous coda stand-off between two brothers nearly ruins the good work). The restrained use of music and the insistence on stillness (intimating burgeoning violence) adds a maturity to the action. The treatment of the Indians is sensitive for the time, with the relationship beween Tracy and Katy Jurado clearly signalled as a loving and positive thing. The title indicates the film's theme, the (1950s?) failure of authority, family and masculinity.

Still, I found the film unsatisfying. This is partly due to miscasting - Wagner is too wooden to carry the film's moral weight; his role should have gone to the nervy, brilliant Richard Widmark, riveting as his resentful older brother who finally turns against his father's abuse. But it is mostly due to the stodgy direction which often confuses the sombre with the plain slow. Compared to the similarly-themed 'Gunman's Walk', 'Lance' lacks verve or true insight. ... Read more

Amazon.com

This 1954 dinosaur brings together two giants of Broadway, Ethel Merman and Irving Berlin, just as their moment was passing forever, to create one last hurrah: a celebration of the glories that were vaudeville. Still, it's hard to imagine that Broadway--or nightclub entertaining, for that matter--was everquite this lavish and satisfying. The story centers on a married couple, the Donahues (Dan Dailey and Merman), who live on the road as vaudeville entertainers, and since they have children, begin incorporating the kids into the act. Eventually, the kids grow up to be Donald O'Connor, Mitzi Gaynor, and Johnny Ray, and they begin having interests of their own. Donald's is an ambitious showgirl (Marilyn Monroe), whose standoffish response to his romantic overtures drives him to drink. Best for its lavish, splashy production numbers built around some of the best of the Berlin songbook, including the title tune and "A Pretty Girl Is Like a Melody." --Marshall Fine ... Read more

Reviews (27)

Something for Everyone
This movie has something for everyone. Watched it for the first time today, then read reviews here on Amazon and elsewhere on internet. Marilyn fans think she is the best thing in the film. Ethel Merman fans rave about her performance. Hollywood musical fans rave about the extravagant production numbers. Johnny Ray fans rave about his only film appearance. Technical reviews(of DVD version) rave about the sharpness of the image, color rendition, sound reproduction and restoration process. Of course, Pseudo-Intellectual-Sophisticates like Tom Reynolds panned this film ... but pay no attention to the naysayers. This is a really fun film to watch, a gem, a blast from the past, non-stop singing and dancing from the Golden Era.

Overblown but tremendous fun!
It's wonderful to have these recordings available in true stereo and the version of the title song belted out by Merman remains her most definitive recording of the song. A few oddities: Johnny Ray's vocal track for "If You Believe" is wildly out-of-synch (and re-listening to the original Decca album it does sound as if they manipulated the track with some editing. Ray was deaf.. perhaps he could not hear the click track? At any rate, Varese should have tried to edit the song so that it sounds the same as in the film) and there are a few other places where the orchestra comes in too early. Minor quibbles. More curious was the decision to drop some musical segments that were in the film: Gaynor adn O'connor doing a wicked parody of (parents) Merman and Daily; Dailey's "You'd be surprised"; Merman's "Let's Have Another Cup of Coffee" and the deleted songs "Anything You Can Do" and Marilyn Monroe's unused vocal of "You'd be surprised" - but what is on the disc is great! And the set comes with good liner notes.

It's the Five Donahues..............
Ok Ok. I have been a lifelong Marilyn Monroe fan since childhood, I love her. But when you are a Marilyn fan you have to put up with hit and miss movies. No Business is one of them. When Marilyn is on the screen singing and dancing, the movie is all hers. Who doesn't love the Heat Wave number? The rest of the movie is a drag and unless you are a huge Ethyl Merman fan (?) this film doesn't have much to offer.

This is a musical with a very light plot; the story of the Donahue Family in show business. The two sons grow up to be a couple of dorks. The one who wants to be a priest is just scary. He acts like a Peter O'Tool derelict with a murderous smile. The other one is driven over the edge by Marilyn's lack of interest and joins the Navy.

Like I said, if you are a Marilyn fan, there are scenes in this film that you must have. If youare not a Marilyn fan, well you got Ethyl and Berlin music.

BETTY GRABLE WHY DID'NT YOU DO THIS MOVIE?
Betty Grable was supposed to play the Ethel merman part , but looked to young to be a mother of grown ups Donald O'Conner , Mitzi Gaynor and Johnny Ray so they hired Merman.

A must Have Musical
I think this is one of the best musicals available. And- if you're into musicals this one you need to get. Since Hollywood refuses to make musicals you better latch on to this one while you can. I think the color and the musical numbers are wonderful! And in those days they used better color for films than they do today! For color films and for tv viewing they use cheap color. Many people has told me that they thought their tv was fading out and had a foggy color to it. I've told them it's not their tv at all. The best color was always used back in the 40's and 50's. I see nothing ethnically wrong in the film that would be wrong. People are just too too sensitive these days and now they are picking the old films apart. They need to learn how to get over it. I am so glad that they have not destroyed these old films because 98 per cent of the films today are trash and will never become classics such as this one. When all the great producers and directors and screenwriters pass away there just seems like no one can take their place. They knew what they were doing back then. The craftsmanship has been lost. ... Read more

Amazon.com essential video

The last film of John Wayne could not have been more fitting, full of details that can't help but make one reflect upon his legacy in the movies and his life as a star. Wayne plays a career gunfighter in the autumn of his life, trying to hang up his pistols after he discovers he's dying of cancer.Boarding in the house of an attractive widow (Lauren Bacall) and her son (Ron Howard), Wayne's character opts for peace in his final days but is dogged by his reputation when a handful of killers seeks him out for a final fight. Howard is fine as a fatherless boy who needs the strong mentor the hero represents, and James Stewart--who costarred with Wayne in the great Man Who Shot Liberty Valance--plays the doctor who gives the big man the bad news. Don Siegel (Invasion of the Body Snatchers) thoughtfully directs a very special and sensitive production. --Tom Keogh ... Read more

Reviews (38)

A tear-jerking Western classic from the Duke
In my opinion, this is one of John Wayne's most underrated films. Oh, people like it well enough, but few see it for what it really is: the twilight of a great epoch in American cinema. In it, Wayne gives one of his finest and most believable performances, and stars opposite a great cast of old contemporaries (like James Stewart) and up-and-comers (like Ron Howard).

