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Audie Murphy, the most decorated American soldier in World War II, enjoyed a Hollywood acting career after the fight. In this 1955 autobiographical film, however, he plays himself re-creating his own actions and movements in key battles. As strange as this project might have seemed to him at the time, the results are pretty impressive. The film, despite a flat script, is really a pretty good war drama about Murphy and his buddies making their way from North Africa to Berlin. --Tom Keogh ... Read more

Reviews (23)

Better Than The Movie!
There is something compelling about the movie version To Hell And Back which I first viewed as a boy in the 1950s. Perhaps it was the fact that the star was the hero himself "replaying" some of his own wartime experiences. Over the years, the movie has appeared repeatedly on television, and almost routinely on the History Channel. I've watched it many times. The movie, however, pales by comparison to Murphy's actual Medal of Honor citation. Now that I finally have read his book, the citation itself seems to offer only a fraction of the story behind his guts,determination, and eventually the horrible memories he endured until his untimely death in a plane crash. It makes me shutter to think of myself as a combat veteran from Vietnam compared to what men like Audie Murphy had to endure for the duration of their tours in World War II. But, it also makes me realize that war for frontline troops has changed little from one generation to the next. This ought to be REQUIRED READING for everyone who send others to war!

Surprisingly Good Hollywood Take On Murphy's War
The single biggest reason to watch this movie is that the star himself was in fact the single most decorated war hero of World War Two, and he is convincing here playing himself with dignity, sincerity, and humility, which, of course, Audie Murphy always had in spades. The movie was adopted from his best-selling autobiography, which my Mom let me read after blackening out all of the four letter slang (as she called it). Perhaps it shows that he was my childhood hero, and I still have a personalized autographed photo somewhere reading "Thanks, Barry, for being my fan" that a friend's mom got for three or four of us ten year olds at the time this movie was released in the mid 1950s. It was the first movie I saw ten times. And I wasn't alone; Murphy was a national icon.

The movie truly is a classic; tightly directed, poignant, honest, accurate, and showing gripping combat without being gory or maudlin. It sometimes decends into travelogue movie-theater type newsreel moments, but these are thankfully rare and forgiveable. On the other hand, this is an interesting and absolutely true story of a common and uneducated boy from rural Texas who wanted more than anything to be a soldier and serve his country, and his subsequent deeds and patriotism above and beyond the call of duty inspired a whole generation of us who wanted to imitate his call to country. Unfortunately we walked into another time and the miasma of Vietnam. But that's another story for another time. Escape back to a time when the moral choices were clearer, and a real live hero was available to act his way memorably through an accurate recounting of his extraordinary if abbreviated military career. He may be gone too soon, the victim of a plane crash in the early 1970s, but his lifetime admirers remain. Enjoy!

Very good
Hey its a good movie....but one thing that the movie compresses to the extreme is his act that won him the Medal of Honor. Its EXTREMELY downplayed in the movie. In reality he held off a German advance from 3 directions for over an HOUR....an hour!!! Then just seconds after he jumped off the tank it blew up.

Just wanted to set the record straight on that....

A Real American
My father enlisted in the Army in 1949 at the age of 18 while inspired by the actions of Audie Murphy. He went to Korea and fought bravely for the USA. I enlisted in the Army in 1992 at the age of 17 for the same reason. This movie not only makes you think but also inspires.

I'm embarassed
I have to say that after I saw this movie, I was a little embarassed that I had never heard of Audie Murphy before, especially since I'm 37 years old. This guy epitomizes the term "war hero" and his story needs to be retold. I'd love to see this remade so that more generations of people would know about him. The current version was great, especially because Audie plays himself. A must watch, especially for anyone who doesn't know anything about him. ... Read more

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Rock Hudson became a beefcake star playing a self-absorbed, thrill-chasing millionaire playboy in the first of Douglas Sirk's glossy Technicolor melodramas. In a classic example of the wicked machinations of soap opera fate, Hudson's showboating antics kill the most saintly man in motion-picture history and stalk his newlywed widow (Jane Wyman), driving her into an accident that leaves her blind. The kindly attentions of a bohemian painter and part-time guardian angel help turn Hudson's life around, and he rejects his irresponsible lifestyle and dedicates himself to his new "magnificent obsession" of philanthropy and good deeds, meanwhile romancing Wyman in a sincere, soft-spoken voice and with a phony name. Magnificent Obsession was a huge success and established a style Sirk would refine through the 1950s, reaching a baroque peak in Written on the Wind and culminating with what may be his most successful and most famous film, Imitation of Life. Compared to his later successes, this is arch and flat, lacking the ironic edge and luscious style of his best films, but it's an exceedingly handsome production in bold, bright colors where swooning romance and life-saving operations define life as an emotional roller coaster of mythic proportions. --Sean Axmaker ... Read more

