Reviews (17)

A charming movie
Jeanette MacDonald and Nelson Eddy together for the first time! "Naughty Marietta" is a charming movie for lack of pretentions. Woody Van DykeÂ's straight but careful style makes everything easy and natural, never stilted. The talented stars have their share, and a very important one, in the success of the film. This talent make us to forgive the excesses like the white wings, because beyond them there is something genuine that is never out of fashion. Eddy would never be so dashing, so attractive again, and JeanetteÂ's Marietta is as lovely as a fairy tale princess, full of joy of living, true and powerful.

"You don't cook a radish, you eat it alive!"
How I love this movie! It's just great. The first in a long line of Jeanette MacDonald and Nelson Eddy collaberations, it's easily one of the best, and my personal fave. The music is beautiful, the sets and costumes are lush, and the plot is silly fun.

MacDonald is a runaway French princess who is traveling incognito with a shipload of brides bound for N'Orleans. Eddy is the Mercenary Captain who saves her from a band of cutthroat pirates. Songs include "Neath the Southern Moon", "I'm Falling in Love with Someone", "O Sweet Mystery of Life", and "Zing Zing Zing" among others.

There are several great scenes; Eddy marching though the bayous singing "Tramp Tramp Tramp", MacDonald passing off a random drunk as her "uncle" and of course a great sequence where Jeanette unveils her heretofore hidden talent for singing to Eddy.

The sweet, lightheatered spirit of this movie makes it a great introduction to the Eddy/MacDonald cannon for newcomers. If you like this film be sure to also check out "Rosemarie" (generally considered to be their best film) and "New Moon" (containing my favorite movie line of all time: "Do I LOOK like the kind of girl who would marry a moonstruck beachcomber under a coconut tree!?"). "Naughty Marietta" is a happy little movie that is essential for old-movie buffs or anyone who likes a good romance. Highly recommended!

I wish I could rate this movie 10 stars!
Naughty Marietta, winning the Oscar for Best Sound Recording in 1935, is the crown jewel of the Eddy/MacDonald films, holding a special place in anyone's heart that has ever had the pleasure of seeing it. It is esteemed as one of the best-loved operettas of all time, and that's saying a lot about this film.
Made in 1935, and starring Hollywood's 'Singing Sweethearts', Nelson Eddy and Jeanette MacDonald put on a grand performance, rapt with romance, drama, and comical antics. No two persons could have played the part better, and with such chemistry.
Jeanette MacDonald shines in her role as the French Princess Marie who runs away incognito as her servant Marietta, to escape her arranged marriage to a Spanish duke. Passing herself off as a casquet girl, she shows herself a kind-hearted woman to the girls around her, who are on a ship bound to New Orleans to become wives to the colonists. Almost at their destination, they run into pirates and all of them are abducted. Captain Warrington (Nelson Eddy) and his mercenary scouts just happen to be in the bayou neighborhood when Marietta calls for help, and he comes to the aid of the women. It is during this part that Eddy sings one of my favorite songs, 'The Owl and the Bobcat' (I just love watching him sing!)
Of course, this being Nelson Eddy's movie-starrring debut, there are moments in the movie where he appears a bit stiff, but those moments are few and far between. The very handsome baritone pulled off his performance near to perfection. I just know the little quibbles because of some research I did. I'm now a die-hard fan of their films. It is now one of my favorite films of all time. I hope it becomes one of yours too.
Other performers in the movie: The governor of New Orleans is wonderfully played by Frank Morgan (The Wizard of Oz), who struggles with words and is constantly harangued by his wife. He's a real treat to watch in this movie. Some other comic reliefs are Warrington's two right-hand men, Abraham and Ezekiel.
Well, I won't go into every little nit-picky detail, but just this much should wet anyone's musical appetite. Naughty Marietta won't disappoint anyone who enjoys the classic musicals of the 30's. It's rich with singing and beautiful orchestrations. And let's not forget Victor Herbert's immortal love aria, 'Ah, Sweet Mystery Of Life', sung by a very teary-eyed, vivacious princess and her love-struck captain at the zenith of the movie.
It is worth the price wherever you buy/rent it. It struck a chord with me. I'm not a big musical fan, but on the other hand, I'm a chump for romance. This film keeps me satisfied in that area! Take some time out of your busy schedule, cuddle up with some popcorn (and maybe some hankies), and enjoy a monumental Eddy/MacDonald film.

This is a Great Movie!
This was my first 'old' movie and I thought that it was certianly one of the best ones I have seen. Jeanette MacDonald and Nelson Eddy make the perfect team in this film as they combine their superb talent of singing and comedy. The music in 'Naughty Marietta' is beautiful. Also, the plot is interesting and even a little bit funny.I would definatley reccomend this to anyone, either young or old.

Simply Perfect
One of the two greatest "operetta" films (MAYTIME being THE greatest) ever made. Jeanette - and the entire production - is radiant and, of course, the singing is both fun and magnificent at the same time, culminating in that most glorious moment at the Governor's ball. Simply perfect. ... Read more

Reviews (112)

AFI top 100 film, Universal's Frankenstein is#1, now on DVD!
Universal Studios made its indelible mark in Hollywood due to its famous mastering of the Horror movie. In 1931 Universals "Frankenstein" changed the film world forever. Even today it remains a very basic classic horror movie. The American Film Institute (AFI) voted it into the top 100 films in the first 100 years of film (1998).

Universal gathered the movie genius' and embarked on adapting Mary Shelly's novel to the screen. James Whale was chosen as the director and the make-up master Jack Pierce to create the giant Frankenstein Monster (played by Boris Karloff).

NOTE: The movie actually had a opening caution film introduction because of its 1931 unspeakable subject matter. People were genuinely scared, horrified but curious to see this film.