This final film of the Duke could not have been more fitting. Wayne plays an old gunfighter who's dying of cancer. He knows he's dying, and tries to live out his final days in peace. The real tragedy of the story is that no one will let him--he is constantly harassed by would-be heroes, newspapermen, and people seeking to play a part in the death of a legend. The role is a different one for the Duke--he doesn't play the tough-as-nails cowboy this time--and yet he seems to fit it perfectly.

This is perhaps the most fitting farewell of a Hollywood legend conceivable. No matter what people think of him, few can deny the everlasting impact that John Wayne has had on American society. This film is the last hurrah, the blaze of glory. Wayne's character, and Wayne himself, senses the end of his era, and goes out with style.

The "Duke" Saves His Best For Last!
John Wayne's last film serves as an epitaph of his enormously popular career in film.

"The Shootist", directed by Don Siegel in 1976, went through numerous delays and battles before the film was finished. But what the audience is left here is nothing short of a masterpiece. This should serve (and in my opinion, it does serve)as the pinnacle of both John Wayne's and Don Siegel's careers.

Many people who are not John Wayne fans will get the exact same enjoyment out of this film as much as his biggest fans do. Simply because the film is beautifully shot and is deeply heartfelt and moving.

John Wayne plays J.B. Books, a gunfighter looking to retire. When he returns to Carson City 15 years after one of his greatest gunfights, he is a changed man. He is also an ill man. Doc Hostetler (played be Jimmy Stewart) is forced to tell Books the bad news that he is dying of cancer. (Unfortunately, Wayne truly was dying of lung cancer during the filming of the motion picture). Obeying Hostetler's orders, Books gets a room at Widow Rogers' (Lauren Bacall) boarding house and intends to live out the rest of his life in peace. This does not happen however as the rumour spreads quickly around the town that Books is dying and every gunfighter trying to make a name for themselves unsuccessfully try to shoot him down.

With just days before his 58th birthday, Books decides to "go out in style" (guns blazing). He gets Widow Rogers' son, Gillom (played by Ron Howard) to tell local gunfighters Cobb, Pulford and Sweeney that he will meet them at the Metropole Saloon on his birthday. It's just hours before the Rogers' realize what Books is planning to do.

The film does tend to become depressingly downbeat at times but in the end, this proves to be John Wayne's finest work. Wayne gives the performance of his career with this film and it's probably just as well that the "Duke" went out with this blaze of glory than say the sequel to "True Grit". (Not that "Rooster Cogburn" is a bad movie, but it doesn't even compare to this magnificent piece).

Also watch for excellent performances by Richard Boone (Sweeney), Hugh O'Brian (Pulford), Harry Morgan (Thibido), Scatman Crothers (Moses) and especially John Carradine as Beckum, the undertaker. (Surprise, surprise!!!) The scene in the barber shop between Books and Beckum is truly wonderful.

Parents, if you intend to show this film to your children, let them know there is some bloody violence and strong language (for a John Wayne movie). Otherwise, show them this fine work of art. That's right, this is art.

The Movie, the Cast, the DVD
This is the story of the last eight days in the life of John Bernard Books (John Wayne), a legendary gunfighter who pulls into Carson City, Nevada on January 22, 1901. Books is dying of inoperable prostate cancer. Knowing that all he has to look forward to in the few weeks left him is an undiginfied and agonizing death as his disease progressively worsens, and unwilling to go out that way, Books orchestrates one last glorious gunfight, himself versus the only three men in town who just might be able to kill him.

The Shootist has the cast from Hell: John Wayne, Jimmy Stewart, Lauren Bacall, Ron Howard, Harry Morgan, John Carradine, Hugh O'Brian, Richard Boone, Scatman Crothers, all in the same movie. Made on a shoestring budget of eight million (not a lot of money for a major Hollywood production even in mid-Seventies dollars) the only way The Shootist could afford such a cast was that everyone involved realized this would probably be Wayne's last picture, and wanted to be involved. Hugh O'Brian volunteered to play his part for free.

The only "extras" on the DVD are the original trailer which is mediocre and a "Making Of" feature that's absolutely excellent. In the latter it's revealed the filmmakers changed the ending of the movie from the book on which it was based. In the novel, J.B. Books is killed at the end by young Gillom Rogers (Ron Howard) after surviving the final gun battle. But the powers that were felt it would be awfully hard to have audiences like the Howard character after that. In hindsight they realize their decision weakened the movie. And they're right. That would have been the perfect ending to The Shootist, the ultimate act of love from Gillom to Books, to be the one who ended his pain when no one else could. The way the movie does end is great - The Shootist is fully deserving of its five stars - but it could have been even better.

While it would be difficult to make a case against either Once Upon a Time In the West, Red River, or The Outlaw Josey Wales being the best Western ever made, The Shootist is one of the very few movies even worthy to be mentioned in their class. It adds an immense amount of poignancy to Wayne's portrayal of J.B. Books, a strong man in the final stages of terminal cancer, to know the actor was in exactly the same situation at the time. This is arguably Wayne's finest acting job, understated and powerful. While some actors are great for a time, then degenerate into crap roles to finish out their careers (Basil Rathbone's last movie was Hillbillys from Outer Space, if you can believe it), John Wayne was a class act til the very end. The Shootist was the perfect way to cap his career: one last superb Western from the greatest Western star of all.

John Wayne's elegiac swan song; Farewell, Duke...
As movie genres come and go, the American Western was gasping for its last breath when John Wayne starred in "The Shootist" in 1976. This story about a dying gunfighter counting down his last days in the New World is loaded with an extremely heavy dose of symbolism. This is a quiet western, completely emphasizing dialogue over action. Directed by Don Siegel, a master of the western, the overall mood laments the passing of the Old West and its ideology. I agree with other comments that this film has a slightly made-for-TV quality about it, but it's clear this is supposed to be a delicate look at the death of a revered cowboy, and not a wide-open prairie epic. Like the character himself, John Wayne was dying, and provided for us what would be his final performance. The last words Wayne ever said onscreen at the end of this film are the same words I'd say to him if I had ever met him - "Thank you, sir."

Set in Nevada in 1901, Wayne plays John Bernard Books, considered one of the last infamous gunfighters of the Old West. Books settles into Carson City and learns he's dying of cancer. Hoping to live his last few days quietly, he is befriended by a strong-willed widow (Lauren Bacall) who owns a boarding house, and her impressionable son (Ron Howard). His presence becomes known, and enemies from his past emerge looking for a fight, while other so-called friends try to coax the legendary outlaw into letting a little fame rub off. Books soon develops a tender friendship with the Bacall character, while becoming a mentor to her eager son, even though the local Marshall is pressuring him to leave town immediately. Books soon figures out how to rid himself of his enemies and his debilitating condition in one swift stroke. The cast is a large who's-who of western actors and they do an all-around great job; Lauren Bacall looks a little less glamorous than usual, but fits right in as the stern yet feminine widow. Ron Howard gives a brash, "aw shucks" grown-up version of Opie, and Harry Morgan provides a little humor as the cowardly, trash-talking town deputy. There's also a small but fantastic supporting role by the eternal Jimmy Stewart as the doctor who informs Wayne of his ailment.

