Reviews (10)

Davis at her best
"Marked Woman" was one of the finest examples of Warner Brothers' 1930s gangster films. The movie is violent, lonely and sentimental without being saccharin. "Marked Woman" maximizes the Bette Davis style. Humphrey Bogart is appropriately straightforward as the assistant D.A. His crisp, clipped delivery shows his stage training, but the dynamic Bogie is nowhere to be found. That's okay as this film is not about him but about the five night club hostesses led by Ms. Davis. Rounding out the quintet are Lola Lane, Isabel Jewell, Mayo Methot and Roslaind Marquis. Their chemistry is superb and the whole movie is charged with an exciting energy. The ironic aspect of this excellent gangster film is the fact that not a single gun is fired.

Hostesses Fight Back
Bette Davis stars as a nightclub "hostess" who gets mixed up with brutal crime boss Eduardo Ciannelli, an association that leads to tragedy for Davis. She's one of five women who work at a clip joint, their jobs being to get as much money out of the male customers as possible. Davis needs the money to help support her kid sister's education. However, when her sister Jane Bryan also gets mixed up with Ciannelli, Davis finds herself doing battle with the mob, both in court and out. This is an unusually tough film and roll for Davis, and it's one of her more interesting ones. She's very good, getting a number of scenes to cut loose. Lola Lane and Isabel Jewell as two of her co-workers also give strong performances, as does Humphrey Bogart as the special prosecutor who fights for Davis. It's unusual not to see Bogart as a heavy at this point in his career, and the change of pace displays his versatility. Lloyd Bacon tightly directs the film, leaving little room for sentimentality. The film has a hard edge that suits its theme very well. It's well made and acted and fans of any of the stars will want to see it.

Good girls gone bad get done
Eduardo Ciannelli gives an wonderful, controlled performance as the gangster heavy, Vanning in "Marked Woman". His studied calm nicely offsets the histrionics of the hostesses in his employment. Betty Davis, naturally, is given the most screen time reacting hysterically to her myriad sorrows and complaints. The rest of the girls just stand around mostly like mannikins in stolen designer dresses. One of them actually sings for her supper at Club Intimate. These songs prompted me to suggest a name change: Club Irritate. The music is fluff, filler--that doesn't do anything to move the story along.

Overall, the story is quite predictable in some parts. What makes the film work is the brilliant dialogue and the unobtrusive direction. The actors are allowed to speak. The result is nonstop clever banter that never gets too serious until the end. The courtroom scene gets pretty heavy--particularly when the sentence is handed down to Vanning and his henchmen. The "message" of the film is clearly expressed by the judge during sentencing. His venomous hatred towards Vanning is made entirely too explicit.

The film presents a low opinion of the entire underground milieu. A clear distinction is made between the 5 hostesses and Mary Dwights tender, mopey sister Betty. Betty is esentially void from the moment she arrives to surprise her sister. Typically, the prey is introduced as innocent and sweet before her inevitable fate is sealed. In this case, it is the terrible realization that her college education has been payed for with dirty money that drives her to act out of character (like her sister). Naturally, it is this behaviour that gets the poor stupid girl killed. The rest of the film is built around absolving the death of this pure, guileless creature. The film suffers, despite the exellent oratory by Bogie in the courtroom. It requires the sinister machinations of the Vanning gang in order to sustain its corrosive ambience of gloom and terror. That all gets lost in the courtroom, and the verdict is a foregone conclusion. Still, the film offers a sharp script and excellent acting by the entire cast. The plot is rather pedestrian and offers no surprises. The film relies on its actors to make it plausible and for the most part, this is done with the utmost craftsmanship. 4/5

TOP NOTCH DAVIS....
Bette Davis and Humphrey Bogart were a rugged team in this 1938 pot-boiler that stands above the crime melodramas of the period because the central characters are women caught in a web of evil due to their virtual enslavement to a ruthless gangster. Supposedly based on true crime files, the girls were supposed to be prostitutes but censorship demanded the term "clip-joint hostess"!!! The cast is excellent but Davis shines as Mary the central figure whose little sister winds up being killed by the gangster boss. Mary wages a battle but pays a dear price for her efforts (see the movie) and she and her co-workers (the other "girls") end up walking away into the fog with an uncertain future forever scarred by their experiences. This film demands DVD treatment. It is unforgettable once seen and a classic reminder of what movie-going once was long ago. I strongly recommend it to Davis and Bogie buffs but also to classic 30's crime fans. It's beautifully made and surprisingly tough for the period ( despite the stupid censorship regulations). Check it out....

ABOVE AVERAGE 30'S GANGSTER FLICK.
This was Bette Davis's first film after being suspended by Warner Brothers whereafter she fled to England, There was a sensational London trial. Davis was ordered by the judge to honor her contract and she returned to Los Angeles. Warner Brothers actually paid her legal fees and gave her the prime role of a nightclub B-girl (in those days they had to call them "hostesses") in this film based on New York's Lucky Luciano and his gang. Perhaps she was glad to get back to work as well, for, although a bit too overdone to my taste, she does give a firecracker of a performance. Ms. Davis in this film, or any other for that matter, is never dull.

Her sister, played by Jane Bryan (she was still a teenager and this was her second film: she was later to marry the industrialist Justin Dart), comes to the Big Apple and unwittingly gets herself involved with the Big Boss (played by Eduardo Cianelli to the hilt) with tragic results. The hostesses at this point are all marked women and they know it. What results is a dramatic courtroom trial with Humphrey Bogart in a dynamic performance as a crusading district attorney. Mayo Methot (his soon-to-be third wife; they were both awaiting the finalization of their divorces during the filming, Bogart from Mary Philips, his wife of nine years, and Methot from Percy T. Morgan, co-owner of a popular Sunset Boulevard restaurant) plays Estelle Porter, one of the hostesses, impressively, although she found little film work after that and did not live up to her promising youthful New York stage appearances. Bogart himself thought she was a very talented actress.

The action is swift, the lines are curt and often witty, and there is pathos in the ending as one really grows to care for these lost and seemingly hopeless women. Bogart offers to try to help Davis on to a new road. Perhaps she will. Perhaps she won't. To the film's credit, we are left wondering. ... Read more

Reviews (6)

Excellent early depiction of Chicano life
Very interesting to see 1942 Hollywood's depiction of Chicano life.The neighborhoods looked realistic enough, like an earlier version of Mi Familia's barrio.
Spencer Tracy was excellent as Pilon. Unfortunately, a real lack of Latino actresses and actors at the time.

Actually a decent adaptation of Steinbeck's novel
John Steinbeck's novel was adapted to the big screen in this 1942 film directed by Victor Fleming. "Tortilla Flat" is a small fishing village in which there is not much money and actually working is the last thing anybody wants to do. Danny (John Garfield) inherits two houses and tries to woo the lovely Dolores Sweets Ramirez (Hedy Lamarr). His friend Pilon (Spencer Tracy) moves in with several of his friends (Akim Tamiroff & Sheldon Leonard). Pilon plans to rob "The Pirate" (Frank Morgan) of his money, until he learns the money is being saved to buy a candlestick for St. Francis. Pilon's interest then turns to Dolores as well and the contest is on to see who will end up with the lovely lady. This is actually a decent adaptation of Steinbeck's novel, which manages to capture some of the earthy, amoral spirit of these Mexican-Americans without slipping into caricature. Morgan received an Oscar nomination for Best Supporting Actor for his performance, the best in the film. The screenplay by John Lee Mahin and Benjamin Glazer deserves special mention for actually providing some continuity to the incidents from Steinbeck's novel.

An Outstanding Translation from Book Form
It's true that it's nearly impossible to make John Steinbeck's stories into movies. I had the advantage of having read Tortilla Flat before seeing this movie version. In cinema you have the visual facet of storytelling. You cannot go verbatim into film. Some things get mis-translated. Those who had a hand in making this film knew exactly where to take it. That or it was plain old blind luck. I could tell they knew the story well. They knew how to retell it in movie form. That was their strength. Black and white is like alchemy for many nowadays, but back then it was already a refined art. For the whole movie i hadn't noticed that it was in black and white. You don't yearn for color when all the elements of lighting, composition, tonal range, everything, tricks your mind into perceiving color. All of the characters were engaging and alive. The story took me in, into Monterey. It's a story of people who have very little, but in their friendships are more well off than the very wealthy. If you watch this movie before you read the book, it is just as well. You won't miss much by not reading the book. The movie is that good.