Summary: The mad Dr. Frankenstein (Colin Clive) & his hunchback Assistant Fritz (Dwight Frye) are robbing graves for bodys to construct a man to bring back to life. The Dr. still needs a brain to fullfill his inventory. Fritz steals a brain from the local medical school. Unfortunately the only one available is an abnormal one. The Dr. creates his monster being with the abnormal brain unknowingly. Through lightning storms, electrical shocks and unbelievable special effects brings the Monster to life! Now the horror is unleashed.

This is the first in Universal Studio's "Classic Monster Collection" DVD Series. This collection is the very best of their horror movies completely digitally remastered and uncensored. With lots of special features, photos and narratives. A must have DVD collection of classic Hollywood horror films.

It's Still Alive After All These Years
After repeated attempts of securing a Frankenstein, director James Whale hired a middle-aged character actor named William Henry Pratt (stage name: Boris Karloff) who had previously been limited to cameos, stand-ins, and predominantly small eccentric parts to play Frankenstein's monster. Karloff's restrictive age, massive obscurity, and absence of experience may have emerged as hindrances for this newly discovered personality. However, time and popular opinion has obliterated these fears into long lost paranoid hallucinations.

It is Boris Karloff's indisputably iconic and singularly haunting performance as the child-like brute, misunderstood and despised by all, whose only longing and desire is to be loved and cared for by others that continues to be one of cinema's timeless jewels of acting perfection, dramatic magnitude, and note-fully seamless pathos. Karloff's monster, like Anthony Perkin's Norman Bates or Robert De Norio's Travis Bickle, is one of cinema's fortunate accidents of how the exact casting of just the right perfect someone can unbelievably bolster the film. Karloff's casting as the inevitably sympathetic artificial concoction of a mad scientist with a deity complex turned out to be one of many grandiose happy accidents that has allowed this 70 year-old gothic horror film to continue to be copiously admired, internationally beloved, and enthusiastically cherished up to contemporary times.

Frankenstein retains numerous stellar elements including a magnificently captivating early sound ensemble cast including Edward Van Sloan (Doctor Waldman), Mae Clarke (Elizabeth), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), and the unforgettable Colin Clive, the archetypal mad scientist, (Henry Frankenstein), brilliantly provocative Frankenstein make-up by make-up genius Jack Pierce, manically splendid and cleverly articulated German Expressionistic sets ,that place this tale in an indescribable alternate Grimm Fairy Tale reminiscent landscape, James Whales immeasurably eloquent moral consolidation and inventively multi-faceted interpretation of Mary Shelly's tale, and forever crowned with one of cinema's most cunningly virtuoso and unredeemable bravura performances of inarticulate primal indignation and childish rage ever recorded on film by Karloff as the monster.

However due to it's age and Hollywood production values at the time, Frankenstein is not totally absent of problems: lacking of a musical score to countermarch the film's profuse talkativeness, predictably saddled with pedestrian and extremely dated comedic and romantic sub plots, and weakened by an awfully trite comedic conclusion. Despite these blemishes, Frankenstein consummately embodies the finest narrative qualities of the early Universal monster films, contains the simply greatest incarnation of Frakenstein's monster, and stubbornly remains both in ambiance and creative evocativeness the finest film version of the Mary Shelly story.

Talk about staying power!!!

As for Frankenstein's DVD format, it contains a uncannily pristine Pan and Scan
Standard presentation, intriguing Making-Of Documentary, Film Historian Rudy
Behlmer's audio commentary, original theatrical trailer, and much more.

Universally (pun intended) recommended to anyone interested in film classics,
the Universal Monster films, or films of the 1930's. Followed by James Whales
superior sequel The Bride of Frankenstein (1935).

P.S. Never Give Franky Flower Petals Near a Pond

Excellent
Being born in the 50's and enjoyin the classic Universal Horror Movies in the 60's was a great time for Horror Movies.
The Frankenstien DVD collection is excellent to say the least, especially seeing "House of Frankentstien" again, along with my other favorite, "Son of Frankenstien". It's real nice to see 5 Classic Horror Films on one DVD set. I would highly reccomend this to anyone who remembers the horror movies of the 50's and 60's, and to those who don't? go out and buy this DVD. It puts the new "slice 'em/dice 'em" movies to shame.

It's About Franken' Time!
Look, don't read this, just buy this thing before Universal realizes what they've done! They've opened their rusty old vault doors and let their most prized creations escape into open air! FRANKENSTEIN (dir.James Whale, w/ Colin Clive, Mae Clarke, Boris Karloff, Dwight Frye) is loose! His BRIDE (dir. James Whale again! w/ Colin Clive, Elsa Lanchester, Boris Karloff, Dwight Frye) too! Their hideous SON (Boris Karloff, Bela Lugosi, Basil Rathbone, Lionel Atwill) is also rampaging! If that's not enough, the GHOST OF FRANKENSTEIN (Lon Chaney jr., Bela Lugosi, Lionel Atwill, Sir Cedric Hardwicke) now walks among us as well! Yes, this collection has them all, and tosses in the HOUSE OF FRANKENSTEIN (Boris Karloff, Lon Chaney jr., John Carradine, George Zucco, Lionel Atwill) that long overgrown piece of wretched real estate! Hurry, before Universal slams those creaky doors shut once more! If you're a horror nut like yours truly, then this is a nightmare come true! Highest recommendation...