As the titular dying gunfighter, Wayne's role is not as complex as it was in "The Quiet Man" or "The Searchers", but this is still some of the best acting he's ever done. This is a solemn film, about someone reaching the end of their life and isn't afforded much time to rest and reflect because their past is catching up. The sad perspective of the Old West as an antiquated era also shows how we sometimes have trouble trying to stay with the times when the rest of the world is rapidly moving forward. This movie has grown in appreciation over time with many Wayne fans due to his calm, age-old performance. I can't think of another film that has served as such a fitting goodbye to an actor. "The Shootist" is - both literally and figuratively - the Duke's final bow.

THE ICON
I GREW UP WATCHING SATURDAY(OBVIOUS RERUNS)MORNING WESTERNS WITH MY DAD, AND I REMEMBER WITH GREAT FONDNESS THE OLD JOHN WAYNE MOVIES WHEN HE WORE TO MUCH MAKE UP. THESE ARE DAYS I REMBER MOST BECASE THEY WERE WITH MY DAD. HIS LATER MOVIES BROUGHT TO US A HERO THAT WENT THE EXTRA MILE, THAT DID NOT QUIT, THAT TRIED TO DO THE RIGHT THING. HIS YES WAS YES AND HIS NO WAS NO. THE SHOOTIST IS NOT MY FAVOITE MOVIE BECAUSE ALL THROUGH IT I KNEW IT WAS GOING TO BE HIS LAST, AND I DO NOT LIKE IT WHEN HE DIES IN HIS MOVIES. IT IS ONE OF HIS GREATEST. ... Read more

Reviews (1)

A Western that has it all!
The Lawless Breed stars the young Rock Hudson who plays Wes Hardin, an outlaw who wrote his own story after he was released from prison. The story spans over 20 years and you see Rock Hudson from a young man aging gracefully. Julia Adams, John McIntire and Hugh O'brian also star in this film. This western tells a true story and shows two sides of every story and how exagerated stories in the west developed. There was romance, struggles with family, families pulling together when needed, courage, and some comical scenes also. A must see for lovers of westerns. ... Read more

Reviews (11)

ALWAYS TEN LITTLE INDIANS
I don't agree with most of the reviews of this. I think this is a good adaptation, and is seriously over/under/adequately acted by a marvelous group of character actors. Hugh O'Brian---cast because of his darkly handsome looks; Shirley Eaton for her blonde beauty; Daliah Lavi for those eyebrows; Marianne Hoppe and Mario Adorf were splendid in their housekeeping roles; Fabian appropriately as bad an actor as singer; and those wonderful British superstars Dennis Price, Stanley Holloway, Leo Genn and Wilfrid Hyde White hammy as they should be expected to be. The jazzy score is totally out of kilter, but it lends a kind of retrospective jolt to the senses.
Now, let's imagine TEN LITTLE INDIANS 2004--better special effects, the musical score featuring Christina Aguilera, Clay Aiken, Pink and REM. Director would be someone like Quentin Tarantino or Brian DePalma. And think of the cast:
BEN AFFLECK - Lombard
JENNIFER LOPEZ - Vera
SEAN CONNERY - Blore
ROBBIE WILLIAMS - Marston
HALLE BERRY - Ilone
DUSTIN HOFFMAN - Dr. Armstrong
TYNE DALY - The Judge
F. LEE ERMEY - The General
BOB NEWHART & SUZANNE PLESHETTE - The Housekeepers.

Oh, now, there's something to think about!

Just have fun watching these guys having fun.

Enjoyable version of my favorite Christie
First off, I'm a huge Christie fan, and Ten Little Indians is my favorite of her stories. This is a solid, enjoyable retelling of the story, though it lacks the top drawer quality of the 1939 original. The entire 39 cast was terrific. This one has some great performances, some competent ones, and some laughably bad ones. Standout in this cast are Wilfrid Hyde White as the Judge, Stanley Holloway, Daliah Lavi, Shirley Eaton, and Hugh O'Brian. Equally bad are Fabian as the playboy, and the butler, can't remember the actor's name. The butler delivers some lines as though he's sleepwalking, and overacts at other times. I don't think I'm giving too much away by saying that Fabian's performance is so over-the-top grating that's its a relief when he's the first character to drop.

Other interesting developments-though still tame by today's standards, this version has considerably more sex and violence than the original, in which most of the bodies were kept offstage. In this one, most of the murders occur on camera, including one in which a character plummets to their death in a cable car, a spectacular development not in the book. Indeed, Christie's murders were usually very clean, a gun, a knife, poison. Not something as pure Hollywood as this. The fact that this death also bears no resemblance to the nursery rhyme, a key plot point in all versions of the story, doesn't seem to bother the screenwriter at all. Oh well.

One other interesting change-the spinster character of the book and original movie is changed here and in the other remakes to a glamorous actress. Although Christie purists will probably be upset, I don't think it did any harm, particularly since I enjoyed Daliah Lavi's performance.

All in all, this production is flawed, but still entertaining and well worth seeing, especially if your a Christie fan. Not as good as the 39 version, and much better than the God-awful 1975 and 1989 remakes.

it is a good movie
hey, its a good movie. all you freaks who read the book and don't want to deviate, get over it. and for those who believe '45 is better, you're just nostalgic. aside from lombard (better in '45),each of the characters is better than other versions, especially hyde-white as the judge.

Mixed results trying to realize story's potential
The 1965 film is enjoyable and energetic. The characters are well-cast, especially the doctor, judge, Blore, and general. Some are more feisty than elsewhere, like the maid, butler, and spinster Brent, revamped as conceited actress Ilona and given a different, but entertaining, character and past crime. Only in this film are the maid and butler convincingly menacing. Fabian is obnoxious as a re-named Marston, but he is supposed to be; the film nicely places that character in a dissolute career, and he gives the best piano rendition of Ten Little Indians. The film livens up the methods and depictions of the murders. It changes some words of the nursery rhyme, but it closely adheres to its own version, right down to a bear statute toppled onto one character. Interactions between characters are more heated and less dainty than in 1945, as they should be, given the events.