IT HAPPENED IN MONTEREY
This simple Steinbeck story takes place in the Monterey, California of the early forties. A little slow and drawn-out, the story involves Tracy and Garfield and their paisano friends and their adventures. Garfield's inheritance of two houses bring him instant respectability yet estranges him from Tracy and his other pals. Both Tracy and Garfield vie for the affections of lovely Lamarr and become near-enemies in the process. An entertaining little picture which has Garfield unfortunately miscast as Danny (his Spanish accent was pretty unconvincing) and the part lacked the dynamism for which Garfield was famous for.

I read the book, too-- this is a movie! MGM's masterpiece
I read the book also like the critic below me but this is a film and one of MGM's finest. It is a wonder to behold. Spencer Tracy's performance as the hapless Pilon is a highlite and John Garfield as Danny is a performance to treasure. Buying this movie off of Amazon was a refreshment. It has always been one of my favorite films and will always be. The comments below mine is from an old book-crone from a person who spends time looking at the negative points of the film and cannot sit back and enjoy a real classic.

Victor Fleming's direction ("Gone With the Wind", "The Wizard of Oz") is truly fashioned in its true existential film about the life of the "paisanos" and Hedy Lammar's performance as "Sweets" Ramirez is her best. See this movie. ... Read more

Reviews (6)

A WWII aviator melodrama
John Wayne stars in this sluggish war-related Technicolor bioflick profiling Navy aviator-cum-Hollywood screenwriter Frank Wead, who (apparently) was influential in developing naval strategy before and during WWII... It's not gripping or as grim as director John Ford's similarly reverential "They Were Expendable," but it works in its own way. Dan Dailey steals scene after scene as Wayne's salty Navy sidekick, as does Ward Bond who has a delicious role as John "Dodge", lampooning the director himself, who apparently brought Wead to Hollywood. Maureen O'Hara does her Hepburn-y best as Wead's long-suffering wife. Of particular interest, plotwise, is the depictation of her as a boozy, chainsmoking modern gal, as well as the lengthy exploration of Wead's struggle to overcome a severe physical disability, which kind of undercuts the smothering machismo of the pre-feminist military world. Nice use of stock footage, too. Not Ford's best, but he definitely makes it better than it would have been otherwise.

The Wings of Eagles-John Wayne and Maureen O'Hara
This is a typical Ford film. Yes, at times The Duke was a bit compassionate towards his co-star than we are used to seeing it the all tough western parts he is famous for. This movie is ladened with talent through and through, from Dan Daily, Ken "Festus" Curtis and the list goes on. It is a true account of part of our naval history that many do not realize. Filmed aboard the USS Philipine Sea, and utilizing many of this carriers actual sailors for extras. A must to complete any John Wayne Collection.

Great Cast. Great Story. OK Movie
It is hard ot believe that the same team that gave us "The Quiet Man" is at work here.

A sense of whimsy and fun permeates that movie. In that film even the darker moments bring a weight and seriousness that makes the humour all the better.

Here the movie never rises above mediocre. The light moments of the film just seem to make the characters look like fools and the dark moments seem to be about what you would expect they deserve. One side note, A lot of this movie takes place in the hospital and I loved watching the doctors standing around smoking cigaretes as they looked at Xrays orconsulted with patients.

I never really felt any concern for the relationship between Wayne and O'Hara and I wondered early on why they didn't just divorce and get it over with.

perhaps I am too hard on this film, but I felt let down that this movie did not live up to the standards set by so many classics produced by this team.

Golden Wings, Salt Spray- Ford's Tribute to A Naval Aviator
This is a factual naval aviation story, intermixed with Army Air Corps rivalry and combat scenes. It provides a chronological view of one naval family- their love and adversity, including Navy and Army aviators supported by their loyal maintenance personnel who helped in the advancement of U.S. military aviation during 1920s to 1940s. Add, of course, a mixture of competition provided by the navy wives and their only rival- the United States Navy. Released 22 February 1957, The Wings of Eagles was considered an adult story, wrought with the thrills, laughter, and family hardships all to well experienced by the real heroes of this story- the pioneer naval aviation wives (there is still no "Hall of Fame" dedicated to these gallant ladies at the National Museum of Naval Aviation, NAS Pensacola, FL).

Ms. Maureen O'Hara who acted the gallant part of Mrs. Minnie (Bryant) Wead was well received by the "naval aviation wives of gold", and was nominated at a Naval Aviation Cadet Recruiting Officers Convention, Long Beach, CA, as "Ms. Naval Aviation- 1957." Other familiar actors included: John Wayne (CDR Frank "Spig" Wead), Kenneth Curtis (RADM John "Johnny" Dale Price), Dan Dailey (Chief "Jughead" Carson- loyal Chief Aviation Machinist's Mate), Kenneth Tobey (characterization of Lieutenant Jimmy H. Doolittle), Ward Bond (representing Hollywood director John Ford), Edmund Lowe (RADM William Adger Moffett, USN- Chief, Bureau of Aeronautics), and Charles Trowbridge (representing ADM Ernest J. King) whose one line was: "I like it...write it up". The railroad boxcar scene, the hangar fly-through, the various odd aircraft shown, the newsreel aviation reports of winning the Schneider Cup of 1923, the loyal efforts and contributions by the aviation maintenance personnel keeping the aircraft flying were all real events. Today's aspiring military aviators may find this aviation story of much interest.

This story may bring tears and some fond memories back to those pioneer naval aviation wives who are still around and had experienced it all. Their stories can relate back to the days of sugar white sands at Santa Rosa Island and of Coronado Beach; the babies they lost from the 1919 flu influenza; the open-air jalopy rides down old Warrington Road and Coronado Avenue; the screened front-porch bungalows of Bay Front, Pensacola, and Coronado Island; the seaplanes skimming across Pensacola and San Diego bays; meeting their husbands as they landed in their squadron fighters and torpedo planes following short at-sea flight operations aboard USS LANGLEY (CV-1); followed by the many naval aviator and bridge parties given at Mustin Beach and North Island officers' clubs- all this on just a naval Lieutenant's salary (with flight pay) to make ends meet during the Great Depression.

This is an MGM/ John Ford contribution to those "naval aviators in leather skull caps"- he did this well, focusing on the triumphs and tragedies often found within the War and Navy departments during the development of our country's military aviation. This was also Ford's tribute to Army-Navy aviation camaraderie- America's early combat teams. Seen here are episodes of Army-Navy departmental budget rivalries; around-the-world "beat the Navy" Army Air Corps celebrations; CDR Wead at the Office of Strategic Services (OSS) during 1942 - 1943; combat films compiled by CDR Ford, USNR (Chief, Field Photographic Branch, OSS- worked for William "Wild Bill" Donovan, Director of OSS); and, the story of how CDR Wead got production approval of new "jeep" aircraft carriers on converted cruiser hulls- with the approval of ADM King and President Franklin D. Roosevelt in 1941. There is combat footage aboard carriers- a reenactment of CDR Wead aboard USS YORKTOWN (CV-10) as Chief of Staff/ Operations for RADM Charles A. "Baldy" Pownall, CTF-50, during the Gilbert and Marshall islands operations.

Interests in making this film concerning CDR Wead began with correspondence between Vice Admirals John Dale Price, Calvin Thornton Durgin, and John Ford. Ford received first priority from the Department of Defense (DoD) to film a story about CDR Wead, months ahead of an attempt by Warner Brothers Pictures Distributing Corporation. Priority permission to Ford was granted by Donald E. Baruch (Chief, Motion Picture Section, Pictorial Branch, DoD). The film was to be based upon historical material from DoD, tales from Price and Durgin, earlier correspondence received from CDR Wead, and a book by "Red" Futhven & Jerry Stagg titled "Staircase". The public has seen this magnificent Ford tribute to CDR Wead since 1957. A newcomer to this film might ask- who was this naval aviator called Spig Wead?