Its alive! ITS ALIVE
What a great collection. I had Frankenstein and the Bride on VHS but getting them again on DVD was great. I have all three legacy collections. The Bride is the best, Frankenstein is the second best, Son is the third, House is the fourth and Ghost is the fifth. I like all five altough its obvious Ghost and House were made for entertainment. I heard they're working on a third Mummy movie. Wonder if they'll release the original Mummy series in a legacy set? I liked the Mummy movies and Van Helsing and I have to wonder what Stephen Sommers next project could be. The Invisible Man? That would be interesting. With his seris also in a legacy set? For now I'm satisfied though (but I hope that does happen) ... Read more

Reviews (1)

Andy Hardy's Double Life
This is a really cute Andy Hardy movie. I like this one a lot! This is a really nice family movie. ... Read more

Amazon.com

It's hard to overstate just how corny and funny the Andy Hardy series of the 1930s and 1940s looks by today's standards--but that doesn't mean these films don't have a certain winning quality. It doesn't matter whether it's Mickey Rooney's winningly goofy blend of lust and innocence as a high school kid dying to make out with his girlfriend or his surprisingly touching man-to-man talks with his father, Judge Hardy (Lewis Stone). Think of this film as the precursor to "Archie" comic books, with its story of young Andy, desperate for the money to buy a car, winding up with three dates to the same formal dance. Rooney is engaging as the motor-mouthed (yet deceptively thoughtful) teen in pre-World War II, tail-end-of-the-Depression, small-town America: often in a coat and tie, always in a dandyish porkpie hat. This was the first film in this series in which Judy Garland appeared as girl-next-door Betsy Booth. --Marshall Fine ... Read more

Reviews (12)

Andy Hardy Finds......Judy Garland!
After MGM wasted Judy's talent for a few years after she was signed in 1935, and put her in a few dud pictures that didn't help her stardom one bit, they put her in this picture with Mickey Rooney, a winning combination!
When viewing this film it is interesting to note that it was filmed in omly 19 days, but then again Metro Goldwen Mayer was the "dream factory"!
Judy plays in this film Betsy Booth, a well-to-do girl who is visiting the house next door to Andy's when she meets him and is attracted to him, but he not to her. This makes for some interesting comical situations, since Andy alreay has a girlfriend!
Since this is Judy Garland, there is plenty of singing thrown in to sweeten the pot!
But I warn you, once you view this film, you will want to buy the other Andy Hardy pictures that Judy co-stars in. I would say, go ahead, as long as it's Mickey and Joots (Mickey's name for Judy) it's sure to be a winner!
In Judy's career her very next film would sign her signature into stardom, The Wizard of Oz.
Next after that was Babes in Arms. If you love Love Finds Any Hardy, you'll love Babes in Arms! It contains that winning combination of Mickey and Joots, so how could you go wroung?
You Can't!
Buy this movie if you love Mickey Rooney!

Buy this movie if you love Judy Garland!

Buy this movie if you love the chemistry they contain!

A Film You Can't Help But Love
MGM recently released five films in DVD format as a tribute to Judy Garland and one of the titles is LOVE FINDS ANDY HARDY. Though the movie was released in honor of Garland, it really is Mickey Rooney's film. He plays the loveable teenaged Andy Hardy. Young Sandy has a heart of gold but often seems to get things mixed up a bit which lead to his easily solved difficulties. His problem in this movie is one that follows him in other films: girls. He is supposed to take one girl to a dance, but she cannot go, so he agrees to take another, but then meets a third. Of course one of the girls becomes available again, and the whole situation becomes a mess. Yet in true Hollywood from, all ends happily ever after.

The film has quite a few strengths. First, it does take us back to another place and time when life's problems could easily be solved by the wisdom of Dad and a dose of common sense. Families were dedicated to one anther and communities were close-knit and wholesome. While it is not all that original a film, somehow it is not cliché. We believe that the story could happen. We like Andy Hardy who seems like everybody's nephew, son, kid brother, or next door neighbor. We know that when Judy Garland's character Betsy Booth matures a little, the two will be inseparable sweethearts. The film is a treat which allows us to see both Judy Garland and Lana Turner in early roles. Garland has a certain sweetness as Betsy Booth, Andy's next door neighbor's granddaughter. She is believable as a young innocent. While she sings a few musical numbers, this is not a musical and we see Garland's abilities as a young actress.

While the DVD release does not have as many special features as some of the other recent MGM re-releases, it doe shave an introduction to the film by Garland's biographer and also a "Christmas card" film from the cast that was probably aired with trailers in the 1930's.

Surprisingly Fresh
I'd never seen an Andy Hardy film but I'd read that they reflected L.B. Mayer's delusional vision of American, full of sanctimonious lectures about the virtues of clean, small town living. But if "Love finds Andy Hardy" is typical of the series, then this view is both harsh and narrow. Yes, this is a story about a very white, very Christian small town but there aren't many lectures and the story is simple and unpretentious which allows the actors to develop their characters. The film suggest a way of living that allows for disagreement, sibling rivalry, unrequited love but doesn't transform any of that into pathos or moral tales. Instead, scenes unfold naturally and easily with a certain sweetness that is warm and inviting not cloying and artificial. Maybe this film has worn well because in its simplicity is a portrait of a period of American culture that seems geniune and lost forever. It doesn't feel dated because the film doesn't aspire to be ahead of the times but very much of it.

Clearly this is Mickey Rooney's movie. I've never been fond of him as an actor. His mugging and frentic energy make me turn away in embarrassment. However, in this film there are many moments when his enthusiasm is more infectious than his mugging is distracting. He works well with Lewis Stone and Judy Garland. Also he conveys his internal dilemma dealing with two girls with comedy and concern. There are also many moments when he hams it up so I don't want to mislead anyone! But at least I could see why he was so popular which is something that had escaped me despite watching several of the Garland-Rooney musicals.

The reason I watched this film was to see Judy Garland and I wasn't disappointed. This film was shot shortly before, "Wizard of Oz" and she is awkward and somewhat unfocused but alas she is Judy Garland which means despite her lack of maturity, she is the best thing in the film. Her musical numbers are delightful and her predicament of being too young for Mickey is touching and sweet. Sure, she doesn't know what to do with her hands and occasionally mugs for the camera but at sixteen Judy Garland is clearly bursting with talent, promise and excitement.

False advertising!
This movie deserves 5 stars but the false advertising that it is in color was why I purchased it. I already owned it in B/W on VHS. The Amazon.com listing for this movie says FORMAT-COLOR. The only thing in color is the special feature with John Fricke and Ann Rutherford. Beware of Blandings Builds His Dream House and My Favrite Wife and Bachelor and the Bobby Soxer as when they are released on DVD, they are also being marketed as color. Check before buying. Otherwise Love Finds is a great movie with a special Christmas trailer of the Hardy Family.