Reviews (10)

I can't believe people don't see what this movie is about!
Rock's guardian angel
tells him of this strange powerful lifestyle--LOVING OTHER PEOPLE AS YOURSELF! (hmm, I wonder Who said that?) He didn't shout or even say these words exactly, but Rock gets a full force blast of its power on his first attempt at helping his fellow man, culminating in the catastrophic blinding of Jane. This is his epiphany, his salvation, as he follows the subliminal path of Christ TO THE MAGNIFICENT ENDING!

I can't believe people don't see what this movie is about!
I saw this movie on TCM, coming in where Rock's guardian angel
tells him of this strange powerful lifestyle--LOVING OTHER PEOPLE AS YOURSELF! (hmm, I wonder Who said that?) He didn't shout or even say these words exactly, but Rock gets a full force blast of its power on his first attempt at helping his fellow man, culminating in the catastrophic blinding of Jane. This is his epiphany, his salvation, as he follows the path of Christ (again, not mentioned in the movie), but it SCREAMS IT OUT ON TO THE MAGNIFICENT ENDING!

Not Clear Enough
I've seen this movie on television many times. I'm a dyed in the wool Rock Hudson fan, so naturally I loved this movie. However, I've also read the book, and I don't think the movie made it clear what the story was really about. It focused on the love story--naturally--it's Hollywood! But the real story is a spiritual one, and I wish that could have been brought out more. Although the DVD isn't out yet, I sincerely hope the studio chooses to put it out--I'll add it to my collection

the color is almost hallucinatory
I liked this movie for its color which evokes the colors of Indian dieties such as Hanuman. Trippy acid colors.

The story is over the top, but enjoyable like Johnny Guitar.

Why You Should Never Refuse a Dinner Invitation
This movie proves that it never pays to refuse dinner invites from dashing men, especially when a refusal of lunch with them earlier has sharpened their persistance.

This movie was actually not so bad. Even though it was very soap-operaish. I did keep wondering when Bob Merrick was going to accidentally paralyse the daughter.

I liked seeing Agnes Moorehead in a non-snappish role, and Jane Wyman did fine as a blind person, although I felt both of them gave more in their roles in "Johnny Belinda".

This wasn't a picture I could really take seriously - it was a bit sappy, very hokey, and so forth - but enjoyable for laughs and didn't drag for a minute. I recommend it for fun, but for something more serious do the Johnny Belinda thing. ... Read more

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Big Jake is not one of the Duke's classics, but a diverting attempt nonetheless. Everyone seems to think that Jacob McCandles is six-feet under ("I thought you was dead" is a running line throughout), so some bad men kidnap his grandson. They want a piece of the family fortune and will kill to get it. Patrick Wayne, the Duke's own son, plays one of Big Jake's kids, and together they start out after the boy's abductors. Richard Boone makes a worthy adversary to Jake's larger than life figure, and the final confrontation between the two contains some great gritted-teeth dialogue. Maureen O'Hara is barely in the feature, sharing the same fate as Bobby Vinton as the boy's father. He seems to be onscreen just to get shot. --Keith Simanton ... Read more

Reviews (30)

Big Jake, the man who put the bad guys in their place!
Big Jake has always been a family favorite. Whenever it aired on TV, we watched it. If it were played 3-4 times a year, we watched it. You just can't beat the all-star cast. John Wayne, Bruce Cabot(very famous in the 1930'3 and 1940's) Richard Boone, as the lead bad guy, was a great choice. PAtrick Wayne and Christopher Mitchum were both excellent choices to be his sons. Maureen O'Hara, as the ex-wife, she is still as beautiful as ever. All-in-all, a great action-packed western that holds up to the best. Big Jake, a real treat for all.

don't call him DADDY!!!!!!!!!
This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go - if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

They made the mistake of kidnapping Big Jake's grandson
"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point the came cuts to a close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" ended up doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

One of my Favorite John Wayne Movies
Big Jake, although not his best, was still one of my favorite movies. My own grandpa was a larger than life figure, and this movie rings true to what he was in the prime of his life. One of Wayne's last, and I think it has to be on everyone's list. The adversary is a tough nut to crack, and knows just how to hit the nerves. It's not over the top violent (I suppose that compares with today's movies). GOD i wish they would have picked anything else for that kid to wear but that girlish little jumper with the white collar!