However, the 1965 film is not as tightly and richly told, nor as well-acted, as the 1945 version. Hugh O'Brian and Shirley Eaton are appealing and have strong screen presence. But their Lombard and Vera seem relatively superficial and wooden. He does not give as smart and layered a performance as Louis Hayward, nor is she as strong as June Duprez. Dennis Price and Wilfrid Hyde-White each strike a better balance between seriousness and playfulness in their roles than did Walter Huston and Barry Fitzgerald, but are not as energetic, commanding, and entertaining. Ilona is amusing, but exaggerated, and displaces the distinctive Brent.

Lombard's past crime, and even more harmfully the general's, are changed in 1965 to something trite and unexplained. To no effect, Lombard is changed from explorer to engineer. Showing the killings on screen in a visually interesting way can be dramatic and vividly convey murderous host Owen's malice. But it can also make them seem implausible, as when Owen brandishes a hypodermic needle from across a room at one fully aware victim, who simply sits there, mouth gaping.

As in 1945, attempts to make characters comical or appealing sap the suspense. The final scene has more explanation than in 1945, but remains thin and undramatic. Again, Owen has a weary, rational, amiable armchair chat with the final victim precisely when the character should come alive as someone triumphantly and credibly capable of inflicting such horror. Ironically, it is left to the weak 1989 version to provide an ending that is dramatic, reflects Owen's menace and lunacy, and most fully explains Owen's behavior.

By comparison to its predecessors, the 1974 film took a decidedly different tone, for good and ill. Gone from both 1945 and 1965 is the lighthearted opening sequence and its catchy, upbeat music. The 1974 film has no opening music, just simple credits and silence invaded by the sound of an approaching helicopter. Its storytelling is cold and clinical. This matches its setting -- a palatial, ornate, immaculate hotel, shuttered and alone amid ruins in the Iranian desert.

The 1974 movie captures more of a sense of fear, dread, intensity, and suspense, elements too much neglected before. This includes the selection of Orson Welles to narrate the tape recording charging the guests with past crimes and also the way in which the killings are filmed. The characters are more serious. For example, Richard Attenborough's judge is more stern, less folksy, than in prior versions. Stephane Audran is excellent as Ilona, radiant and charming on the surface but troubled and lonely at the core. In their short screen time, the maid and butler are believable as hard, smooth con artists. In this important sense, the 1974 version is truest to the book and to those who want to see it presented as a serious mystery.

However, overall, the 1974 film is less substantial and entertaining than prior versions. The storytelling is so spare and unartful that it tends to be sterile and uninvolving. The movie lacks wit, ingenuity, eloquence, and energy. Its only moment of real charm comes early and abruptly, when Charles Aznavour, as a re-named Marston, performs a song, "Dance in the old-fashioned way," with Audran looking on, enchanted and lovely. By contrast, Aznavour's rendition of Ten Little Indians is disappointing. At "six little Indians," he starts pounding the piano keys and shouting the words, only to let the music die out in anticlimax before "one little Indian."

The outstanding actors play their parts with authority and more like real people than caricatures. Even so, they are unable to breathe much life into the characters or interactions. Herbert Lom lends an air of authority and intelligence (perhaps too much) to the doctor. But his restrained, stiff performance lacks any truly memorable quality, like Huston's buffoonery and charm or Price's vanity and arrogance, and he is unconvincing as a drunkard. Adolfo Celi can do nothing much with his role, and Gert Froebe little more with his. Elke Sommer makes no impression as Vera and has no chemistry with Oliver Reed. Reed gives an impish, bizarre performance as Lombard.

The 1974 film copies from the 1965 version, but loses something in the translation of even that imperfect script. Some of the more memorable dialogue is cut. By 1974, Lombard is not even given a career. The 1974 film is least faithful to the nursery rhyme. Events are out of Owen's control, as when a snake is used to kill, an uncertain murder weapon; one character simply wanders off into the desert; and another screams when a candle blows out, in prior adaptations a diversion engineered by Owen. The location is so faraway and desolate that it raises questions about why the guests would be willing to go there, without at least investigating the circumstances, and how Owen could have made the arrangements. The film lapses back to the 1945 version's short final exposition scene. Re-writes to reflect the end of hanging as a form of capital punishment and to make Owen choke out incoherent last words rob that crucial scene of even the inadequate dramatic effect of its predecessors.

Wow...
I thought "And Then There Were None" was a bad adaptation...then one just flat out stinks.

Seriously, do not waste any time with this film. Please follow my advice. ... Read more

Reviews (2)

Nifty action western
This 1954 western benefits from beautiful scenery, a good cast topped by Alan Ladd, a director who knows how to keep the action moving at a brisk pace [Raoul Walsh] and an interesting story that features several rugged cavalry-Indian clashes. When the warlike Sioux head north to Canada after wiping out Custer and the Seventh Cavalry, the Royal Canadian Mounted Police decide to err on the side of caution and disarm the peaceful Cree tribe, confiscating their weapons and ammunition to discourage an alliance with Sitting Bull's fierce warriors. Sgt. O'Rourke's daring and mutinous bent is the film's raison detre and he has the solid backing of his men as he leads the column of Mounties through the southern Saskatchewan wilderness to avoid the Sioux who are hot on their trail. Jay Silverheels is once again a faithful Indian companion, this time as Cajou, a blood brother to O'Rourke, and J. Carrol Naish is colorful as Batouche, a French trader and scout who knows Indians. The romantic angle has a fugitive woman [Shelley Winters] chasing after O'Rourke while spurning the advances of a crooked lawman who has charged her with murder. There are fist fights, canoe chases, explosions and Indian attacks and O'Rourke's fearless leadership saves the day for the Mounties and Western Canada.

NWMP & the Canadian Rockies
I loved this movie! The Canadian Rockies more than made up for any flaw. For those in love with the Canadian Rockies, this movie is a must! The opening scene of Peyto Lake is breathtaking. Makes you want to call a travel agent! Although others may disagree, I found the acting by Alan Ladd believable. "Shane" was my favorite Alan Ladd movie, but this is a close second. ... Read more

Reviews (1)

What a series! Blond-haired, blue-eyed Hebrews!
Never before in the history of mankind has there been more blond-haired, blue-eyed Hebrews in the Middle East! I say this tongue in cheek ofcourse. This short lived TV series, which may go by two titles on the web, was filmed in Paige, Arizona in the late 1970's. The continuous use of practically the same set every third episode and a minority of extras as a crowd of hundreds of thousands of Jews should give the viewers an indication of the budget.