CDR Frank Wilbur Wead, USN, acquired the nickname "Spig" during his Naval Academy days (1912 - 1916). He accumulated 9 years & 7 months total sea service prior to his accident. Together, Lieutenants Wead, Price and Durgin received their aviation wings 22 May 1920, NAS Pensacola, FL. Later, LT Wead led the U.S. Navy Schneider Cup Team to England and brought this famous cup to America aboard S.S. LEVIATHAN, October 1923. With LT Price they broke five seaplane records, 11 - 12 July 1924. Along with fleet exercises aboard USS LANGLEY with VT-2, there were staff duty assignments under Admirals Moffett and Joseph M. Reeves, and with 11th Naval District Commander. Wead wrote for leading magazines (The Saturday Evening Post and The American Magazine) and Hollywood during 1930s to 1940s. His final assignment was as commanding officer of VF-2. During WWII, he acquired combat duty aboard USS YORKTOWN, receiving the Legion of Merit (Combat). CDR Wead was relieved from active duty 21 July 1944, at Fleet Air, Alameda, California, where his last naval boss was RADM Pownall (Commander Air Force, Pacific Fleet).

The accident: Tragedy struck Wednesday morning, 14 April 1926, during heavy electrical storm over San Diego and Coronado. Combination of power outage and hurrying in the darkness, LT Wead accidentally tripped, falling down dark stairway, fracturing his neck. This occurred in a two-story home he and Minnie recently rented: 600 9th Avenue, Coronado, CA Today, one can still see this home corner of 9th and H avenues.

The Wings Of Eagles
This is a wonderful "campy" John Wayne, Maureen O'Hara movie, alot of fun and hi-jinks. A very strong supporting cast, and it makes fun of not only John Wayne but Howard Hawks. If you are a true John Wayne fan this one is a must! ... Read more

Reviews (8)

If it ain't broke don't fix it!
SHADOW OF THE THIN MAN offers nothing really new but it does offer exactly what fans of the franchise expect. Nick and Nora get dragged into another murder mystery. They continue to bicker in their loving way. Nick and all his old street contacts help Nick do what the police cannot. Lt. Abrams (Sam Levene) last seen in AFTER THE THIN MAN returns. He is to Nick what Inspector Lestrad is to Sherlock Holmes. It's a treat to see a young Donna Reed in a film 5 years prior to her breakthrough performance in IT'S A WONDERFUL LIFE and 2 decades prior to her self named sitcom.

As usual, Nick with Nora's help rounds up all the suspects and walks the viewer through his deductive reasoning and then announces who the killer is. As this was the third sequel it is plain to see the basic formula that is present in all the THIN MAN films. It, by this film, had become about as complex as a color by numbers coloring book. Little imagination but still fun to do. I would rank this my fourth favorite of the six THIN MAN FILMS. I'm still waiting on the DVD release for this film and the other 4 sequels to the original THIN MAN. Hurry up!!!

4TH THIN MAN MOVIE AND STILL GOING STRONG.
I actually liked the 4th movie better than the Third. Back in California, Nick and Nora are staying at a posh hotel with a now young Nicky jr. (around 5 years old I guess) in tow.

The Charles' take a trip to the local race track only to find that a jockey has been murdered. Their old pal Lt. Abrahms (played by Sam Levine) is there investigating. Soon, a newspaper reporter is killed and another reported, played by Barry Nelson is accused.

As they are friends, Nick and Nora jump in to solve the crime. Donna Reed is also along as Nelson's girlfriend and the secretary of a crooked arena owner.

As usual, the cast includes many fine character actors. The scene in a seafood restaurant where Nick tries (in vain) to get lobster while everyone else wants Sea Bass is priceless.

Also great is a scene where Nick takes Nora to see pro wrestling and Nora really gets into the match. Not quite as strong as the first two movies, Shadow is still one of the better Thin Man movies.

Fun At The Race Track
In SHADOW OF THE THIN MAN Nick starts out to clear one of his reporter friends who has been accused of murder. The killing is actually the work of the syndicate and is connected to racetrack gambling.

William Powell and Myrna Loy return in the starring roles and they are supported by another large cast which includes Barry Nelson, Sam Levene, Donna Reed and Stella Adler. Dickie Hall appears as Nick Charles, Jr. who is now old enough to talk.

W.S. Van Dyke serves as director for the last time in the series since he died before the next entry was filmed in 1944. Van Dyke will be remembered for his direction of Nelson Eddy and Jeanette MacDonald in ROSE-MARIE and NAUGHTY MARIETTA.

Nick and Nora and Donna Reed.
Nick and Nora (William Powell and Myrna Loy) investigate after their friend, Paul Clark (Barry Nelson), is framed for murder. The familiar things that make the Thin Man series easy to like are present in this movie. Nick and Nora continue their witty and sophisticated repartee, having fun with their marriage. A running joke in the series is Nora's amused reaction to Nick's blue-collar background. Wherever they go, Nick meets old friends and associates among the cops, bookies, gamblers, and ex-cons. Nora's chutzpah keeps pace with Nick's rapier wit. Their night out at the wrestling matches is a high-point of our little story. Note her introduction to "Spider" Webb. Asta occasionally steals the spotlight, especially in the restaurant segment as the mischievious pooch causes a knockdown brawl. The cutesy Nickie, Jr. detracts from the edginess of the adult story line. This is unfortunate but not important enough to emphasize. We usually fast-forward through Nick and Nick, Jr. on the merry-go-round. In the middle of all this classic comedy, a genuine murder mystery is in progress. Sam Levene repeats his role from "After the Thin Man" of Lt. Abrams. When Nick isn't sparring with Nora, he and Abrams square off. A very young Donna Reed plays Paul's girl, Molly. Mix it in a cocktail shaker, and we have good fun. ;-)

Fine Installment In The Thin Man Series
The high-living Nick and Nora Charles stumble into murder at a San Francisco racetrack and are quickly led into an investigation of various gambling rackets in this fast paced and very witty forth installment of the famous "Thin Man" series. The powerful charm of William Powell and Myrna Loy as a screen team is undimmed by passing time, and the script gives them plenty of opportunity to shine.

Like all the "Thin Man" films, THE SHADOW OF THE THIN MAN offers a superior supporting cast including a very young Donna Reed--but the real standout here is Stella Adler, seldom seen on screen but a noted stage actress and famous acting coach. Adler's performance here is quite remarkable, at once sultry and disconcerting, and should not be overlooked.

Although two more films were to come in the series, THE SHADOW OF THE THIN MAN is really the last significant film in the series. Both fans and newcomers will enjoy it! ... Read more

Reviews (5)

A different film than "ALWAYS"
"A guy named Joe" (AGNJ) should not be compared to Spielberg's "Always", because they are different pictures. AGNJ in the first half is about flying and Spencer Tracy's love for IT, not so much Irene Dunne. Its highly amusing to see him die by crashing into a German aircraft carrier when the Germans never put one into service. In Always, you really do sense that Richard Dreyfuss loves Holly Hunter. Its Irene Dunne's character that is stuck on Joe, and its wonderful to see her in the movie maintaing her professional poise as a ferry pilot while Van Johnson is hitting on her. In fact, I know a young woman who reminds me exactly of her, who holds a deep loss in her heart but maintains a professional bearing.

Its Van Johnson who makes her want to live again, and in the best scene of the movie, she realizes he ain't gonna make it when he's assigned a suicide attack mission in his P-38. What's amazing is this in the 1940s, but Irene Dunne jumps into his P-38 and flies the mission INCLUDING dropping bombs and firing machine guns at the enemy. Its startling to see and you don't see any feminists rushing to praise this picture. Its because she's a professional, a sexy woman AND a warrior, not a bitter man-hater. Like I suspect many from "America's greatest generation" she knew the enemy had to be defeated or else tyranny would rule the earth and instead of complaining pitched in and helped. Her goal was to help not be a female version of a male "Top Gun" egotist. Ahhh, that we had more women like her today!

Not his greatest, but still interesting
This movie is sort of like the flying-ace version of Angels on My Shoulder. It's unusual for a Spencer Tracy film in that he dies in the first half of the movie, goes to heaven, comes back to earth to help rookie pilots, and doesn't get his girl. Instead, Van Johnson, the young flyer he's sent to shepherd, gets her and they live happily ever after, presumably.