Not as good as I hoped...
I'm giving this one four stars for the quality of the video, sound, and the fact that this movie has, for at least 90 minutes, everything you would ever want in a late-era John Wayne movie. The acting is not bad at all, the story is set up very well, the villians are believable, and you have the obligatory old codger showing up his estranged smart-aleck sons while he teaches them a thing or two.

After we've been through 90 minutes of establishing trust and killing a few bad guys along the way, we come to the big showdown where the Duke tries to bluff the kidnappers, and then kill them. It's a pretty good shoot-out, and of course the good guys win.

The problem I have is that the Duke loses his best friend and his dog in the fight, as well as getting shot twice himself. When it's all over, Big Jake, his two sons, and his grandson exit with big smiles on their faces. The camera freezes on this image while the credits are rolling. It was kind of like a bad 1970's crime drama. I expected to see in bold letters, "A QUINN MARTIN PRODUCTION." ... Read more

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 (9)

OUTSTANDING AND WELL DONE
I thoroughly enjoyed this movie and highly recommend it to anyone who has yet to see it. It has all the elements for a great epic.....a storyline with action/adventure, romance, and well developed characters. It's perfect for Civil War buffs as well as teachers/parents who are looking to encourage interest in the Civil War. I do however confess that as much as I enjoyed the Blue and the Gray, the miniseries North and South is a notch better and I highly, highly recommend this movie as well.

The Blue and the Gray Stretches the Truth
Although this movie has OK acting, some scenes are unrealistic. I doubt that soldiers would be "marching" down the road not in line and using their rifle slings. This didn't happen. Rifle slings were only used back then to handle a hot rifle. Soldiers marching throughout the movie were out of step. One obvious mistake to me was their 1970's hairstyles. Women had long hair hanging down, which was not how it was worn in the 1860's. In one scene, a cannon on a hilltop is firing at advancing federals. The cannon is pointed upwards, way over the federal's heads and yet it is ripping giant holes in their lines. The movie kind of switches around Grant's famous saying at the end of the war "The war is over. The rebels are our countrymen again." However, the movie was correct in the fact that Grant ordered his men not to celebrate, but probably not in the manner that was shown in the movie. In short, this movie was good entertainment with good acting, but not one that your should rely on for historical accuracy. Instead, try Gettysburg, which I found to be quite accurate. The new movie Gods and Generals has Jackson wearing obvious shoulder pads in his jackets throughout the movie. I thought it kind of ruined the journey back into time.

The Blue and the Gray
It's a great show movie to watch in school for Social Studies. I watched it in class and it's extremely interesting and really good. It's quite accurate and shows fantical abolitionist John Brown and his case. The whole particular movie is about a young Virginia reporter, John Geyser, trying to stay neutral while his brothers are fighting for the south and his cousins for the North. It has some funny scenes too like when Malicar encounters a Rebel and they get to talking.

The Blue And The Gray
We watched this movie in school when we were studying the Civil War. My whole class agreed that it was the coolest movie we had to watch in school. It's about a dude named John who is a war reporter. He tries to stay neutral when his brothers are fighting for the south and his cousins for the north. He has a best friend named Jonas and a girlfriend named Cathy. Jonas kissed Cathy and the whole class laughed our heads off. A lot of the movie was sad though. But really cool.

A Teaching tool for the Civil War
The series Blue and Gray is a great tour de force of the American Civil War. This series is a great teaching tool for middle school teachers who want to capture the passion and reality of America's greatest struggle for their students. The movie neither sugar coats nor overplays the tragedy of the war on soldiers or civilians. A longer complete version of this mini-series is available on video, and if Amazon could add it to their list, it would fill the small voids left by this shorter version. Overall, my favorite CW movie. ... Read more

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Nobody made a fuss about The Comancheros when it came out, yet it has proved to be among the most enduringly entertaining of John Wayne's later Westerns. The Duke, just beginning to crease and thicken toward Rooster Cogburn proportions, plays a veteran Texas Ranger named Jake Cutter. When we first see him (in a tongue-in-cheek delayed entrance), he's catching up with a New Orleans dandy (Stuart Whitman) who killed a judge's son in a duel just after that gentlemanly practice was banned. Monsieur Paul Regret--or "Mon-sooor," as Jake insists on calling him--is not a bad fellow, let alone a badman, and it only follows that, after the requisite number of misunderstandings, he and Jake will join forces to subdue rampaging Indians and the evil white men behind their uprising.