Who Cares About the Plot!
In the remarks of the company critic at the top of the page he mentions the plot to be very dated. I say who cares! I saw the movie two weeks ago and remember very little of the plot but the scene of Judy Garland singing "Meet the Beat of My Heart" was seared into my memory. To mangle its lyrics a bit this performance and a hundred others Excited, Delighted and Ignited the thought that this was the greatest song and dance entertainer ever!
"It Never Rains But It Pours" is also really good. "In Between," "Awful In Between" or whatever that song is called reflects somewhat on her own personal and professional quandaries close to the time of its performance.
If you think 10 minutes of music is worth the purchase price buy the DVD. If not do not. ... Read more

Amazon.com essential video

"It's alive! Alive!" shouts Colin Clive's triumphant Dr. Frankenstein as electricity buzzes over the hulking body of a revived corpse. "In the name of God now I know what it's like to be God!" For years unheard, this line has been restored, along with the legendary scene of the childlike monster tossing a little girl into a lake, in James Whale's Frankenstein, one of the most famous and influential horror movies ever made. Coming off the tremendous success of Dracula, Universal assigned sophomore director Whale to helm an adaptation of Mary Shelley's famous novel with Bela Lugosi as the monster. When Lugosi declined the role, Whale cast the largely unknown character actor Boris Karloff and together with makeup designer Jack Pierce they created the most memorable monster in movie history: a towering, lumbering creature with sunken eyes, a flat head, and a jagged scar running down his forehead. Whale and Karloff made this mute, misunderstood brute, who has the brain of a madman (the most obvious of the many liberties taken with Shelley's story), the most pitiable freak of nature to stumble across the screen. Clive's Dr. Frankenstein is intense and twitchy and Dwight Frye set the standard for mad-scientist sidekicks as the wild-eyed hunchback assistant. Whale's later films, notably the spooky spoof The Old Dark House and the deliriously stylized sequel The Bride of Frankenstein, display a surer cinematic hand than seen here and add a subversive twist of black comedy, but given the restraints of early sound films, Whale breaks the film free from static stillness and adorns it with striking design and expressionist flourishes. --Sean Axmaker ... Read more

Reviews (112)

AFI top 100 film, Universal's Frankenstein is#1, now on DVD!
Universal Studios made its indelible mark in Hollywood due to its famous mastering of the Horror movie. In 1931 Universals "Frankenstein" changed the film world forever. Even today it remains a very basic classic horror movie. The American Film Institute (AFI) voted it into the top 100 films in the first 100 years of film (1998).

Universal gathered the movie genius' and embarked on adapting Mary Shelly's novel to the screen. James Whale was chosen as the director and the make-up master Jack Pierce to create the giant Frankenstein Monster (played by Boris Karloff).

NOTE: The movie actually had a opening caution film introduction because of its 1931 unspeakable subject matter. People were genuinely scared, horrified but curious to see this film.

Summary: The mad Dr. Frankenstein (Colin Clive) & his hunchback Assistant Fritz (Dwight Frye) are robbing graves for bodys to construct a man to bring back to life. The Dr. still needs a brain to fullfill his inventory. Fritz steals a brain from the local medical school. Unfortunately the only one available is an abnormal one. The Dr. creates his monster being with the abnormal brain unknowingly. Through lightning storms, electrical shocks and unbelievable special effects brings the Monster to life! Now the horror is unleashed.

This is the first in Universal Studio's "Classic Monster Collection" DVD Series. This collection is the very best of their horror movies completely digitally remastered and uncensored. With lots of special features, photos and narratives. A must have DVD collection of classic Hollywood horror films.

It's Still Alive After All These Years
After repeated attempts of securing a Frankenstein, director James Whale hired a middle-aged character actor named William Henry Pratt (stage name: Boris Karloff) who had previously been limited to cameos, stand-ins, and predominantly small eccentric parts to play Frankenstein's monster. Karloff's restrictive age, massive obscurity, and absence of experience may have emerged as hindrances for this newly discovered personality. However, time and popular opinion has obliterated these fears into long lost paranoid hallucinations.

It is Boris Karloff's indisputably iconic and singularly haunting performance as the child-like brute, misunderstood and despised by all, whose only longing and desire is to be loved and cared for by others that continues to be one of cinema's timeless jewels of acting perfection, dramatic magnitude, and note-fully seamless pathos. Karloff's monster, like Anthony Perkin's Norman Bates or Robert De Norio's Travis Bickle, is one of cinema's fortunate accidents of how the exact casting of just the right perfect someone can unbelievably bolster the film. Karloff's casting as the inevitably sympathetic artificial concoction of a mad scientist with a deity complex turned out to be one of many grandiose happy accidents that has allowed this 70 year-old gothic horror film to continue to be copiously admired, internationally beloved, and enthusiastically cherished up to contemporary times.

Frankenstein retains numerous stellar elements including a magnificently captivating early sound ensemble cast including Edward Van Sloan (Doctor Waldman), Mae Clarke (Elizabeth), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), and the unforgettable Colin Clive, the archetypal mad scientist, (Henry Frankenstein), brilliantly provocative Frankenstein make-up by make-up genius Jack Pierce, manically splendid and cleverly articulated German Expressionistic sets ,that place this tale in an indescribable alternate Grimm Fairy Tale reminiscent landscape, James Whales immeasurably eloquent moral consolidation and inventively multi-faceted interpretation of Mary Shelly's tale, and forever crowned with one of cinema's most cunningly virtuoso and unredeemable bravura performances of inarticulate primal indignation and childish rage ever recorded on film by Karloff as the monster.