There are some unusual aspects to the plot. Tracy is assigned to assist Van Johnson during training, but Johnson isn't the sort of guy Tracy would normally hang out with or even like. For example, we're told he's rich and just inherited 4 million dollars. When Johnson gets sent to New Guinea to fly in the south Pacific, he meets Irene Dunne, Tracy's former love, and Johnson starts putting moves on her, another reason for Tracy to dislike his assigned pilot.

But Johnson turns out to be a better guy for Irene than Tracy was, and Tracy even seems to sense or realize that, and at the end of the film, he finally lets her go.

There are some nicely done battle scenes in the movie, and the one where Dunne takes up the P38 and successfully completes a solo suicide mission Van Johnson was sent to do is notable in that this was a long time before women's lib. Dunne shows that she can fly as well as any man, and along with the scene where Tracy goes down taking out the German aircraft carrier (which the Germans never had), is one of the two most climactic battle scenes in the movie. Dunne shows she can be as good as any man, but still feminine, a role contemporary feminists don't seem to approve of.

All in all a decent movie with some interesting aspects to the characters and plot. Big Steve says go see it (or in this case, buy it) and don't Bogart the popcorn.

A Bit Sad but a Well Done Movie!
A Guy Named Joe was a well done movie! There are some some very sad parts (e.g Pete Dies in Air Mission). Pete becomes an Angel who guides young piolits on there missions. Pete becomes jealous at first, but things work out in the end. (Don't ask me why its not called A Guy Named Pete)

A great love story with a lot of great aircraft pics
Yellow Airplane Book, Video, and Toy Review: If you would like to see some great flying scenes showing the AT-6 Texan or the P-38 Lightning combined with a beautiful human interest story, you will love this film. C. Jeff Dyrek

i search this movie for more time
I'd like to buy this movie "A guy named Joe" but have a problem. It's no available by the PAL system,usually in Spain. Can you help me to buy a copy in this system. Thanks for all. ... Read more

Amazon.com

Long before Rocky Balboa went the distance, there was the original Rock--as in Knute Rockne. His story, a classic 1940 biopic, combines vintage gridiron action with heart-tugging sentiment. Yup, this is the film with the famous halftime pep talk and Ronald Reagan's "win just one for the Gipper" deathbed plea. Yeah, it's corny. But so what. Lloyd Bacon, one of Hollywood's ablest craftsmen (42nd Street), directed with just the right scrappy disregard for genre conventions. Reagan, in his third best vehicle (behind King's Row and The Killers), plays George Gipp, the Fighting Irish's first All- American, who died of pneumonia in 1920; the always-reliable Pat O'Brien plays Notre Dame coach Rockne as a living, breathing icon--part father confessor, part Patton, part idealized father figure. Before he spurs the lads to victory, he changes the face of the sport--by inventing the forward pass, no less. --Glenn Lovell ... Read more

Reviews (7)

Patrick O'Brien asks the Irish to win one for Ronald Reagan
Ronald Reagan might have gotten the nickname of the "Gipper" from this 1940 bio-pic of legendary Notre Dame football coach Knute Rockne, but it was veteran character actor Pat O'Brien who had the role of a lifetime in the lead. James Cagney had lobbied hard for the role, but when the actor signed a petition supporting the Republican (and anti-Catholic) government in the Spanish Civil War, Notre Dame refused to okay him for the part. This was the first of only two movies ever filmed on the campus in South Bend, and if you do know that the other one was "Rudy" you should at least have been able to guess it had to be that one.

"Knute Rockne All American", which was added to the National Film Registry in 1997, is a fairly standard bio-pic, evincing the almost documentary style that was standard at the time. We see how the young Rockne (played by Johnny Sheffield, a.k.a. Boy in the Johnny Weissmuller Tarzan movies) learned to love football, revolutionized the game with the forward pass, and coached his alma mater to glory with the Four Horsemen and George Gipp. The result is a long series of episodes from Rockne's life that have varying degrees of appeal, such as when he picks up the idea for his backfield shift from watching chorus girls dance and experiments with the idea using his wife and their dinner guests.

Lots of footage of actual Notre Dame games are worked into the film, although I have no way of knowing if any of it is of the actual games being portrayed (I would be curious to know). O'Brien's performance seems a tad wooden, but if you have ever seen actual film clips of Rockne you know he is in the ballpark. A lot of the charm of this film comes from the ethos of the original Rockne, an American legend who was probably the first famous victim of an airplane crash. The result is not great, but certainly compelling (plus we all learn the correct pronunciation of his name as being Ka-Nute).

Reagan's supporting role is deservedly memorable. That same year he would get to play third banana George Armstrong Custer to Errol Flynn and Olivia DeHavilland in "The Santa Fe Trail" and would provide his best performance in "King's Row" before military service in World War II effectively derailed his acting momentum and ultimately set his life on a different path.

Final Note: While there is little doubt that Rockne invented the forward pass, there is debate over one aspect of this film. In his first scene as George Gipp, Reagan is sitting around doing nothing when Rockne orders him to go in at halfback to play against the varsity and run the ball. Gipp asks "How far?" and proceeds to run it back all the way. After crossing the goal line he bounces the ball off the endzone, instead of laying it down for the "touchdown." An argument has been made that this was the first spike in the history of football. At least it is the first "recorded" spike. Did the current tradition of choreographed celebrations all stem from what Ronald Reagan did in this 1940 film? You decide if that is yet another part of the Reagan legacy that is being reconsidered this week.

Pat O'Brien asks Notre Dame to win one for Ronald Reagan
Ronald Reagan might have gotten the nickname of the "Gipper" from this 1940 bio-pic of legendary Notre Dame football coach Knute Rockne, but it was veteran character actor Pat O'Brien who had the role of a lifetime in the lead. James Cagney had lobbied hard for the role, but when the actor signed a petition supporting the Repbulican (and anti-Catholic) government in the Spanish Civil War, Notre Dame refused to okay him for the part. This was the first of only two movies ever filmed on the campus in South Bend, and if you do know that the other one was "Rudy" you should at least have been able to guess.

This film, which was added to the National Film Registry in 1997, is a fairly standard bio-pic, evincing the almost documentary style that was standard at the time. We see how the young Rockne (played by Johnny Sheffield, a.k.a. Boy in the Johnny Weissmuller Tarzan movies) learned to love football, revolutionized the game with the forward pass, and coached his alma mater to glory with the Four Horsemen and George Gipp. The result is a long series of episodes from Rockne's life that have varying degrees of appeal, such as when he picks up the idea for his backfield shift from watching chorus girls dance and experiments with the idea using his wife and their dinner guests. Lots of footage of actual Notre Dame games are worked into the film, although I have no way of knowing if any of it is of the actual games being portrayed (I would be curious to know). O'Brien's performance seems a tad wooden, but if you have ever seen actual film clips of Rockne you know he is in the ballpark. A lot of the charm of this film comes from the ethos of the original Rockne, an American legend who was probably the first famous victim of an airplane crash. The result is not great, but certainly compelling (plus we all learn the correct pronunciation of his name as being Ka-Nute).

Reagan's supporting role is deservedly memorable. That same year he would get to play third banana George Armstrong Custer to Errol Flynn and Olivia DeHavilland in "The Santa Fe Trail" and would provide his best performance in "King's Row" before military service in World War II effectively derailed his acting momentum. Final Note: While there is little doubt that Rockne invented the forward pass, there is debate over one aspect of this film. In his first scene as George Gipp, Reagan is sitting around doing nothing when Rockne orders him to go in at halfback to play against the varsity and run the ball. Gipp asks "How far?" and proceeds to run it back all the way. After crossing the goal line he bounces the ball off the endzone, instead of laying it down for the "touchdown." An argument has been made that this was the first spike in the history of football. At least it is the first "recorded" spike. Did the current tradition of choreographed celebrations all stem from what Ronald Reagan did in this 1940 film? You decide.

The Best
This is one of my favorite movies. It is the story of the greatest football coach of all time from Norway to the tragic plane crash.

A worthy addition to any classic film library
I think the true testament to this movie's appeal is that it is still watchable after more than 60 years to both hard-core football fans and those(me)who can't tell a bunt from a punt.

"Knute Rockne, All American" is based on the life of one of Notre Dame University's most ingenious and beloved coaches. The movie follows Rockne's early beginnings from his family's emigration to America, to his days as a Notre Dame student,his career as coach, and his tragic demise.