The Review: Lot splits with Abraham and moves toward Sodom, gets captured, freed and eventually rises to some degree of leadership in Sodom. Lot eventually meets up with glowing angels and they shoot laser beams. Wow, that's neat! Sodom is destroyed and Lots wife turns into "BEST YET Salt" but I'm not sure if she's iodized (iodine treated description on BEST YET products). This low budget series features Ed Aames (Lot) and Gene Barry (Abraham) was an interesting idea for an episode and should've stayed just an idea. ... Read more

Amazon.com essential video

DeVito and Schwarzenegger as fraternal twin brothers? Hey, why not? This delightful 1988 comedy by Ivan Reitman--about genetically designed twin siblings who discover each other at the age of 35--works out just fine, thanks largely to great chemistry between the two stars. Despite a certain amount of rough action and tension, the film really gets a lift from the palpable innocence Reitman develops, and the female costars (Chloe Webb and Kelly Preston) bring some interesting texture of their own. This is a film that walked the tightrope of a high concept and completely succeeded. To see how easy it is to stumble in a similar situation, check out DeVito and Schwarzenegger in Reitman'sJunior. TheDVD release has a full-screen presentation, optional French and Spanish soundtracks, optional Spanish subtitles.--Tom Keogh ... Read more

Reviews (26)

Miraculous!
Arnold Schwarzenegger and Danny DeVito were twins switched at birth, what are the odds? What intelligence! Arnold lived a tropical life on a paradise island and Danny lived a cheap life in Los Angeles stealing cars. When they met for the first time, Arnold got upset that Danny wasn't immortal like he was. I would be too! Danny used Arnold to get out of prison and abandoned him. Dreadful! How could Danny do such a thing to a deity? Arnold was caring and wanted Danny to be a part of his life, but Danny didn't believe that Arnold was his brother! Idiocy! Eventually, Danny opens his heart and takes in Arnold. There the two dress in chic clothing to look like true twins! They fall in love with two sisters (one played by Kelly Preston). At the end, they find their mother and each have twins of their own. I was so deeply moved with this tear-jerker. Especially when the brothers met their mother for the first time, my heart had stopped. Every time I watch this movie, I use at least three kleenex boxes. Expensive! Arnold Schwarzenegger is truly a noble presence and in his next comedy, he proved that he is the superlative!

One of the great 80s classics
"Twins" is without a doubt one of the best comedy movies ever made. Julius (Arnold Schwarzenegger) and Vince (Danny Devito) star as the unlikely twins who were separated at birth. Julius was raised on a tropical island and only knows good and what he has read in several books and Vince is a full time prisoner and troublemaker on the run. After trying for a long time, Julius convinces Vince that they're twins and before long they do some of the same things at the same time and they have a sense of each other even when neither one is anywhere in site, just like twins. However, even though they're twins, they still have their differences. Vince is still unwillingly getting into trouble, but he is getting better with the aid of Julius and they even start going places and hanging out together at times.

"Twins" is a great movie in every way. It's hilarious, it's got a great plot, it's even got its touchy parts, and best of all, Danny Devito and Arnold Schwarzenegger both do a great job. Whether they're getting into trouble, taking up for each other, or having a great time, they both do a great job and make this movie a classic. Kelly Preston also looks better than ever in this movie. I recommend "Twins" to anybody who likes great movies. It's a true classic.

The truth about twins
Julius Benedict (Arnold Swarzenegger) a genetically perfect person has been raised on a secluded island and learned about the world through books. Now he finds out the somewhere out there he has a twin. He must seek out his twin that may be in trouble.

Vincent Benedict (Danny Devito) the twin may not be quite as identical as he was the leftovers of the experiment. But brotherly love and a sense of adventure lead them to search out their mother. What will Arnold and Devito learn on the journey?

One of the highlights is the close up shot of Arnold after his first physical experience with the opposite sex.

"Julius! Are you allergic to something?"
This film delighted, entertained, and surprised me when I first saw it on the big screen in 1988. Why the surprise? Because I never dreamed "Ahnold" could hold his own in a comedic role. But the Austrian muscle man creates laughs as easily as he bashes heads together, and TWINS remains a perennial favorite of mine.

As ridiculous as the plot is (Schwarzenegger and Danny DeVito are the products of genetic engineering gone awry), this movie succeeds because of the chemistry between the two actors. It's more than obvious to the viewer that Arnold and DeVito had a blast making this movie, from the action scenes to the way the actors mimic one another to create the "twins" effect. It's all great fun to watch, and the timing between the two is pure bliss.

The movie's tender moments are overly sappy--yet still very effective (especially DeVito's character), and the scrumptious Kelly Preston strikes one of the most memorable poses in all of cinematic history. Director Ivan Reitman delivers a quality comedy, which makes TWINS a thorough feel-good experience. Pop this puppy into the VCR and enjoy.
--D. Mikels

Double your viewing pleasure with this film!
GHOSTBUSTERS director Ivan Reitman directs Danny DeVito and Arnold Schwarzenegger in a hilarious film about twins Vince(DeVito) and Julius(Schwarzenegger) Benedict who have the same mom but different dads(6 dads among them). Julius spent most of his life,before finding Vince,on and island where he was loved and protected by his fellow residents. Vince is confronted by devious businessmen who he owes money to. Julius "beats the crap out of" one of the businessmen who grabs Vince by the throat. The twins do find their mother via careful research. Julius falls in love with Marnie,the sister of Vince's girlfriend. Vince teaches Julius how to drive,even showing him the locations of the accelerator and brakes. The two pairs of siblings all go for a weekend getaway. They're at a nightclub in Texas and are found by Vince's nemeses,who plan to kill him. Instead they get the crap beaten out of them by both Vince and Julius. Take note of how Vince and Julius dress exactly alike. In the last scene,the twins and their new wives have twins of their own,respectively. Isn't that awesome? As 1988 was nearing the end,this movie was released and was a box office success. Six years later,Reitman,DeVito and Schwarzenegger would reunite for JUNIOR. ... Read more

Reviews (1)

Great Underrated Western!!
This is a great underrated Western starring Hugh O'Brien and Anne Francis about a group of convict women smuggling arms into 1840 Mexican occupied Texas.It's a must see!! ... Read more

Description

Remake of Agatha Christie's "Ten Little Iindians."Ten people are invited on an African safari and find themselves being picked off one by one by a mysterious killer. ... Read more

Reviews (11)