The Comancheros was the last credit for Michael Curtiz, who, ravaged by cancer, ceded much of the direction to Wayne (uncredited) and action specialist Cliff Lyons. With support from Wayne stalwarts James Edward Grant (coscreenplay) and William Clothier (camera), the first of many rousing Elmer Bernstein scores for a Wayne picture, and a big, flavorful cast including Lee Marvin (the once and future Liberty Valance), Nehemiah Persoff, Bruce Cabot, and Guinn "Big Boy" Williams (in his last movie), they made a broad, cheerfully bloodthirsty adventure movie for red-meat-eating audiences of all ages. Even the liberal-pinko Time magazine had to second the salute from leading lady Ina Balin at film's end: "Take care of yourself, Big Jake ... we've sort of gotten used to you." --Richard T. Jameson ... Read more

Reviews (20)

Lightweight but entertaining John Wayne western.
John Wayne rules in this big, sprawling western adventure film. The screenplay, co-written by western novelist Clair Huffaker, struggles with the historical accuracy of Texas in the 1840s and the rifles seem a little advanced for 1843, but, nit-picking aside, this is an entertaining film. Texas Ranger Jake Cutter (Wayne) and sometime gambler Paul Regret (Stuart Whitman) go under cover after a vicious army of outlaw raiders known as "Comancheros," led by the diabolical Graile (Nehemiah Persoff). Hard-hitting, large scale action sequences deftly directed by Michael Curtiz, who directd some of Errol Flynn's better adventure films, will please action-adventure fans. The movie includes a comfortable blend of action, suspense, and humor with occasional serious overtones of duty, friendship, and the love of a good woman. Taken within the context of the film that isn't as corny as it might sound. Great outdoor color photography adds to the appeal. A pulse-pounding musical score by Elmer Bernstein matches the excitement. Lee Marvin makes the most of his costarring role as Tully Crow, one of the West's wildest bad men. Watch for the hilarious vignette featuring Edgar Buchanan as a judge of dubious integrity. Ditto the comic relief segment with Guinn "Big Boy" Williams as a seemingly bewildered gunrunner. There is nothing intellectual or artistic to say of this movie, but it's good old fashioned fun. Recommended viewing.

Classic, Crowd-Pleasing Duke!
You can see by the title that I am a John Wayne fan, and this rip-roaring Western is one of the reasons why. With equal portions of rousing action, humor, and drama, this film keeps your interest and, like the Duke's performance, never loses its authenticity. It's said that John Wayne took over direction of some of the action sequences, and they're great. There are well-drawn, clear differences between the good buys and bad guys, but the characters are human and developed enough for the actors to sink their teeth into, which all do with gusto. By this time in his career, the Duke only had to show up on screen to be the authentic Western hero, but as usual he goes 'way beyond that, giving a colorful, humorous, absolutely real and terrific performance as the Texas Ranger who helps a man on the wrong side of the law redeem himself and find the woman he loves--as well as stopping a motley, dangerous bunch of white renegades (Comancheros) who are selling weapons to warring Comanche Indians. It's great movie-making and a great couple of hours with the Duke, so check it out!

Drunk Indians
This movie was good for the most part but then again if you dont want to see drunk indians shoot white people then dont worry about seeing it. There were some good parts in this movie but the whole movie was a rather large dissapointment. These Indains would kill people so they could get their Jollies off byy getting alcohol. This movie was very unrealistic(...). I take my reviews very serioulsly. John Wayne was a good actor props to my man Wayne, he's my man.

A Real Entertaining John Wayne Western
THE COMANCHEROS is one of John Wayne's most entertaining Westerns. It has a great cast, story, photography and one of Elmer Bernstein's best scores. The widescreen DVD looks incredible. John Wayne and Stuart Whitman play off each other brilliantly. Lee Marvin as Crow has a small but effective and outrageous character part. There's plenty of action and heroics to go around in this great outdoor adventure. I wish they would make movies like this today.

Excellent Duke western
The Comancheros is another great John Wayne western with a great supporting cast. The story follows Captain Jake Cutter, a Texas ranger, and his efforts to capture a prisoner, and then to infiltrate a group of gunrunners and bandits, the Comancheros. This group has been supplying the Comanches with repeating rifles who then wreak havoc on the area. There is plenty of action here with numerous shootouts, and also plenty of great characters. At parts during this movie, I wondered why the Duke never took more comedic roles since he is very funny in several scenes.