It's an inspiring movie tribute about football's evolution and Notre Dame's struggle to establish itself out of mid-western obscurity; but it is primarily about a man. A man who was a mentor to the many he coached and a revolutionary of the sport of football. By the end of the movie I came to have a deep respect for Knute Rockne as a man of intellect, passion and integrity.

Pat O'Brien does a stirring portrayal of Rockne. My one complaint regarding his performance is that he is too mature-looking to portray Rockne during his early years and perhaps they should have had another actor for those scenes.

Another little gem is seeing a young Ronald Reagan as the ill-fated George Gipp. His deathbed scene is one of the most touching moments in the whole movie.

I found the action sequences a little boring and homogenous, (perhaps followers of football will feel differently) but it does not distract from the rest of the movie. My only other complaint is the soundtrack, which seems to consist of the Notre Dame fight song played over and over again in 115 different renditions.

It's worth noting that although the cover is colorized the movie is in black and white.

Winning One For Football
Here's a truly old-fashioned movie that is very corny, but watchable. Pat O'Brien plays the title role with a lot of heart and reverence. Reagan appears briefly as "The Gipper" and I don't think he registers as well as some people remember. The movie gives you a lot of information about the early game of football and it gives you a good sense of what Rockne was like. But it really is corny. It's worth seeing, if only for the "win one for the Gipper" scenes. ... Read more

Amazon.com

One of the lesser holiday movies, this 1949 comedy stars Janet Leigh as a war widow who can't afford to buy her son a toy train for Christmas. A veteran (Robert Mitchum) who happens to be standing by in a department store overhears her plight and offers to purchase the toy, thus setting into motion a series of funny complications. Wendell Corey plays Leigh's suspicious, condescending boyfriend, whose jealousy compounds Mitchum's problems, and Harry Morgan is very good as a night-court judge trying to make sense of everything that happens. The movie didn't do so well at the box office at the time of its release, but it has gained an affectionate fan base over the years. Don't expect Miracle on 34th Street, but as a spirited lark for Yuletide, this is a lot of fun. --Tom Keogh ... Read more

Reviews (12)

Intelligent Christmas Fun
Holiday affair is never mentioned when the roster of Christmas cinema classics is read, which is unfortunate because it's actually a very good movie. It would be unfair to compare this with It's A Wonderful Life which came out three years earlier, or even Miracle on 34th Street (two years before). But the similarities in style and tone are there, this being a feel-good Christmas family movie made with intelligence. The studios must have realised they were on to a good thing.

Underneath the layer of seasonal schmaltz is a story with its roots in the then popular obsession with psychoanalysis. The jilted fiancé makes references to subconscious desires of Janet Leigh's character, and the whole story is based around a Freudian-Oedipus arrangement with the son taking the place of a dead father. But this is all (just) under the surface of the story of little boy who Santa Claus forgot, whose Christmas is made special by a selfless eccentric played by Mitchum. Mitchum is an actor who could be accepted in almost any character - his face gives so little away that he is often described as 'laconic', but it's clear that here he is a good guy who is so honest he even cuckolds poor old Wendell Corey's character in front of him rather than be deceitful. Corey's character of 'the other man' is so doomed from the start to be a poor runner up to Mitchum that it must have been a thankless role for him, but he tackles it well. Watch out too for future M*A*S*H* star Harry Morgan (credited as Henry Morgan) who steals one small scene as a bemused police lieutenant. If you want a change from Frank Capra or James Bond, try this with your turkey and Brussels sprouts.

Such a great movie, I'm reviewing it for the 2nd time!
I had the pleasure of watching this again last night. Invited my family over & we were all in the mood for a nice, holiday movie. I quickly pulled this off the shelf, knowing that they hadn't yet seen it, telling them they were in for a real treat. I tend to watch this every 2 years, so it was time. This movie is like a hidden gem, and though I am sure it received decent reviews when it was first released, there were probably more people who preferred It's A Wonderful Life & other more popular Christmas movies. Holiday Affair holds up well, despite the way things were at the time of the story(late 1940s). Guy meets girl, who is already practically engaged to another man, but that doesn't get in the way of his falling for her in a big way. One way to her heart is the way he quickly wins over her young son, by getting him the much desired set of trains he covets more than anything. Robert Mitchum shines in this film, & plays off both Janet Leigh & Wendell Corey quite well. When I previously reviewed this movie back in November of '98, I wrote it in such a hurry that I misspelled Ms. Leigh's surname, which I made a point to correct this time around. Yet again, I must highly recommend this terrific little movie, and it is an absolute must-have for those that like to collect Christmas themed movies. Definitely a movie to be enjoyed for many Christmases to come, & despite an attempt a few years back with a so-so remake, they just don't make 'em like this anymore. 'Nuff said!

Save your money.
I thought this was a a cheap shot to cash in on the season. It has poor character development, stilted language and a hackneyed plot. It just isn't a cozy Christmas film. Robert Mitchum and Janet Leigh rely on sterotypical roles like the "tough guy with a heart of gold" and she is the damsel in distress who almost marries the wrong man." I think a much better holiday sleeper is Christmas in Connecticut.

Holiday Affair
I remember this movie from my teen years and I liked it then as much as I liked seeing it again. Good story line and good acting. I've always liked Bob Mitchum and he plays a good role in this movie. I was happy to add this movie to my collection.

holiday affair
I saw this movie in australia in the fifties and Im almost sure it had an other name it was called christmas in july can anyone help me on that one ? thnk you ... Read more

Amazon.com

The promise of "One Hundred Beautiful Girls on Horseback" and a personalappearance by the Tommy Dorsey orchestra are among the enticements of this 1943MGM musical, a typical installment in the Mickey Rooney/Judy Garland let's-put-on-a-show genre. Not typical is the quality of the songbook, which trots outsome sublime George and Ira Gershwin tunes: "Embraceable You," "FascinatingRhythm," and a meltingly plaintive Garland solo on "But Not for Me." The plothas rich kid Rooney, energized as usual, sent away to a boys' school in the WildWest as a way of containing his mania (see title). The only gal in town isJudy, the granddaughter of the school's dean. The stars are affectionatelymatched, and musical fans will enjoy the young June Allyson belting out a spunky"Treat Me Rough." Rooney's comedy routine, imitating various radio personalities(including boxing champ Joe Louis), is one of those topical bits that willalmost certainly puzzle viewers today. The director is Norman Taurog, an MGMworkhorse who would later helm many of Elvis Presley's desultory vehicles. BusbyBerkeley staged the rave-up finale to "I Got Rhythm," but the most beguilingproduction number is "Bidin' My Time," sung by Garland and some cowpokes--adroll performance with surrealistic flourishes. Girl Crazy seems nobetter or worse than the average musical of the era, but it was a huge hit, andRooney would never reach this pinnacle of box-office success again. --RobertHorton ... Read more

Reviews (10)

FAST AND FUNNY
In GIRL CRAZY, Rooney and Garland finally grow up, despite the best intentions of a formula which saw them as kids on stage in film after film. Judy plays Ginger Gray, the daughter of a college president. The character Garland once described as "Dorothy Adorable", once given free rein in BABES ON BROADWAY (1941), BABES IN ARMS (1939) or the Andy Hardy movies, has, however, grown more complex. Ginger Gray shows the contradictory and ironic charm of the latter Garland characters, both vulnerable and quick to laugh at herself in a way that the roles as "Dorothy Adorable" hardly suggest. Berkeley films such as BABES IN ARMS & BABES ON BROADWAY had used the familiar "let's put a show on" theme as a glorious excuse for Garland, Rooney and dozens of other chorus folk to concoct variety shows. Although Norman Taurog's (he was Jackie Cooper's uncle) direction and staging of the musical numbers reflected the beginnings of a new style in film musicals, the plot of GIRL CRAZY is completely conventional. Not only are Rooney and Garland featured in virtually every scene, but they usually dominate the frame in Taurog's composition. Tommy Dorsey's orchestra provides the swingy ambience and the musical score is outstanding: "But Not for Me", "I Got Rhythm" "Embraceable You" "Fascinating Rhythm" and "Bidin' My Time" along with 7 others!