However due to it's age and Hollywood production values at the time, Frankenstein is not totally absent of problems: lacking of a musical score to countermarch the film's profuse talkativeness, predictably saddled with pedestrian and extremely dated comedic and romantic sub plots, and weakened by an awfully trite comedic conclusion. Despite these blemishes, Frankenstein consummately embodies the finest narrative qualities of the early Universal monster films, contains the simply greatest incarnation of Frakenstein's monster, and stubbornly remains both in ambiance and creative evocativeness the finest film version of the Mary Shelly story.

Talk about staying power!!!

As for Frankenstein's DVD format, it contains a uncannily pristine Pan and Scan
Standard presentation, intriguing Making-Of Documentary, Film Historian Rudy
Behlmer's audio commentary, original theatrical trailer, and much more.

Universally (pun intended) recommended to anyone interested in film classics,
the Universal Monster films, or films of the 1930's. Followed by James Whales
superior sequel The Bride of Frankenstein (1935).

P.S. Never Give Franky Flower Petals Near a Pond

Excellent
Being born in the 50's and enjoyin the classic Universal Horror Movies in the 60's was a great time for Horror Movies.
The Frankenstien DVD collection is excellent to say the least, especially seeing "House of Frankentstien" again, along with my other favorite, "Son of Frankenstien". It's real nice to see 5 Classic Horror Films on one DVD set. I would highly reccomend this to anyone who remembers the horror movies of the 50's and 60's, and to those who don't? go out and buy this DVD. It puts the new "slice 'em/dice 'em" movies to shame.

It's About Franken' Time!
Look, don't read this, just buy this thing before Universal realizes what they've done! They've opened their rusty old vault doors and let their most prized creations escape into open air! FRANKENSTEIN (dir.James Whale, w/ Colin Clive, Mae Clarke, Boris Karloff, Dwight Frye) is loose! His BRIDE (dir. James Whale again! w/ Colin Clive, Elsa Lanchester, Boris Karloff, Dwight Frye) too! Their hideous SON (Boris Karloff, Bela Lugosi, Basil Rathbone, Lionel Atwill) is also rampaging! If that's not enough, the GHOST OF FRANKENSTEIN (Lon Chaney jr., Bela Lugosi, Lionel Atwill, Sir Cedric Hardwicke) now walks among us as well! Yes, this collection has them all, and tosses in the HOUSE OF FRANKENSTEIN (Boris Karloff, Lon Chaney jr., John Carradine, George Zucco, Lionel Atwill) that long overgrown piece of wretched real estate! Hurry, before Universal slams those creaky doors shut once more! If you're a horror nut like yours truly, then this is a nightmare come true! Highest recommendation...

Its alive! ITS ALIVE
What a great collection. I had Frankenstein and the Bride on VHS but getting them again on DVD was great. I have all three legacy collections. The Bride is the best, Frankenstein is the second best, Son is the third, House is the fourth and Ghost is the fifth. I like all five altough its obvious Ghost and House were made for entertainment. I heard they're working on a third Mummy movie. Wonder if they'll release the original Mummy series in a legacy set? I liked the Mummy movies and Van Helsing and I have to wonder what Stephen Sommers next project could be. The Invisible Man? That would be interesting. With his seris also in a legacy set? For now I'm satisfied though (but I hope that does happen) ... Read more

Reviews (2)

The best of the Andy Hardy series, thanks to Judy Garland
The beginning was when debutantes started to wear strapless evening gowns, or so Andy Hardy says as he begins to tell the story of his most recent troubles to his father. Andy Hardy Meets Debutante, the ninth film in the immensely popular Andy Hardy series, is easily my favorite of them all. Comical yet touching, entertaining yet sometimes almost uncomfortably serious, this 1940 classic has the power to make you laugh as well as cry. Judy Garland, a year after attaining superstardom in The Wizard of Oz, makes her second of three appearances in the series, and she was never more beautiful and charming as she was here. While Betsy Booth may fret about her lack of glamour, the teenaged Judy Garland was to my eyes the most beautiful young lady in Hollywood.

As usual, Andy Hardy's troubles are of his own making. After his regular girl Polly Benedict (Ann Rutherford) tells Andy she thinks they should start seeing other people, he constructs an emotional wall founded on a lie. He tells Polly and his friend Beezy that Miss Daphne Fowler, New York's top debutante, is mad about him; the only problem is that he has no way of getting to New York to be with her. As luck would have it (Andy's luck, anyway), his father Judge Hardy (Lewis Stone) soon announces that the whole family is going to New York in order for him to help settle a dispute threatening to shut down Carvel's home for orphans. Andy's supposed love affair with Miss Fowler is set for publication in the school's paper, and if Andy doesn't return with a picture of Daphne and himself to corroborate his claims, he will be ruined socially.

The Hardys are met in New York by Betsy Booth (Judy Garland), whose crush on Andy has not faded one bit since her last visit to Carvel. As always, Betsy gives Andy all the help she can, despite his refusal to tell her what it is all about. The small town boy in New York City makes some of his biggest and most embarrassing blunders yet, leaving him so distraught that he even offends his magnanimous father by asking why he couldn't be rich and socially placed instead of just a small town judge. Even a lesson in the history and spirit of America leaves Andy unmoved and his father visibly disappointed in him, although it offers a terrific and inspirational message on the equality of man. Judge Hardy has troubles of his own, though. Expecting an easy victory over a big New York law firm in the case of the orphanage, he finds himself feeling out-classed for a time and must struggle mightily to figure out a way to save the orphanage.

Betsy Booth is any young man's dream come true, although Andy Hardy has trouble noticing this obvious fact. Judy Garland contributes two wonderful songs to her entrancing performance, one of which, in the words of her character, will either bring Andy around or prove that he is made of concrete. Her dramatically expressive singing of the song Alone fails to penetrate the blinders on Andy's eyes, but her spirited singing of I'm Nobody's Baby later on finally manages to touch the heart of the boy she adores. This leads to a somewhat melancholy, incredibly tender, deeply touching scene between Betsy and Andy toward the end of the picture.