John Wayne plays Captain Jake Cutter, the big, brawling Texas Ranger who attempts to bring in a prisoner who keeps escaping his grasp, "Monsoor" Paul Regret, played by Stuart Whitman very well. Another notable performance is Lee Marvin's Crow, the contact between Cutter and the Comancheros. He doesn't have a very big part, but what is there is very good. The film also stars Ina Balin, Nehemiah Persoff, Michael Ansara, Patrick Wayne, Bruce Cabot, and Joan O'Brien. Elmer Bernstein also turns in another excellent score that has elements of the Sons of Katie Elder and The Great Escape. The DVD offers a widescreen presentation which looks very good, two trailers(one in Spanish), and also Movie Tone News about an award presented involving the movie. More John Wayne movies should be put out like this, and I give credit to the companies putting out so many new ones recently. A very exciting, enjoyable Duke western that all his fans will love! ... Read more

Reviews (30)

Big Jake, the man who put the bad guys in their place!
Big Jake has always been a family favorite. Whenever it aired on TV, we watched it. If it were played 3-4 times a year, we watched it. You just can't beat the all-star cast. John Wayne, Bruce Cabot(very famous in the 1930'3 and 1940's) Richard Boone, as the lead bad guy, was a great choice. PAtrick Wayne and Christopher Mitchum were both excellent choices to be his sons. Maureen O'Hara, as the ex-wife, she is still as beautiful as ever. All-in-all, a great action-packed western that holds up to the best. Big Jake, a real treat for all.

don't call him DADDY!!!!!!!!!
This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go - if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

They made the mistake of kidnapping Big Jake's grandson
"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point the came cuts to a close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" ended up doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

One of my Favorite John Wayne Movies
Big Jake, although not his best, was still one of my favorite movies. My own grandpa was a larger than life figure, and this movie rings true to what he was in the prime of his life. One of Wayne's last, and I think it has to be on everyone's list. The adversary is a tough nut to crack, and knows just how to hit the nerves. It's not over the top violent (I suppose that compares with today's movies). GOD i wish they would have picked anything else for that kid to wear but that girlish little jumper with the white collar!

Not as good as I hoped...
I'm giving this one four stars for the quality of the video, sound, and the fact that this movie has, for at least 90 minutes, everything you would ever want in a late-era John Wayne movie. The acting is not bad at all, the story is set up very well, the villians are believable, and you have the obligatory old codger showing up his estranged smart-aleck sons while he teaches them a thing or two.

After we've been through 90 minutes of establishing trust and killing a few bad guys along the way, we come to the big showdown where the Duke tries to bluff the kidnappers, and then kill them. It's a pretty good shoot-out, and of course the good guys win.

The problem I have is that the Duke loses his best friend and his dog in the fight, as well as getting shot twice himself. When it's all over, Big Jake, his two sons, and his grandson exit with big smiles on their faces. The camera freezes on this image while the credits are rolling. It was kind of like a bad 1970's crime drama. I expected to see in bold letters, "A QUINN MARTIN PRODUCTION." ... 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 (4)

Another Classic!
When I was growing up, this was one of the many classic Disney movies we had taped from the tv, among others, like Snowball Express and Follw Me, Boys. But this is definitely my favorite. After all these years, I still memorize the song in the opening credits, and I can probably recite half the movie.

I have been waiting for this to come out on DVD for about 6 years, and I'm so glad I'll finally have the chance to own it!

Don Knotts and Jim Dale Rule!! Great Western Comedy!!
Don Knotts and Jim Dale in this Great Western Comedy Hot Lead and Cold Feet.It's great slapstick that's fun for the whole Family!!

ONE OF THE CLASSIC COMEDIES
Great performance by Knotts and Elam. This is not the Elam from other westerns. This is the Elam playing himself. He really is a fun-loving guy. Take a GOOD HA HA! This is rare footage and well worth the price.

FANTASTIC!!!!!!!
I love the comedy style in this movie. Don Knotts was especially great ... Read more

Reviews (3)

Still scary after all these years
I saw this movie when it first came out in 1957 - I was 13 years old. From my Junior High and High School years there were three movies that I thought were truly scary - this was one of them. The others were Psycho and Invasion of the Body Snatchers.
I remember it as wonderful - but I have not seen it since 1957.

zombies of mata tau
I would agree with the assessment of this movie given by Kenneth of Oklahoma City, it's got it all. It doesn't have the blood and guts in it like today, but it still might give some people nightmares. So cudle up with your sweetheart, pop the popcorn, turn off the lights and put this movie in. Sounds like a great evening to me.