Isn't this great!!!!
This CD just came in the mail today. Just popped it in the player and I love it already! Judy's major numbers on this disc are featured on several of her Decca studio recordings, which is where I heard them first. But the original soundtrack performances, as heard here, are the best yet! This is, without a doubt, the best recording of the fabulous Gershwin score (although the 1952 Mary Martin cast album, now the only version in print, is good too). Garland and Rooney always worked so well together. The sound on the disc is wonderful - you'd never know it was made in 1943! All selections are in STEREO (except the Main Title, in monaural), thanks to the (as always) wonderful remastering and remixing job by Rhino/Turner. Unfortunately this disc is out of print, and its a shame that it is (I got my copy via Ebay). Keep an eye open for it, though. No faults with this one; it's great! As another reviewer states, these are quite possibly some of the greatest numbers ever put on film and disc!

One song in particular makes this movie special
I'm giving this film 5 stars based on one particular song in the film: "Bidin' my time". This performance by Judy just knocked my socks off when I caught it some time ago on late-night television. The rest of the film is fine too, but I'm a nut about music (all music from classical to rock) and after hearing this particular rendition I just had to own it. There's something different about how she and her group perform this song. I don't quite know how to describe it but it caught my interest immediately. It seems somehow ahead of its time. Anyway, that particular performance is just a joy to watch. I noticed that the commercial review had also picked up on this particular song.

Some of the best musical numbers ever put on film are here
I ignored this movie for years thinking it was just another over-exuberant essay in the over-abundant MGM collection of sappy adolescent musicals. I'm glad that listening to an English revival of the original musical finally motivated me to watch it, because some of the best musical numbers ever put on film are here. Busby Berkeley started as the director but was replaced for supposedly tyrannical behavior. His production numbers appear at the end and are quite amazing, choreographing "I've Got Rhythm" with guns and bullwhips. All the numbers on this movie are quite exceptional, in particular "Biding My Time" one of the Gershwin brothers' finest and most surprising tunes, but also "Treat Me Rough" and "Could You Use Me". And the arrangements are some of the best I've ever heard, anticipating the harmonies of the Hi-Los and the Four Freshmen by a decade and a half. Judy has never looked prettier nor sung as purely and Mickey pulls out all the stops without (well, almost) going over the top. He even plays a terrific piano solo, with Tommy Dorsey! I never get tired of watching this movie. It's an explosion of pure pleasure.

The fun never stops...
This is Mickey and Judy's best film together. They play off each other wonderfully and Judy's laughter is infectious. But it's the GREAT musical score that makes "Girl Crazy" a movie to go crazy about. This was their last starring feature together (she went on to bigger things in the years following) so get it, tuck it away and keep it for a rainy day when you need a reminder of how talented this screen duo was. ... Read more

Amazon.com essential video

Bette Davis didn't get to play Scarlett O'Hara in Gone with the Wind, but she did get to play a troublesome Southern belle in William Wyler's 1938 Jezebel. Davis's character, a coquette fond of stirring up rivalries among the men, goes too far and loses her fiancé (Henry Fonda), but she finds atonement when she cares for him during illness. This handsome melodrama by Wyler (who later directed Davis in The Little Foxes) is fully absorbing (John Huston contributed to the script), and Davis's carefully constructed performance does make one draw instant comparisons with Vivien Leigh in Gone with the Wind. The DVD release has the theatrical trailer, closed captioning, optional Spanish soundtrack, and optional subtitles in English, Spanish, and French. --Tom Keogh ... Read more

Reviews (44)

Bette Davis's Oscar winning performance now on DVD!!
In 1938 Bette Davis was a beautiful captivating actress who auditioned and lost for "Gone With the Wind" like every other female star did, with one difference, she starred in "Jezebel" winning an Oscar for Best Actress the year before.

"Jezebel" like Scarlet manipulated men with her destructive flirtatous desires. The setting was 1852 New Orleans pre-Civil War but abolotionists were abundant & the southern & northern relations were already politically strained. Davis's is outstanding in her role and quite beautiful. Henry Fonda & George Brent are her victims & pawns in her game chess. This movie even today remains as a classic Golden Hollywood film.

Standard Format this Black & White film is a great Warner Brothers picture. Only extra feature is a theatrical trailer. This is a great addition to your DVD library. Enjoy.

JULIE NEEDS SOME SHININ' ON THIS DVD TRANSFER!
Bette Davis took home the Best Actress Oscar for her performance as spoiled Southern belle, Julie in "Jezebel". More than anything Julie wants to be loved. But her mean spirit destroy her chances at happiness with a rich lawyer (Henry Fonda)and result in the death of one of her closest friends(George Brent). Then 'yellow fever' hits and the whole south begins to fall around her ankles. Davis is superb and she is supported by a stellar cast of character actors, topped off by Faye Bainter, as her sympathetic aunt. This film really stirred the breeze toward epics taking place in the south - branded box office poison up until then. It also killed whatever small chances Bette Davis had in her desire to play Scarlett O'Hara in "Gone With The Wind". This is no "Gone With The Wind" but, as told by director William Wyler, its a finely crafted melodrama and a tour de force for Bette Davis. So where's the problem?
In the TRANSFER: Warner doesn't give us much to hope for. Like "Dark Victory" this DVD is riddled with artifacts and digital compression problems that leave most of the image looking excessively harsh and grainy. The audio is mono but nicely balanced. Black levels are good but the gray scale seems to be lacking - too much middle range and not enough high and low end balance so that everything registers a dismal gray rather than a vibrant silvery spectrum of lights and darks.
EXTRAS: Not a one.
BOTTOM LINE: Don't waste your money!

Terrific performance, pointless and annoying story
The lead character is so very manipulative and knee-jerk reactionary that it's a wonder anyone fellow story charadctput up with her. Her love for her fiance played by a very wooden Henry Fonda seems non-existant, and when he leaves her after an impossible humiliating stunt of hers, she suddenly can't live without him. The story is drawing-room dull, all manners and behaviors. None of the characters are interesting enough to give a rat for. The dramatic ending is inconsequential and improbable.

Oscar-Winning, Oscar-Deserving. Excellent.
Poor Jack Warner. Imagine having to be the man who denied Bette Davis the role of Scarlett O' Hara. Imagine Bette's rage at the success of that particular picture. Imagine poor Jack's mind working nineteen tot he dozen, desperately searching for something, ANYTHING, to appease the wrath of The Davis.

Happily, Jack Warner came up with this: a 1938 movie about a spoilt southern Belle whose willful machinations eventually lose her the man whom she truly adores.

In my opinion, this is quite possibly Bette Davis' best ever moment in motion pictures. As Jezebel, she is old enough and established as an actress to bring real depth and credibility to the role, while being young enough so as not have established the Davis Trademarks to demean the role with. Playing the part of Julie Marsden, the titular Jezebel, Davis displays a rare understated pathos and a real sense of connection to her role. As with Regina Giddens in 'The Little Foxes', Bette's mastery of her craft is best displayed in the role of Julie. She is an emotional powerhouse, and the 'Let's raise a Ruckus' scene, as well as the final scenes of the picture, showcase that Oscar-winning mastery beautifully.

Henry Fonda is totally acceptable as the henpecked, hapless Preston Dillard, and in places gives a performance to match Bette's own. Other impressive supporting cast turns come in the shape of Margaret Lindsay as Yankee interloper Amy Bradford Dillard and the always-excellent Fay Bainter as Aunt Belle Massey.

Direction for the period is superior, too. Paced perfectly and beautifully photographed, William Wyler (whose talent is surely the only one to rival Joe L. Manckewiecz) has created a visual backdrop of opposite poles of emotion - the hubbub of city life, the quiet languor of plantation, and the terror and chaos of the epidemic are all as convincing as they are captivating. The infamous Red Dress scene has lost none of it's power, even after 74 years, Wyler's depiction of social ostracisation and slow realisation is masterful.

The DVD transfer for a 74 year old film is as good as can be expected. Sadly in parts the contrast between black & white is not as sharp as it could be, and the special features are not so good, but neither of these minor bad points will detract rom the overall majesty of 'Jezebel'.

Highly recommended.

Powerful Love Story From Bette Davis
"Jezebel" is a true classic released in 1938. Its plot about a woman, Julie, who loses her fiance, Preston, because of being greedy and manipulative is brilliant. Its powerful theme keeps audiences watching every scene closely. The plot builds up to the end, especially as her former fiance returns after being gone for one year. She's waited so long to beg for his forgiveness. Problem: he's now married. Jelousy begins lingering through every scene, keeping the plot interesting. There is never a dull moment through any movie detail. The intensity builds as yellow fever strikes, which offers a brilliant conclusion.