Andy Hardy Meets Debutante is one of the early Judy Garland movies than any Garland fan simply must have in his/her movie collection. Judy is stunningly beautiful and charmingly vivacious, and her two very different but equally powerful songs stand among the best of her early career. Her acting skills are almost as impressive as her singing, and it really pains me to see the very visible tears in her eyes whenever Andy fails to notice, let alone, reciprocate her love for him. The final scene between the two is a quiet and almost heartbreakingly emotional tour de force that will touch the heart of anyone who has ever loved someone. I simply adore this movie.

Judy and Mickey at top form
This is my favorite of the Andy Hardy series. Judy Garland plays Betsy Booth, the plain-Jane foil to Andy's more glamourous girl interests. Betsy, good natured friend, secretly pines for Andy while helping him connect with another girl, a NY debutante. Judy was never better, offering renditions of "Alone" a comic ballad you may recognize from "A Night at the Opera", and "Nobody's Baby" a swing number that she belts out with characteristic verve. All of Rooney's mugging can't take away from the pair's undeniable appeal, and there is something so sweet in young Judy's eager smile and wide eyes. Sit back and enjoy what our parents flocked to see when they were teens. It was a different world, and this affords you a glimpse back. ... Read more

Reviews (1)

Andy Hardy the playwright
Spring is in the air all around the town of Carvel, but for Andy Hardy (Mickey Rooney) it might as well still be winter as he and his steady Polly Benedict (Ann Rutherford) have had a falling out. Enter Rose Meredith (Helen Gilbert), a substitute drama instructor fresh out of the university whom Andy falls head over heels for from the get-go. Ms. Meredith invites the students to write their own play for the annual spring production at Carvel High. Andy seizes opportunity and composes his own version of "Romeo and Juliet" involving two star-crossed lovers - a U.S. Navy admiral and a young Tahitian woman - that is eventually chosen to be performed.

Meanwhile, Judge Hardy (Lewis Stone) takes up the offer of two land speculators who claim that a piece of property he owns is valuable for mining. Marian Hardy (Cecilia Parker) becomes a stenographer for the two men only to find out that the land deal with her father is a scam.

This clever entry (number seven) in the Hardy series was not directed by George Seitz as most of them were but rather by W.S. Van Dyke who was famous for such films as "San Francisco" and "Marie Antoinette". As a result, the finished film seems to have a smoother, more polished feel to it. Even though Helen Gilbert never achieved major stardom during her career, I find her performance in this, her first feature film, quite endearing and especially appreciate her poise and excellent diction. Ms. Gilbert is rather unusual in Hollywood history in that she was originally a cellist in the MGM studio orchestra. There is also a humorous appearance by Terry Kilburn (Tiny Tim in 1938's "A Christmas Carol") as a friend of Andy's nicknamed "Stickin' Plaster" who gets into some interesting scrapes as a stagehand for Andy's play.

All in all, "Andy Hardy Gets Spring Fever" is better than I originally expected. ... Read more

Reviews (2)

Not the best, but I loved it.
Clyde Beaty of Darkest Africa/Batmen of Africa stars in this wonderful serial. He was known as the greatest animal trainer in the world. He does battle with plenty in this. As well you see what is a little disturbing, but as well interesting and that is the fighting of a tiger and a lion. I believe this to be quite the keeper among serials and is a defintite must have for any collector. I will watch this one over and over...

Too old, Too much static
I couldnt get past the first twenty minutes. Unless you explicitly remember this as a childhood memory forget it. ... Read more

Reviews (5)

The Divine Garbo in a Complex Love Triangle in the Orient
I always feel approaching a Greta Garbo film to review it is like entering some Sacred Temple where one must show due respect and restraint.For the whole of the 1930's decade she along with Joan Crawford and Norma Shearer held the prime positions as the annointed Queens of MGM. Garbo however always seemed to have her own special niche in the pecking order and always had more popularity with European audiences than with the average American movie going public who flocked to Crawford's shop girl melodramas and Shearer's lady like portrayals in high society settings.

Fresh from her triumph in "Queen Christina", the previous year MGM legend Garbo tackled this modern dress romantic film which turned out to be her last modern themed film for quite some time. Indeed by this stage in her career Garbo was down to only making one film a year so her productions were always viewed as special events even when their stories might not have always been up to the quality of the rest of the production. "The Painted Veil", is a classic example of just this. While the story itself is fairly ordinary the same cannot be said for the lavish production with all its "A" list features, and the interesting central performance by Garbo. The story centres around an Austrian girl named Katrin who after the wedding of her only sister finds herself at a loose end and lonely for companionship. Still in the fallout from the wedding Katrin meets her father's assistant Dr. Walter Fane (Herbert Marshall), a sturdy but unexciting man who is immediately infatuated with Katrin and on a whim asks her to marry him before he returns to his position in Hong Kong. With nothing more inviting on the horizon Katrin agrees and after the wedding travels to China with Walter where she takes her place as one of the colonies bored wives who spend their days shopping and playing cards. Into this setup comes Jack Townsend (George Brent),who works for the British Embassy in Hong Kong and very quickly the two are involved in an affair. Walter discovers the truth and to punish Katrin decides to go into China's interior to help fight the cholera epidemic taking her with him in the belief that there at least no man can have her and she will be deprived of her one source of happiness. Because Jack refuses to give up his promising career which he would have to do to marry Katrin, she goes with Walter where in the midst of the crisis the two begin to see the real value in each other. As the crisis worsens Walter is nearly killed by a stab wound inflicted by an angry villager who's house Walter orders burnt to fight the epidemic. Katrin who has been tirelessly nursing the cholera sufferers then rallies to he husband's side and even the reappearance of Jack in the plague stricken area cannot tear her away from her real duty to her husband.