Zombies of Mora Tau
This one has it all!! Any fan of '50s horror or sci-fi movies will absolutely love this movie. Why? First, it has cleavage-queen Allison Hayes adorned in her usual skin-tight outfits and spouting some of her best lines ever! Allison even gets to faint in her own grave!! Second, it has another hot gal, seldom-filmed but sexy Autumn Russell vying with Allison for masculine attention! Third, it has Morris Ankrum, great character actor who co-starred in numerous '50s drive-in classics, spouting his usual cult-classic dialogue and even getting to make a play for Allison early in the flick. And last, but certainly not least, it has a fabulous plot about sea-going zombies guarding a sunken-diamond treasure worth zillions! Zombies so deadly that even a mere lighted candlestick keeps them at bay!! Somebody needs to clue Columbia/Tristar that the time has come to release this scream-gem on DVD!! DON'T MISS THIS ONE!! ... Read more

Amazon.com

Nostalgic send-up of Bogart detective films of the '40s boasts a spot-on impression of the famous star by Robert Sacchi, who made a career doing mostly the same. (That's him in the Robert Zemeckis-helmed "You, Murderer" episode from Tales from the Crypt). The premise is that Sacchi plays a retired cop who gets plastic surgery to make himself look like Bogart, and then sets up shop as a private dick named Sam Marlow. But theplot is really just an excuse to pay tribute to Bogart's detective films. Sacchi's channeling of Bogie is so uncanny you'll be positively mesmerized for about 30 minutes. And that's the problem. While this amiable pastiche might help while away the evening in nostalgic reverie, it does a major disservice to the films it appears to idolize. That's the problem with nostalgia: it usually jettisons all the depth and complexity of the original, leaving an indistinct fifth-generation clone, a fuzzy Xerox of a Xerox of a Xerox. So when the novelty of the flick begins to wane, there's only the plot to fall back on for interest. And the plot is only there to havesomething upon which to hang references to Bogart flicks. The story largelymirrors The Maltese Falcon, with the great whatsit, the things dreams aremade of, being a pair of sapphires known as the "eyes of Alexander." The cast is composed of simulacra of past film greats: Gene Tierney (Michelle Phillips), Sidney Greenstreet (Victor Buono), and Peter Lorre (Herbert Lom)--notso successful, that last one. --Jim Gay ... Read more

Reviews (8)

OK Evening's Entertainment
Fun to see Mike Mazurky, Henry Wilcoxon, and George Raft in bit parts. Fun to see Robert Saachi do a spot-on impersonation of Bogart. The best unplanned fun is viewing the cheesy 70s TV-movie values that add to the nostalgia of the film.

This is bogart BUT the plot is silly and at times perverted
5 stars to the actor playing bogie,he has the voice,look, manors and style PERFECT. however the golden age of movies did not have curse words & naked women and i really doubt the real bogie would have lowered himself to this stupid script. If you are the ultimate bogart fan,like me, you can apprechiate just how good this actor plays him and at times there are a few funny sceenes like a car crash resulting from seeing bogie back from the dead.nice hearing the this actor relate everything to the "old days" as he visits certain streets and area's in this film where previous old movies were shot naming the stars who were in them, you can kind of picture it in B&W in your head if you saw the films. it is also kind of neat seeing a cameo by george raft an actor who played with bogie way back when in some of the classics but this is NOT a child safe movie. You can take most of the golden age movies and watch them with a family but not this trashy comedy too many uneeded sex implied scenario's that just dont fit with the real humphrey bogart films.

Enjoyable and lightweight...
Andy Fenaday's scipt follows self-employed detective (Scacchi, who's incredible) as he gets wrapped up in a MALTESE FALCON-type mystery. Heavy doses of amusing dialog, crammed with old movie references, this movie is better than FLETCH. A lot of fun and worth repeated viewings. A must for movie buffs. Good family viewing, with older kids. Rated PG for profanity, violence, and mild sexual innuendo.

A sweet bit of noir
Robert Sacchi attained minor celebrity in the 70's and 80's for his uncanny resemblance to Bogie and parlayed it into a career in TV commercials and cameo movie roles, most notably in Woody Allen's PLAY IT AGAIN, SAM. This vehicle is built around his unique "gift." It's an unremarkable but highly likable send-up of the great private eye flicks from the 30's and 40's - its most obvious inspiration being THE MALTESE FALCON, but there are allusions to THE LADY FROM SHANGHAI and other classics as well.It is chock full of hard-boiled banter and shadowy frames and shadowy characters and probably would have been better shot in black and white to capture the true ambience and ambiguities of the originals it seeks to imitate.