ALWAYS TEN LITTLE INDIANS
I don't agree with most of the reviews of this. I think this is a good adaptation, and is seriously over/under/adequately acted by a marvelous group of character actors. Hugh O'Brian---cast because of his darkly handsome looks; Shirley Eaton for her blonde beauty; Daliah Lavi for those eyebrows; Marianne Hoppe and Mario Adorf were splendid in their housekeeping roles; Fabian appropriately as bad an actor as singer; and those wonderful British superstars Dennis Price, Stanley Holloway, Leo Genn and Wilfrid Hyde White hammy as they should be expected to be. The jazzy score is totally out of kilter, but it lends a kind of retrospective jolt to the senses.
Now, let's imagine TEN LITTLE INDIANS 2004--better special effects, the musical score featuring Christina Aguilera, Clay Aiken, Pink and REM. Director would be someone like Quentin Tarantino or Brian DePalma. And think of the cast:
BEN AFFLECK - Lombard
JENNIFER LOPEZ - Vera
SEAN CONNERY - Blore
ROBBIE WILLIAMS - Marston
HALLE BERRY - Ilone
DUSTIN HOFFMAN - Dr. Armstrong
TYNE DALY - The Judge
F. LEE ERMEY - The General
BOB NEWHART & SUZANNE PLESHETTE - The Housekeepers.

Oh, now, there's something to think about!

Just have fun watching these guys having fun.

Enjoyable version of my favorite Christie
First off, I'm a huge Christie fan, and Ten Little Indians is my favorite of her stories. This is a solid, enjoyable retelling of the story, though it lacks the top drawer quality of the 1939 original. The entire 39 cast was terrific. This one has some great performances, some competent ones, and some laughably bad ones. Standout in this cast are Wilfrid Hyde White as the Judge, Stanley Holloway, Daliah Lavi, Shirley Eaton, and Hugh O'Brian. Equally bad are Fabian as the playboy, and the butler, can't remember the actor's name. The butler delivers some lines as though he's sleepwalking, and overacts at other times. I don't think I'm giving too much away by saying that Fabian's performance is so over-the-top grating that's its a relief when he's the first character to drop.

Other interesting developments-though still tame by today's standards, this version has considerably more sex and violence than the original, in which most of the bodies were kept offstage. In this one, most of the murders occur on camera, including one in which a character plummets to their death in a cable car, a spectacular development not in the book. Indeed, Christie's murders were usually very clean, a gun, a knife, poison. Not something as pure Hollywood as this. The fact that this death also bears no resemblance to the nursery rhyme, a key plot point in all versions of the story, doesn't seem to bother the screenwriter at all. Oh well.

One other interesting change-the spinster character of the book and original movie is changed here and in the other remakes to a glamorous actress. Although Christie purists will probably be upset, I don't think it did any harm, particularly since I enjoyed Daliah Lavi's performance.

All in all, this production is flawed, but still entertaining and well worth seeing, especially if your a Christie fan. Not as good as the 39 version, and much better than the God-awful 1975 and 1989 remakes.

it is a good movie
hey, its a good movie. all you freaks who read the book and don't want to deviate, get over it. and for those who believe '45 is better, you're just nostalgic. aside from lombard (better in '45),each of the characters is better than other versions, especially hyde-white as the judge.

Mixed results trying to realize story's potential
The 1965 film is enjoyable and energetic. The characters are well-cast, especially the doctor, judge, Blore, and general. Some are more feisty than elsewhere, like the maid, butler, and spinster Brent, revamped as conceited actress Ilona and given a different, but entertaining, character and past crime. Only in this film are the maid and butler convincingly menacing. Fabian is obnoxious as a re-named Marston, but he is supposed to be; the film nicely places that character in a dissolute career, and he gives the best piano rendition of Ten Little Indians. The film livens up the methods and depictions of the murders. It changes some words of the nursery rhyme, but it closely adheres to its own version, right down to a bear statute toppled onto one character. Interactions between characters are more heated and less dainty than in 1945, as they should be, given the events.

However, the 1965 film is not as tightly and richly told, nor as well-acted, as the 1945 version. Hugh O'Brian and Shirley Eaton are appealing and have strong screen presence. But their Lombard and Vera seem relatively superficial and wooden. He does not give as smart and layered a performance as Louis Hayward, nor is she as strong as June Duprez. Dennis Price and Wilfrid Hyde-White each strike a better balance between seriousness and playfulness in their roles than did Walter Huston and Barry Fitzgerald, but are not as energetic, commanding, and entertaining. Ilona is amusing, but exaggerated, and displaces the distinctive Brent.

Lombard's past crime, and even more harmfully the general's, are changed in 1965 to something trite and unexplained. To no effect, Lombard is changed from explorer to engineer. Showing the killings on screen in a visually interesting way can be dramatic and vividly convey murderous host Owen's malice. But it can also make them seem implausible, as when Owen brandishes a hypodermic needle from across a room at one fully aware victim, who simply sits there, mouth gaping.

As in 1945, attempts to make characters comical or appealing sap the suspense. The final scene has more explanation than in 1945, but remains thin and undramatic. Again, Owen has a weary, rational, amiable armchair chat with the final victim precisely when the character should come alive as someone triumphantly and credibly capable of inflicting such horror. Ironically, it is left to the weak 1989 version to provide an ending that is dramatic, reflects Owen's menace and lunacy, and most fully explains Owen's behavior.

By comparison to its predecessors, the 1974 film took a decidedly different tone, for good and ill. Gone from both 1945 and 1965 is the lighthearted opening sequence and its catchy, upbeat music. The 1974 film has no opening music, just simple credits and silence invaded by the sound of an approaching helicopter. Its storytelling is cold and clinical. This matches its setting -- a palatial, ornate, immaculate hotel, shuttered and alone amid ruins in the Iranian desert.

The 1974 movie captures more of a sense of fear, dread, intensity, and suspense, elements too much neglected before. This includes the selection of Orson Welles to narrate the tape recording charging the guests with past crimes and also the way in which the killings are filmed. The characters are more serious. For example, Richard Attenborough's judge is more stern, less folksy, than in prior versions. Stephane Audran is excellent as Ilona, radiant and charming on the surface but troubled and lonely at the core. In their short screen time, the maid and butler are believable as hard, smooth con artists. In this important sense, the 1974 version is truest to the book and to those who want to see it presented as a serious mystery.