Based on a novel by none other than W. Somerset Maugham, the material at times is a bit thin but still makes compulsive viewing if only to see Garbo's sterling performance as the wayward woman torn between two very different men. Directed with gusto by veteran MGM director Richard Boleslawski he keeps the main action against which the story is set rolling on. As the two male leads Herbert Marshall and George Brent have their work cut out for them against Garbo but come across rather well in their very different characters. Marshall plays his usual upright character but here is injected with just an element of malice to make his playing a little less bland than usual. George Brent used to playing against powerful leading ladies like Bette Davis has just the right element of the cad in his character to breathe a bit of life into what could have been a cardboard character. Being a Garbo vehicle all the MGM expertise are evident on the screen from the superb lighting for all of Garbo's closeups courtesy of William Daniels, her stunning clothes by the legendary MGM designer Adrian, the interesting depiction of China in the last days of the Empire and the quite harrowing scenes of the cholera stricken villages all created within the confines of MGM studios.

I find Greta Garbo always a pleasure to watch on screen and she manages with her unique style to breath life into any story no matter how weak the material. Her absolute understanding of any character she is playing is always very evident and no more so than in "The Painted Veil". I enjoy the real feel of olden times China which is created in this story and find it a terrific romantic drama and to sit back and enjoy. It certainly shows one of MGM's crowning glories in a lavish production created around her where she is showcased to perfection. I recommend the exotic "The Painted Veil", to anyone interested to studying the great mystique of the legendary Greta Garbo.

Not much of a film but one of Garbo's best performances
Made between "Queen Christina" and "Anna Karenina," I would argue that Greta Garbo gives an even better performance in "The Painted Veil." Katrin (Garbo) marries Dr. Walter Fane (Herbert Marshall) and goes with him to China where his practice keeps him busy and her alone. She meets Jack Townsend (George Brent), a diplomatic attaché, and has an affair with him. Fane finds out and gives Katrin an ultimatum: he is going into the interior to fight a cholera epidemic and she must go with him unless Townsend divorces his wife and marries her. Townsend refuses to give up his career and Katrin accompanies her husband. Eventually Fane changes his mind and gives her the opportunity to leave, but Katrin stays and becomes a tireless working administering to the cholera victims. But when Fane orders a district burned to prevent the spread of the disease he is stabbed by an angry Chinese. As Katrin learns what has happened to her husband, Townsend returns. This 1934 film, directed by Richard Boleslawski, does not have much of a story, even though the script is based on a novel by W. Somerset Maugham, but this is one of Garbo's finest performances. I think this is because Katrin actually feels guilty because of what she has done. You can see in "The Painted Veil" why Garbo was such a great silent screen star. Her two best scenes have little to do with her voice, first, when she sits in terror at dinner with her husband, not knowing whether or not he has learned about her infidelity, and second, when she waits to be told if her husband has been killed or survive the thrust of the dagger.

A Classic is a classic is a classic
Where else can you watch Garbo cheat on Herbert Marshall with George Brent...and during the interum meet up with Warner Oland (Charlie Chan) in a bar??? It definietly caught my attention. I would recommend if only for the aesthetics. Check out the bar..very KONTIKI...gotta buy this one..

one of garbo's better films.
The film did badly when it was first released. After viewing it, i know the present audiences can't really rely on the history. Though the film was not Garbo's best,but it's one of the better ones.

SOULFUL MELODRAMA
Set in the mysterious Orient, Garbo is cast as an unfaithful wife who eventually mends her ways........... she's magnificent throughout this rather weak story in one stunning scene after another (Garbo alone is worth the "price of admission"). Garbo just had finished her smash hit QUEEN CHRISTINA when she went into this rather mediocre Maugham tale. The rather melodramatic story, which was adapted for the screen by John Meehan, Salka Viertel and Edith Fitzgerald, seems to hark back to Garbo's silent films as she's torn between a worthy husband and a passionate lover; its plot is curiously similar to that of WILD ORCHIDS (1928) except that China replaces Java as the exotic locale. It was rumoured offscreen that Garbo and Brent had a briefly torrid little affair; however Garbo baulked when Brent insisted on marriage! ... Read more

Reviews (1)

The play that startled the nation!
Director Clarence Brown's adaptation of the Eugene O'Neill play is a smooth telling of a somewhat slight story of youthful indiscretion in a turn-of-the-century New England town on the July 4 Independence Day.
The material is said to be unusual for O'Neill, far more sentimental than his later darker and more emotional work. In her capsule review in the 5001 Nights at the Movies, Pauline Kael compares it to Booth Tarkington's world, and also MGM's Andy Hardy series, which allowed for a musical remake in 1948 Summer Holliday, which starred Mickey Rooney who has a small part here. The tone is set by the use of the song Don't Sit Under the Apple Tree (With Anyone Else But Me), with Brown's establishment of the pre-war reactionary period convincing.
The film is subtitled A Comedy of Reflection, though the humour is small scale, on the level of school recital goofs, firecrackers, and a drunk relative at mealtime. As the boy who has graduated high school and plans to go to college, Eric Linden has a silent movie matinee look which works for his character, considered by his family as an anarchist because of his ideas of "new freedom", apparently influenced by reading such progressive works as the plays of George Bernard Shaw and Oscar Wilde's Picture of Dorian Gray. This is the millieu of people outraged by women smoking and drinking, so when Linden meets a "chorus girl" at a saloon, we hear talk of "whited sepulchres" and ruined reputation. The fact that the "chorus girl" is an older woman somehow adds to her powers of corruption.
Possibly because the narrative is so domestic, Brown has no trouble in de-emphasising the theatrical source. We're never conscious of listening to a play. However he has trouble with the acting, notably Lionel Barrymore as Linden's father, and Wallace Beery as his uncle. Although Barrymore could never be accused of subtlety, he isn't as awful as Beery, whose ham ruins the extended meal sequence where he is meant to be drunk. We are given the idea that Linden's radicalism is inherited from Beery, though Linden doesn't stoop to slipping a woman alcohol, one who has rejeted his marriage proposal because of his drinking.
It's interesting to compare this film to Vincente Minnelli's 1944 Meet Me in St Louis, which approximated the same period, and where Minnelli was congratulated for his acting ensemble. Brown achieves the same effect, 10 years earlier. ... Read more