Same Marlowe is hired to find "the eyes of Alexander", sapphire replicas of Alexander the Great's eyes used in a bust of the conqueror, and during the search he runs into a snag of competing interests, all played by well-known character actors, Victor Buono and Herbert Lom among them. The plot, however, is superfluous, as it almost always is in detective films. The real point of the movie is to pay tribute to old time movie magic, and part of its fun is in the cameos. Apart from bit parts by the likes of George Raft, watch out for appearances by famed Hollywood reporters James Bacon and Robert Osborne as well (the latter now the host of cable's Turner Classic Movies).

Wonderful Spoof
Sacchi is the best Bogart impersonator ever... dry and droll as Sam Marlowe! The music from award winning composer George Duning [From Here To Eternity, Picnic, The World of Suzie Wong], the cinematography of perfect locations [including the famous Ambassador Hotel] are all right on target as famous tv director Robert Day [Kojak, Streets of San Francisco, The Avengers] guides the most endearing group of well-known character actors through a spoof of every dark detective film every made. See this if you loved all the old serious flicks... this one will make you howl. ... Read more

Reviews (1)

Absolutely Delightful
When I saw this movie had not been reviewed I just couldn't resist. This is a wonderful family flick for all ages and boasts a "who's who" list of very funny character actors from the 1960's. Tony Curtis is outrageously funny and charming as Steve McClusky, a Nevada casino manager who winds up caring for Penny, a 5 year old orphan with amusing results. Suzanne Pleshette as a romantic endeavor never looked better. And Phil Silvers' portrayal as the loveable tough guy Uncle Bernie can't be topped. The "chase" scene thru Disneyland is pure fun. This movie truely is a family classic! ... Read more

Reviews (9)

creature walks among us
this movie is awsome. I have no regrets about it . I give it
100000000000 stars u guy are wierd if you dont like it

The Gillman Wears Clothes!
That would have been the ad slogan for this film, if the posters were honest. Anyway, it is the last and least of the three CREATURE films. Fairly entertaining, but it lacks the talent of Jack Arnold (who directed the first two) and Nestor Paiva (who was always fun as "Lucas" in the first two). Yet another expedition goes in search of the Gillman and finds him, but he gets badly burned up in a fire, and those ever-clever scientists surgically make him into an air-breather! This is supposed to have something to do with preparing humans for space travel. When next we see the Gillman, he is wearing clothes (not the snazziest fashions, however) and has somehow gained weight, possibly due to a lack of exercise. The final scene, in which the old guy tromps back to his beloved water, not realizing he is no longer a water-breather, is rather moving. But when a monster movie has a lot of contrived conflicts that have little to do with the monster, you know they are getting desperate.

Torture of the Creature part III
Third of the "Creature" movies, it is better than "Revenge Of The Creature" but not as good as the original "Creature From The Black Lagoon". The Creature is again captured and after being badly burned and near death, it is discovered he has lungs he has never used. Some minor surgery and he is now a land creature. He is also more manlike since his outer skin was burned off to reveal a different look. Well acted and a good classic monster movie. Im still waiting impatiently for this one as well as Revenge to make it to DVD....

The Creature Walks Among Us
Darwin would have loved this one:
From fish to man in just three weeks.
That's what I call entertainment.

The last Creature movie, and it is okay.
It's an Okay film. Not the best, but it does it's job. The Creature almost dies in a fire, science saves it's life by making it more human, but it wants to return to the ocean, so the Creature actually saves the hero's life by killing the villian at the end, and then it walks off into the ocean sunset. End of story. For what it's worth. ... Read more

Reviews (5)

One of Jimmy's Best and Brian Keith!
Jimmy Stewart had a habit of making good movies and this is one of them. It tells the story of introducing hereford(or herford) cattle to the united states and it does it partly lighthearted and partly serious. Brian Keith shows up as well as absolutely wonderful former scottish highlander soldier who's taken up ranching in the west. Keith is just great as the old cantankerous scottsman. The herford bull(named vindicator) is cleverly portrayed as well without being silly.

Huh..? What...??
A discombobulated cowboy comedy in which an aging (over-the-hillish) Jimmy Stewart locks horns and then falls in love with an eccentric, headstrong English woman, who is determined to introduce Hereford cattle into Texas. The livestock angle dominates the plot (yawn -- who cares?) and the most likeable character turns out to be her prize bull, Vindicator. I thought this was kind of a snoozer, with a somewhat brittle feel overall. Kind of a dud.