The set construction and the costume designs are amazingly ahead of their time. Few other movies in 1938 mastered such elaborate settings so flawlessly. Every detail is accurate to the actual 1850's New Orleans style.

Bette Davis deservingly won her Oscar for Best Actress for her role as Julie. She proves as always that she is one of the greatest and most influencial actresses of Hollywood history. Her heart and soul through her character is obvious. Henry Fonda's role as Preston is beautiful. His character's anger and love are expressed to his fullest. In this movie, Davis and Fonda answer why they deserve their legendary status. All other actors, major or minor, also perform their roles wonderfully.

"Jezebel" is a great movie for those looking for a great movie classic and/or a unique love story. This is sure to please audience for many more years to come. ... Read more

Reviews (7)

"He was a moment in the conscious of man" - Eulogy
There are 3 great speeches in this movie including the ending eulogy by Cezanne and the rest of the film moves along admirably, the mood is even a bit in the same way, as "Les Miserables", aficionados of that book-stage play, music and/or film, will find a great and similar message in this movie as well.

Yes, this was made in about 1936; expect that and not something from the '80s, '50s or the present. An outstanding movie, somehow, as one who has read a number of Zola books, I think he would be pleased.

The Life of Emile Zola: Stuffy but Stately
In 1936, Paul Muni was on a roll. He had just won an Oscar for best actor in THE STORY OF LOUIS PASTEUR, so it was no surprise that a year later, director William Dieterle chose him for the lead in THE LIFE OF EMILE ZOLA. Zola, as Muni plays him, is a man who brings to mind a stuffy but morally centered grandfather type who sees his mission in life as the only man who is willing to stand up for what is right and root out corruption and evil when all others turn away claiming one valid excuse after another.
TLEZ is your standard but exceptional Hollywood bio-movie then so popular. Typically, such films begin 'en medias res', thrusting the hero into a series of lesser adventures that prefigure his later, more heroic ones. Zola and Paul Cezanne (Vladimir Sokoloff) are two poverty-stricken friends sharing a dumpy apartment in Paris. Each dreams of using his talent, Cezanne with art, Zola with words, to shake a complacent world with the immediacy of their need to force others to re-evaluate some given bedrock assumptions. Zola is a mudracker, but he cannot find it in himself to lead the fight alone. At critical points in the movie, others step in and out of his life to fire his conscience. Zola and Cezanne meet a streetwalker, Nana, who pours out a tale of economically blighted woe, the result of which is to fire Zola's imagination to write a novel exposing the corruption of a society that allowed such otherwise decent women to go astray. The first half of the movie sets up the character of Zola as one who, when convinced of the rightness of his cause, would boldly put in print inflammatory words that more than once would place him in peril. The second half focuses on the relation that Zola had with Alfred Dreyfus, a French Jew who was a captain in the French army. Zola and Dreyfus never met, but their interaction set the stage for some political fireworks that rocked the very core of the French government. Dreyfus was wrongfully accused of spying for the Germans, and a kangaroo court-martial found him guilty of treason and sent him to Devil's Island as punishment. In historical truth, Dreyfus's Jewishness was a significant factor in arousing France's widespread anti-Semitism against him. Director Dieterle sidesteps this controversy by using the word 'Jew' only once, and then briefly in a personal file on Dreyfus. At first, Zola does not care very much for Dreyfus' protestations of innocence. However, when the wife of Dreyfus makes a personal appeal to him for help, he agrees and the movie then turns into a battle between Zola and a corrupt, entrenched French High Command who are collectively willing to see Dreyfus rot on Devil's Island to save their own skins. Zola's 'I Accuse' harangue rings with the sincerity of a man who is willing to take on the Powers That Be to save a country's honor when those very corrupt Powers argue that their own sense of honor requires the opposite. Louis Calhern leads a fine supporting cast as one of the lying officers who see honor only in lying to the French public about their own shortcomings. Joseph Schildkraut as the accused Dreyfus brings considerable dignity to the role of a man who is forced to endure a public and humiliating ritual of dishonoring. By the film's end, the audience can see that virtue and honesty are not enough to ensure the ongoing vitality of a country's nobility. For that, the occasional pecking gadfly is needed. Zola was such a gadfly. THE LIFE OF EMILE ZOLA serves to remind us that such gadflies are often in short supply, especially when they are most needed.

Two Great Speeches by Muni, But Skip The Rest
As a child in the 1930s I thought Paul Muni one of Hollywood's best, but I can't recall the movies on which this judgment was based. I don't know whether I saw this film then or not.

Now I find the depiction of "great writer (Zola) and great painter (Cezanne) in Paris during the 1800s" to be a grade school or Sunday school version of life. Hollywood's description of the Dreyfus affair lacks complexity, sophistication, reality, accuracy. The true story abounds in dramatic interest, excitement, conflict and power quite beyond the movie's reach.

But we do have two marvelous speeches, one when Muni as Emile Zola is reading his pamphlet, "I Accuse," to his friends and allies. And the other, when he is defending himself on a charge of slander in a hostile court. These alone are worth more than the price of admission. Spend your time hearing them again and again and then get yourself a copy of Zola's pamphlet and a good book from Amazon.com on what the Dreyfus affair was all about.

1937 PRESTIGE PICTURE
An unknown young Parisian writer suddenly becomes famous for penning the sensational NANA. Paul Muni, the great Polish actor who specialized in playing great men of history (seemingly taking the place of the elderly English stage-trained George Arliss) is terrific in his characterization of Emile Zola. It took Warners nearly a year to prepare the "Zola project". The screenplay went through various re-writes and a great deal of research was done to ensure historical accuracy; the result was a showcase for the unique Mr.Muni. The picture may seem a trifle dry, stodgy and drawn-out today, but it has long been esteemed as one of the greatest historical biographies Hollywood ever put on film. Variety called it "a vibrant, tense and emotional story about the man who fought a nation with his pen" It has followed not merely the spirit but, to a rare degree, the very letter of his life and of the historically significant lives around him. The racial theme involving the Jewish Dreyfus is tastefully handled; not once is the word "Jew" mentioned. The movie brought not only great financial success to Warner Bros., but prestige as well. And it solidified Muni's superstardom.

A brilliant story as relevant today as ever
To be honest, I rented this video to do some period costume research, but forgot all about that after getting involved in the story. Paul Muni portrays Zola most realistically, from his rise from the cramped, cold apartment of his early career to becoming the literary toast of France. And just when it seems that life is as good as it can be, along comes the "Dreyfus Affair" to challenge his conscience. All he has to do is keep quiet, and he can live a life of luxury right to the end. However, "all" becomes too much for the man who has spent his life developing the social conscience of his country through literature. Muni is brilliant in the role of Zola, and all the supporting cast give believable and stirring performances. This film holds you in its grip from start to finish, as it examines the worth of social institutions versus the lives of the people who uphold and venerate them, and sometimes become their victims. A definitely timeless piece of art. ... Read more

Reviews (4)

Still just as great, over 60 years later
Lucille Ball, Tommy Dix, Virginia Weidler, June Allyson, and Nancy Walker star in this hilarious and refreshing story of a military school student who invites a famous movie actress to the prom.

Bud Hooper didn't know that his letter would ever be answered...but when Lucille Ball writes back to say she'd be delighted to attend his school's senior prom, he's in shock. He frantically wires his girlfriend, Helen, not to come because he is sick. Guilty and depresed, Bud wishes he'd never thought up this crazy scheme. His two roommates are enthusiastic, however, and convince him that Helen will never know.

Meanwhile, Lucille Ball isn't any happier. Jack, her publicity agent, wants to get her on the front page and thinks this is the way to do it. Lucille is skeptical, especially when she hears that she must hide her identity and go to the prom as Helen, because that was the name Bud turned into the faculty two weeks before.

Trouble escalates when Helen shows up just before the prom, having intended to keep her poor bedridden boyfriend company. Then it's just one laugh after another as Lucille Ball's dress is torn off in a frenzy of "souvenir collecting" started by the fuming Helen. Lucy is then forced to hide in a stuffy closet, while Bud and his friends try to plan an escape.