Reviews (1)

doesnt turn out like you would expect it would
early movie with a different twist with ken wearing his black ha ... Read more

Reviews (4)

John Wayne as a (dubbed) singing cowboy from 1933
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Signing cowboy John Wayne in his first Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

John Wayne as a singing cowboy in his 1st Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Great moments for a B movie
This film offers glimpses of Wayne's greatness that would only come after he was more well known. The plot is a simple B-movie western. Local ranchers are being strong-armed by the landowner (Kincaid) who has the only water rights to Lost Creek. Facing the prospects of selling out for a dollar an acre, the ranchers write to Washington for help. Wayne shows up as "Singing Sandy Saunders", the undercover agent sent to investigate. The shootout that ensues between Wayne and Kincaid's gunman is worth the price of the film. Wayne approaches the gunman singing an old cowboy gunfighter song. The director got a really great close-up shot of Wayne approaching the gunman as he stops singing and says, "Make it fast slippery, this is your last draw." Overlook some of the hoaky B-movie acting by the supporting cast. Wayne is as great as ever. ... Read more

Reviews (4)

John Wayne as a (dubbed) singing cowboy from 1933
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Signing cowboy John Wayne in his first Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

John Wayne as a singing cowboy in his 1st Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Great moments for a B movie
This film offers glimpses of Wayne's greatness that would only come after he was more well known. The plot is a simple B-movie western. Local ranchers are being strong-armed by the landowner (Kincaid) who has the only water rights to Lost Creek. Facing the prospects of selling out for a dollar an acre, the ranchers write to Washington for help. Wayne shows up as "Singing Sandy Saunders", the undercover agent sent to investigate. The shootout that ensues between Wayne and Kincaid's gunman is worth the price of the film. Wayne approaches the gunman singing an old cowboy gunfighter song. The director got a really great close-up shot of Wayne approaching the gunman as he stops singing and says, "Make it fast slippery, this is your last draw." Overlook some of the hoaky B-movie acting by the supporting cast. Wayne is as great as ever. ... Read more

Reviews (4)

The horses are still the stars
Please realize that these b-westerns were made in the 1930's to be weekly entertainment. We didn't have TV's and the movie was king. However, times have changed. Is this movie still worth watching? Yes.

The Star Packer has one plot gimmick-a hollow tree trunk in the middle of a road in a western town. Once you accept the tree trunk, the movie is actually a decent movie. The story doe not bog down and keeps moving. A westrern has to have some good horse riding in it, and there are some good western action scenes which includes a couple of horse chase scenes. If you like this movie, you might like another early Wayne movie titled "Desert Trail."

Just click on the photo.
The 4 John Wayne films listed on this DVD are "riders of destiny,starpacker,sagebrush trail and man fom Utah".It is just his 1930s b-grade films and not really worth buying.

Wondering
Which films are included in this 2-pack?

A typical old western with a formulaic plot.
I found these movies to be extremely formulaic. The plot wasn't all that bad though and seemed to at least move. The most disappointing factor of all is that it's on DVD and the sound is terrible. You can't understand half of what they say. It sounds like they recorded off of a bad speaker that keeps popping. At one point the film even scrolls. Disappointing use of media, okay plot, excellent for camp value. ... Read more

Reviews (4)

John Wayne as a (dubbed) singing cowboy from 1933
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Signing cowboy John Wayne in his first Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

John Wayne as a singing cowboy in his 1st Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Great moments for a B movie
This film offers glimpses of Wayne's greatness that would only come after he was more well known. The plot is a simple B-movie western. Local ranchers are being strong-armed by the landowner (Kincaid) who has the only water rights to Lost Creek. Facing the prospects of selling out for a dollar an acre, the ranchers write to Washington for help. Wayne shows up as "Singing Sandy Saunders", the undercover agent sent to investigate. The shootout that ensues between Wayne and Kincaid's gunman is worth the price of the film. Wayne approaches the gunman singing an old cowboy gunfighter song. The director got a really great close-up shot of Wayne approaching the gunman as he stops singing and says, "Make it fast slippery, this is your last draw." Overlook some of the hoaky B-movie acting by the supporting cast. Wayne is as great as ever. ... Read more

Reviews (1)

doesnt turn out like you would expect it would
early movie with a different twist with ken wearing his black ha ... Read more

Reviews (4)

John Wayne as a (dubbed) singing cowboy from 1933
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but still, you have to admit it is a rather mind boggling notion, like how the title really has anything to do with the plot.

In this 1933 film Wayne stars as Singin' Sandy Saunders, who also happens to be a government agent. James Kincaid (Forrest Taylor) has taken control of the water in the area and is willing to grant water rights to other ranchers at exorbitant rates. One of those being exploited is the lovely Fay Denton (Cecilia Parker), so Sandy takes a special shine to her. Meanwhile he plans on sinking Kincaid's operation by opening up a lost river and sending the bad guy to a rather ironic but richly deserved fate. Our hero also does some pretty fancy shooting in the requisite gunfight near the end.

Wayne certainly looks uncomfortable during the singing parts of "Riders of Destiny," but there is something compelling about watching him try. One thing to remember with these Lone Star Westerns is that the one person who is also well worth watching, when you can spot him, is the famous stuntman Yakima Canutt, who plays one of Kincaid's henchmen. In this one his big stunt would be as Kincaid during the bad guy's death scene. You will also spot George Hayes, who plays Charlie Denton in the early part of his career before he was known as "Gabby."

Signing cowboy John Wayne in his first Lone Star Western
"Riders of Destiny" was the first of the many Lone Star/Monogram Westerns in which John Wayne starred in 1933-35, but it is of additional historical value because this is John Wayne as a singing cowboy. Granted, the singing is dubbed by Bill Bradbury, one of the twin sons of writer-director Robert North Bradbury (although since there is no official credit the matter remains a disputed issue), but stil