Fine Performances By Stewart and O'Hara
THE RARE BREED is a film about the delivery of a white-faced Hereford bull from England to the Texas range for breeding purposes. The man responsible for the task is James Stewart. The women who own the bull are Maureen O'Hara and her daughter played by Juliet Mills. THE RARE BREED is a fairly good Western with strong performances by Stewart and O'Hara. A fine supporting cast includes Brian Keith, Don Galloway and David Brian.

Andrew V. McLaglen directed many other good movies such as MCLINTOCK and SHENANDOAH.

Stewart's worst outing in a Western
I'm still in shock at just how truly bad this one really is. I should have known better, thought this one fell through the cracks or something and it did...for good reason.

Weak story is dragged down even further due to almost the entire film being shot in a studio. Some of it is comical, but not quite as comical as Brian Keith's wildman bagpipe playing Scot cattle baron. Hoot mon! You've been warned.

Rare Breed
Classic Western with good acting (some minor exceptions)by classic actors. The story is true western, but not trite. If you like westerns, you'll like this one. ... 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 (6)

A solid war movie with an unusual twist!
This is one of my favorite war movies, although it certainly never got the acclaim that many bigger-budget films have received. "The McKenzie Break" is the story of a remote British-run POW camp for German Kriegsmariners and Luftwaffe officers in Scotland. The Germans are of course planning an escape, led by the ruthless Captain Schlutter, (a U-Boat Captain determined to get his trained men "back into the war") competently played by Helmut Griem. Brian Keith plays the British intelligence officer given a special assignment to deal with the situation at Camp McKenzie.

Of course, the notion of German POWs plotting to escape an Allied POW camp puts a unique twist on the usual POW theme, and in my opinion it works well in this film. The storyline moves along briskly and holds the viewer's interest. Bravo performances by Brian Keith and Helmut Griem carry the movie, and I felt that the cinematography and the on-location filming gave the film an excellent aura of authenticity. All in all there is a great deal about this film to like.

Don't compare this one to "The Great Escape" or any other POW film, because it isn't like any of them. "The McKenzie Break" stands on its own, and in my opinion does so very well.

Not The Great Escape
This movie tips its hat to The Great Escape but falls quite short of it in terms of watchability and being memorable.

The idea of a prison camp with rebelling German POWs was intriguing but didn't really carry itself through the movie.

The mutual respect of the two main adversaries could have been a strong dynamic to play upon but it sort of fell apart quickly 3/4 of the way through.

The tunnel and costume prep by the Germans was clearly inspired by the Great Escape but didn't carry the same level of excitement.

The ending, though ironic, was disappointing.

Complete reworking of POW genre by simply playing its rules.
Although made in 1970, the era of 'The Wild Bunch' and 'Bonnie and Clyde', this is a startlingly traditional POW film as might have been made in Britain in the 1950s. Except for a couple of minor changes. The policier plot, like 'Night of the Generals', in which a crime-reporter turned officer tries to inflitrate the (literally) underworld activities of the enemy; the heroes the audience are generically accustomed to root for, as they try to escape prison and provoke the film out of its impasse into action, are really unpleasant, model Nazis. The film as a whole, which takes a British genre and marginalises the British, seems like an allegory for that Empire's decline, with its two main demolishers - the Germans and the Irish - superimposed. Rarely has downbeat been so exciting.

Makes "The Great Escape" Look Daft
Set in a remote Scottish internment camp for captured German officers, The McKenzie Break is an interesting spin on the WW2 prisoner of war genre. Personally, I've always felt this to be one of the most under-rated WW2 films of its era, with stirling performances by Brian Keith as the shrewd, ballsy Irish Captain sent up to investigate a series of riots in the camp, and the suitably Aryan-looking Helmut Griem as the fanatical Nazi U-Boat captain fomenting the unrest as a cover for an impending escape attempt. Good solid entertainment which contrasts the arrogance and fanaticism of the German soldiers with the bewildered ineffectuality of the British camp guards (who mostly look like they should be drawing their old age pension).

Thank god we don't have to endure Steve McQueen showing off his prowess on a motorbike in this movie!

Excellent, Realistic POW Film
A film in the tradition of The Great Escape, although this one is much better in my opinion. It's the flip side of the coin. The German's are the POW's. A must see. ... Read more