However, overall, the 1974 film is less substantial and entertaining than prior versions. The storytelling is so spare and unartful that it tends to be sterile and uninvolving. The movie lacks wit, ingenuity, eloquence, and energy. Its only moment of real charm comes early and abruptly, when Charles Aznavour, as a re-named Marston, performs a song, "Dance in the old-fashioned way," with Audran looking on, enchanted and lovely. By contrast, Aznavour's rendition of Ten Little Indians is disappointing. At "six little Indians," he starts pounding the piano keys and shouting the words, only to let the music die out in anticlimax before "one little Indian."

The outstanding actors play their parts with authority and more like real people than caricatures. Even so, they are unable to breathe much life into the characters or interactions. Herbert Lom lends an air of authority and intelligence (perhaps too much) to the doctor. But his restrained, stiff performance lacks any truly memorable quality, like Huston's buffoonery and charm or Price's vanity and arrogance, and he is unconvincing as a drunkard. Adolfo Celi can do nothing much with his role, and Gert Froebe little more with his. Elke Sommer makes no impression as Vera and has no chemistry with Oliver Reed. Reed gives an impish, bizarre performance as Lombard.

The 1974 film copies from the 1965 version, but loses something in the translation of even that imperfect script. Some of the more memorable dialogue is cut. By 1974, Lombard is not even given a career. The 1974 film is least faithful to the nursery rhyme. Events are out of Owen's control, as when a snake is used to kill, an uncertain murder weapon; one character simply wanders off into the desert; and another screams when a candle blows out, in prior adaptations a diversion engineered by Owen. The location is so faraway and desolate that it raises questions about why the guests would be willing to go there, without at least investigating the circumstances, and how Owen could have made the arrangements. The film lapses back to the 1945 version's short final exposition scene. Re-writes to reflect the end of hanging as a form of capital punishment and to make Owen choke out incoherent last words rob that crucial scene of even the inadequate dramatic effect of its predecessors.

Wow...
I thought "And Then There Were None" was a bad adaptation...then one just flat out stinks.

Seriously, do not waste any time with this film. Please follow my advice. ... Read more

Reviews (1)

Gambling, I don't think so! Its great!
I thought that Gambler returns, luck of the draw was a great movie. Reba and Kenny did a great job. All of the actors and directing was wonderful. I LOVED IT! I would recomend it for anyone to watch. It is about 3 hrs long but you don't notice it, its so good! ... Read more

Reviews (3)

Another STINKEROO!
You'd really have to be desperate to waste time on this one. One of the worst Alamo films of all time, unless you count THIRTEEN DAYS TO GLORY. (Gaaaggghhh) Historical accuracy is just not there! Decent acting, absent. Believeable plot, dead on arrival.
I've heard of B-grade Westerns, but this one doesn't even come close. If you are a glutton for punishment, go for it. Just don't operate heavy machinery after watching this bilge, you'll be too mind numbed.

Movie for western and Alamo fans
While not a great movie, The Man From the Alamo is still an interesting flick to watch. Glenn Ford stars as John Stroud, the man who left the Alamo to go and protect the families of the other defenders of the mission. Obviously this doesn't sit well with Texans who brand him a coward. This is not the most accurate Alamo movie(they seem to be fighting in a big box) but this wasn't meant to be an Alamo movie. Stroud's involvement in the battle is only a jumping off-point for the rest of the movie. Co-starring Chill Wills and Julie Adams. Not the most accurate film, but still very entertaining.

Hollywood gets it all wrong again!
This is probably the most inaccurate Alamo movie ever made. To begin with, all the defenders are huddled inside the Alamo chapel (the rest of the fort doesn't exist in this version) surrounded by Santa Ana's army, when the desperate need for a messenger presents itself. The Indians are on the warpath and someone has to warn the settlers along the Pecos. Glen Ford reluctantly is convinced to undertake the mission, promising to return as soon as everyone has been warned. The results are, of course, that Ford fails in his mission AND fails to return to the Alamo in time, thus being branded a traitor and a coward. All this takes place in the first part of the movie, and the rest of the story is Ford convincing everyone that he really isn't a dirty low-down varmint for going off and leaving Davy, Jim, and all the rest to die without him. Typical B western but look very closely and you will notice that ALL THE ALAMO DEFENDERS ARE CARRYING SIX-SHOT REVOLVERS. No wonder Santa Ana's losses were so heavy. Way to go, Hollywood! ... Read more

Reviews (1)

Nice Western!!
This is a nice western about 5 women convicts shipping arms to 1840 Mexican held Texas,starring Hugh O'Brien and Anne Francis.Check it out!! ... Read more

Reviews (2)

Good of kind
Was not as good as I remembered as a kid. I was told this was the movie where Piper Laurie wiggled thru the bars. But if it was, it was cut out of this print.

tony is a babe
Far out Tony Curtis is a babe. I'm so obssessed with him that I wish I was alive at the time of this movie ... Read more

Reviews (3)

Glad it's being released on DVD.....but
I'm so glad these Gunsmoke movies are being released on DVD. But, can someone tell me why this wasn't released as a 3 DVD set and not indivdidual DVD's. Like the "Sarah Plain and Tall" 3 movie saga. It was released with all 3 movies together in one case. I'm pretty sure most people are going to purchase all 3 movies of gunsmoke. I'm thinking "SPACE", "ROOM" to keep all these DVD's that are being released or have been released. Not everyone has all the space in there home for so many shows being released on DVD. To the manufactures of these movies: Next time do a survey to find out what people would like. I sure would of liked all 3 Gunsmoke movies in one case (jacket).

FANTASTIC!!!!
Charles Correll directed a stupendous flick!My favorite! All characters were superb. Mandac was a character who was extremely memorable. I watch this dozens of times and always see something new. Hats off to a brilliant movie and a brilliant director!!