This is a true gem of a movie, with great songs and hysterically funny lines. My favorite line was probably one spoken by the hopelessly ugly blind date (Nancy Walker): "You can't insult me and get away with it. In fact, you can't insult me."

VERY FUNNY ONE LINERS!
This movie has many lines that my sisters and I still quote from today! ("Whoever finds her...I hope it's me!" -- one of our favorites!) Trust me, this is very funny!

Wonderful Forties Musical
If you like college musicals, you'll love this fast paced MGM piece of fluff. The story is simple, a military college cadet wins a date with Hollywood actress Lucille Ball (In one of many performances where she plays herself) This ill conceived publicity stunt designed to re-start her faltering career, turns into a hilarious disaster when the cadet's girlfriend shows-up the night of the big date. You can imagine the fun that ensues with Lucy hiding out in the cadet's dorm room closet which continues to get more crowed by the minute. The musical numbers are all classic, like Harry James' swing version of "Flight of the Bumble Bee," and the rollicking "Barrelhouse, Boogie, and The Blues," beautifully performed by Nancy Walker, June Allison, and Gloria DeHaven. This was their MGM debut film and they all went on to stardom.

This is one of MGM's better musicals from the forties, it is full of great music, lively dancing and just plain fun and let's face it Lucille Ball is absolutely georgous.

I highly recommend this film!

Lucy shines!
Lucy looks absolutely fabulous in this movie, just like she does in every other movie. She is a brilliant actress, and it shows in this film. Her talent comes shining through. She's very funny at times, especially when her fans rip off her clothes and she slaps a man. She's left there in her underwear, and she constantly has to hide in closets(poor dear!). This is a very good movie, so if you haven't seen it, do yourself a favor and do watch it. If you love Lucy as much much as I do(which I doubt), or even remotely close to how much I do, then watch her shine in Best Foot Forward. ... Read more

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Gene Kelly and Frank Sinatra teamed up for their first of three musical comedies in this frothy confection of sailors on leave in Hollywood, with gawky, shy young Sinatra tagging along with his worldly buddy Kelly, who promises to show him the ropes. Overlong at more than two hours, this meandering production is light on story, and more than a little sentimental, but full of first-rate entertainment. Sinatra croons "I Fall in Love Too Easily" and "What Makes the Sunset," chirpy costar Kathryn Grayson sings "All of a Sudden My Heart Sings," classical pianist José Iturbi provides a little highbrow interlude, and Gene Kelly dances with cartoon mouse Jerry (of Tom and Jerry fame) when not chasing dames. Somewhere in the midst of this, little Dean Stockwell makes his film debut as a runaway orphan who melts the heart of self-centered Kelly. This big-budget Technicolor extravaganza, directed by MGM stalwart and musical specialist George Sidney (Show Boat, Kiss Me Kate), was one of the studio's biggest hits in 1945. --Sean Axmaker ... Read more

Reviews (28)

I fell in love too easily with Anchors Aweigh
Anchors Aweigh is an MGM classic. When you watch it you'll never forget Gene Kelly's dance with the animated mouse, Jerry, Frank Sinatra's crooning of "I Fall in Love too Easily", Jose Itrubi's brillinat playing of the piano, and Kathryn Grayson's operatic "Jealousy". I don't think this is Kathryn Grayson's best role, but she sure does a good job. Some other songs that I haven't mentioned are "If You Knew Susie", "Waltz Serenade", "All of a Sudden My Heart Sings", and "We Hate to Leave". I thoroughly enjoyed this movie, and if you're a fan of Frank, Gene, or Kathryn, you'll love it too.

Heartwarming, Corny, but Great Musical Fun
When I took the time to actually think about the plot of Anchors Aweigh, I wondered how anyone ever took the movie seriously. Two sailors on leave hope to find love, or at least a girl, accidentally meet a small orphan being raised by his aunt, both sailors fall in love with the aunt and also act as surrogate fathers for the boy, but never fight over the aunt, and promise to arrange an audition for the aunt with Jose Iturbi, the great Hollywood conductor and arranger. One sailor finds the girl of his dreams, another falls in love with the aunt, and everyone is happy, and of course the very talented aunt is on her way to stardom. This movie should not work, but somehow it does work and works well. Why? Because the two sailors are Frank Sinatra as Clarence Doolittle and Gene Kelley as Joseph Brady and Kathryn Grayson plays the aunt. This very talented trio created magic in the musical numbers, and since Gene Kelley is involved, the dance numbers are naturally amazing.

Though the most famous highlight of the film is Gene Kelley dancing with Jerry of Tom and Jerry fame (mixing animation and live action, quite a fete in 1945), perhaps the best dance scene is when Kelley dances with a small Mexican immigrant girl. As in so many Kelley dance sequences, Kelley compliments those who dance with him and seems to never let his ego get in the way.

This movie is more than a far fetched story with great musical and dance numbers. It also says a great deal about America at the end of World War II. Victory was imminent, but the country was tired and needed hope. Movies such as Anchors Aweigh provided such hope, and for this reason alone it deserves praise. And let's face it, who can resist a corny musical with an implausible story that can capture our hearts and imaginations?

P.S. If you don't want to spend more money, avoid the bonus tracks advertising other great MGM musicals, but if you can't resist, don't say I did not warn you!

Anchors A Snore
We bought this movie because we liked Gene Kelly in "Singing in the Rain" so much. While not expecting something quite as wonderful we were indeed surprised at how truly awful it was. The characters annoyed us and the plot was not believable. For a long, long time, we kept hoping for more dancing... or singing... or something... but eventually we went to bed and haven't even finished this movie. The kid was cute, though.

One of my absolute favorite films
Just sheer joy. Gene looking very, very, VERY good, and dancing very, very, VERY well! They didn't come much better looking or more talented than Gene Kelly, especially in this film. Frank (that voice...ah, that VOICE!) skinny and sincere, playing a shy sailor without any experience with women...who said this boy wasn't an actor?!. In other words, Frank and Gene doing what they do best in brilliant Technicolor. Great music, wonderful sets, terrific comedy, and a groundbreaking dance (the first on film, I believe) between a live action and animated character (Gene and Jerry Mouse in the delightful "Worry Song"). Kathryn Grayson, a great beauty with a stunning operatic voice, perfectly complements the nautical duo. I've heard the criticism that the film runs too long...personally, I wish it had been a little longer! A great movie and a lot of fun.

THE CHARM OF THIS MUSICAL NEVER ENDS
"Anchors Aweigh" is bar none the best of the 'sailors on shore leave' musicals that seemed to flood the film market during the 1940's and early 50's. The story is pretty contrite, two sailors fall for the same girl and lie to gain her affections. That's it, that's all. But history has taught us that most musical film fare needs nothing more that this by way of plot in order to captivate its audience.
Gene Kelly and Frank Sinatra are the front liners here. This was Sinatra's first MGM film and he and Kelly are a remarkable team to behold on the screen. Sinatra's scrawniness and Kelly's male bravado bow well with one another. Add to the mix one of MGM's greatest singers, Kathryn Grayson and how could anything go wrong. It doesn't and the resulting film not only won Kelly his first Oscar nomination as best actor but took a Best Picture nomination as well.
Warner Home Video has done a pretty spiffy job on this transfer. Colors, though dated, are bold, saturated and well balanced. During the animated segments there are some instances where color balancing is inconsistent, but nothing that will terribly distract. Also, a few instances of edge enhancement crop up, but again, nothing that will ruin your enjoyment of this great musical classic. The sound, unfortunately, is a big, lousy mono but carried off with such clarity and remarkable spread that one can forgive Warner for not doing a 5.1 remix. The disc also includes a snippet from MGM: When The Lion Roars that explains how Kelly and Jerry (the mouse from Tom and Jerry fame) were able to be seen dancing together. Is it just me or is Jerry awfully big for a mouse?!?
Get the film and find out. This one's a keeper!!! ... Read more

Reviews (7)

Paul Muni's Oscar winning performance as Louis Pasteur
The 1930s were very much the glory day of Hollywood bio-pics, a fact amply evidenced by "The Story of Louis Pasteur" a 1936 production from Warner Brothers. Paul Muni in his Oscar winning role pla