Gunsmoke reunion movie No. 2
Gunsmoke - The Last Apache -- James Arness as Matt Dillon returns for the second of the Gunsmoke TV movies. Again the story reaches into Matt's past. Matt receives a letter from a woman he hasn't seen in 20 years -- Mike played by Michael Learned. (Flashback scenes from Gunsmoke are presented. From the episode "Matt's Love Story" -- a wounded Matt Dillon loses his memory and falls in love with a widow.) Mike requests his return in the urgent letter. Matt arrives to find her ranch in flames following a raid by the Apache Indians. He is stunned to learn that he and Mike have a daughter named Beth. Beth has been kidnapped by Wolf, a warrior chief for Geronimo. Wolf is played by Joe Lara (star of the syndicated TV series Tarzan: The Epic Adventures). Richard Kiley and Hugh O'Brian also guest star. Color. First aired on CBS in 1990 as a two-hour Gunsmoke movie. Very entertaining. ... Read more

Reviews (1)

A good mystery
I have read several plot analysis written by the "pros" and they seem to be all wrong. There is no terrorist on the plane. The story is about a letter that is found in the first class airport lounge after an international flight has taken off. The letter states that there will be murders before the flight lands. The best part is the "WHO IS THE KILLER" set-up. Farrah is in one of her first roles and just as lovely as ever. Adam Brooks talent was not shown enough. ... Read more

Book Description

As a baby, Moses is sent down the Nile in a basket. As a man, Moses is called to save God's people and leads the Israelites across the Red Sea. God gives His people the Ten Commandments. Animated, 23 minutes. ... Read more

Reviews (67)

It hurts to say it, but . . .
. . . this is Bruce Lee's best film. Look, I hear the groans already, but consider the competition. Having watched all his films in order just recently, I was reminded how clunky and slow "Enter the Dragon" was. Apparently, there came a point in Bruce's approach to fight scenes where he would barely receive a punch, and instead just utterly dominate the opponent, no ebb and flow -- like his ultra brisk, almost anti-climactic demolition of Bob Wall in ETD.

Now, we all know "Game of Death" simply exists to use The Footage. And the 20-ish minutes of The Footage does appear at the end, and it's a very stylish, having-fun Bruce Lee -- not the sullen, monotone Bruce of ETD. The makers of the film went with a "Bruce double" for the rest of the film, often in shadow, wearing HUGE sunglasses, keeping his face turned away, etc. Every now and again, a snippet of actual Bruce gets edited in from an earlier movie, say, upon his walking into a room, or for a reaction shot. And some of these cut-away bits are pretty awkward -- few of them flow smoothly.

But having said all that, this film -- as a kung-fu film about a star named Billy Lo trying to break away from the syndicate -- is way, way above the average for this genre. For the trio of syndicate heavies, we get Mel Novak, Hugh O'Brian and Dean Jagger -- and these guys are FAR more compelling actors than you usually get for this type of flick. Some of the exchanges, with Dean Jagger especially, are deliciously sinister. The guy (actually, there may be two of them) playing the "Bruce double," while not looking a whole lot like Bruce (hence the sunglasses) and not exactly a riveting screen presence, has the fluidity of Bruce's kicks down pat -- which is no doubt why they hired him. Moreover, some of the fight scenes end with him getting beaten down and out, an effective dramatic element which the real Bruce had seemingly discarded. The real Bruce was doing movies which were becoming more and more of an "I-am-indestructible" exercise, only offering his steady obliteration of everyone else, even against noteworthy foes. But because we're dealing with a stand-in of sorts, HE can be beat down to a pulp. This at least lends a bit of dramatic flux.

And, of course, this film has The Footage, arguably Bruce's best work, and edited together pretty well from whatever they had on hand. BUT -- before we get to The Footage, the "Bruce double" has an absolutely fantastic fight with Bob Wall -- after Bob Wall has just gotten done having a very cool fight scene with Sammo Hung for "The Martial Arts Championship of the World," complete with a stadium of screaming fans! How much campy-goodness is THAT?! People who are simply bothered by the way the studio glommed onto The Footage in order to make a profitable flick are totally overlooking the much-better-than-average elements going on. The soundtrack is beyond classic -- the triumphant yet haunting horns announcing the titles somehow mesh so strongly with the realization of Bruce's untimely death -- it becomes the perfect music for his passing, as well as for the movie itself. And lest I forget, this DVD transfer is really crystal clear -- even some of the jarring "real Bruce" cutaways are made to almost work by the fact that the DVD looks so good.

Yeah, this film really needs to be cut some slack. If people are going to call the 70's-clunky "Enter the Dragon" a timeless classic, then this one deserves much more recognition. Robert Clouse directed this one (1978) between "Enter the Dragon" (1973) and "The Big Brawl" (1980) -- so the timeline pedigree is solid as well.

A CLASSIC MOVIE THAT OFFERS A FINAL GLIMPSE OF A TRUE MASTER
IN THE LAST MOVIE OF BRUCE LEE'S LIFE, A RISING MARTIAL ARTS STAR NAMED BILLY LO GETS HARASSED BY THE MAFIA. BUT, WHEN THEY VICIOUSLY SHOOT HIM, HE FAKES HIS DEATH AND GOES ON A MISSION FOR REVENGE. KEEP IN MIND THAT THE REAL BRUCE LEE DIED HALFWAY THROUGH THE MAKING OF THIS FILM. BUT SIX YEARS LATER, ROBERT CLOUSE GATHERED UP ALL THE SURVIVING CAST MEMBERS AND WITH THE USE OF DOUBLES FILLING IN FOR LEE, THIS MOVIE WAS COMPLETED. A VERY GOOD MARTIAL ARTS MOVIE WITH SOME LEGENDARY FIGHTS. THE FIGHT BETWEEN BRUCE LEE AND KAREEM ABDUL JABAR IS A MUST SEE. FOOTAGE FROM BRUCE LEE'S ACTUAL FUNERAL WAS USED FOR ONE SCENE IN THIS MOVIE. NONETHLESS, BRUCE LEE FANS SHOULD ENJOY THIS FINAL LOOK AT A TRUE MASTER OF THE MARTIAL ARTS.

DO NOT BUY THIS FILM (READ THIS)
This film is an insult to everything Bruce Lee was. And they didn't even use all of the available fight footage. Instead, pick up "Bruce Lee - A Warrior's Journey". It contains all of the original fight footage Bruce shot, along with a VERY in depth documentary covering his whole life. If you are a Bruce Lee or kung fu fan, that dvd is a must-have. Not this one.

"Game Of Death" Review
While billed as the "final film of Bruce Lee", it is important to note that this movie just splices footage from other Lee films in with both shots of a Lee double and the only actual material that Bruce recorded for the film, which clocks in at just over 20 minutes. The way that the filmmakers try to pass off a poor double as the real Bruce reminds one of the infamous Bela Lugosi "Plan 9 From Outer Space" curtain call. While the first hour or so of the movie is laughably bad, one of the big anti-climatic fights involving Bruce and Kareem Abdul-Jabbar is worth every dime you put in. The jaw-dropping battle uses well-placed fight choreography as opposed to today's fancy camera tricks to make for one of the best martial arts fight routines captured on film. For those who want to know, the plot of the film surrounds a martial arts film star who fakes his death and returns to seek revenge on the mob. In a twisted sense of irony, Bruce's character is shot on a movie set with a gun that is filled with