Reviews (359)

Even After So Much Time Has Gone By
Only Citizen Kane was ranked higher when the American Film Institute announced its list of "America's Greatest Movies." (The Godfather, Gone with the Wind, and Lawrence of Arabia complete the top five.) My own opinion is that AFI ranked Casablanca higher than it deserves. Nonetheless, the film remains immensely popular among critics and film historians as well as so-called movie buffs. It received an Academy Award as best film in 1943, as did Michael Curtiz for directing it. Bogart and Bergman are joined by an especially strong supporting cast (notably Greenstreet, Henreid, Lorre, Rains, and Veidt). There really isn't much to the plot but the dialogue is first-rate. (Philip Epstein, Julius Epstein, and Howard W. Koch shared an Oscar for best screenplay.) It is tempting to over-analyze this film by, for example, devoting excessive attention to American versus European sensibilities during World War II, the conflict between what Rick and Ilsa want to do with what they think they ought to do, etc.

Obviously, the war in progress outside of Rick's cafe cannot be denied although he makes every effort to insulate himself and his clientele from it. There is no shortage of social and political issues and yet, in my opinion, the significance of the film -- and its enduring appeal -- is explained by the development of the relationship between Rick and Ilsa. The final resolution is necessarily somewhat ambiguous, I think, precisely because the relationship between two people in war time faces quite different challenges, obligations, and implications than it would otherwise. Ultimately, having recently seen this film again in a special edition, accompanied by an abundance of supplementary features (e.g. Roger Ebert's commentary, Lauren Bacall's Introduction, and about ten minutes of additional scenes and out takes), I think the film now has a special symbolic significance which could not have been evident when it was released in 1942. More specifically, it somehow dramatizes what so many of us also struggle with when seeking a balance of obligations to ourselves and to others as well as to certain values which sustain the human race, especially during crises which threaten its survival. Perhaps I make too much of this film but these are among the reasons why it continues to hold special meaning for me.

Rounding Up the Usual Suspects
(To the reader: This review is about the original MGM DVD release and NOT about the 2-disc edition just released.)

Casablanca!

The very name conjures up an exotic mix of adventure, intrigue, heroism, selfless sacrifice, and romance. Hear the title of this 1942 Best Picture winner and your memory will provide you with images of Humphrey Bogart, Ingrid Bergman, Paul Henreid, Dooley Wilson, Peter Lorre, and Claude Rains. Or maybe you'll hear snatches of Max Steiner's unforgettable score, with its interpolation of Herman Hupfeld's "As Time Goes By" and the stirring strains of "The Marsellaise."

Based on the stage play "Everybody Comes to Rick's" by Murray Burnett and Joan Allison, the movie tells a dramatic story of refugees fleeing from wartorn Europe and making a perilous trip to Casablanca in French Morocco. It is December 1941 and that French colony is under the control of "unoccupied France." Ostensibly neutral in World War II, Vichy France is nevertheless a German vassal state, as the arrival of Major Strasser (Conrad Veldt) clearly demonstrates.

Strasser's mission in Casablanca: to stop Czech underground leader Victor Laszlo (Henreid) from obtaining one of two exit visas stolen from two murdered German couriers and escaping from the Gestapo. Having tracked the defiant Laszlo after his escape from a Nazi concentration camp, Strasser is determined to capture the symbol of anti-Nazi resistance once and for all.

Accompanying Laszlo is the beautiful Ilsa Lund (Bergman), a young Norweigan student whom he married in secret before he was captured by the Gestapo in 1940. Devoted to her husband and his great cause, Ilsa has been at his side since Laszlo's miraculous escape and sudden reappearance in Paris.

Unbeknownst to Laszlo, however, his fate will now rest in the hands of American saloonkeeper Rick Blaine (Bogart). In the months following Victor's escape from the concentration camp he was reported as "presumed dead." In loneliness and despair, the grieving Ilsa met and fell in love with Rick in Paris shortly before the German occupation began. For a brief time the lovers were together, only to tragically part ways when news of Laszlo's return reached Ilsa.

Now, in the eve of America's entry into World War II, Victor Laszlo's fate hangs on the conflicting emotions felt by both Rick and Ilsa, as well as the shifting loyalties of French police Capt. Louis Renault (Rains).

The screenplay by Julius J. and Philip G. Epstein and Howard Koch is a wonderful mixture of romance, intrigue, drama and comedy (the latter provided both by colorful characters and witty exchanges). Director Michael Curtiz and producer Hal B. Wallis made Casablanca as one of many movies produced in 1942, never knowing that it would become a classic of Hollywood's Golden Era.

"As Time Goes By" This Is The Best Film You'll Ever See
From the first frame of "Casablanca" you know you are about to watch something special. There is not a moment in the film where you will find yourself bored or overwhelmed. It is perfect in every way. I have seen many films in my time and I am only 17. I have an extensive collection of over 180 DVDs and this is by far my most prized. I saw this film for the first time exactly one year ago and purchased this Two-Disc Special Edition the day it came out. Not a day goes by when this film does not pop into my mind.

There are many movies but very few great films. The few include Gone With the Wind, Wizard of Oz, Lawrence of Arabia, Schindler's List, The Godfather, and, of course, the rarely seen Imitation of Life. This is at the head of those. It is at the head of all films.

"Casablanca" is about Rick (Humphrey Bogart), the owner of an American bar in Morroco, who is visited by Ilsa (Ingrid Bergman), the object of a love affair in Paris a few years earlier. She is accompanied by her husband (Paul Heinreid) who knows nothing of this but is only interested in acheiving two exit visas because they are both wanted. What follows is the most romantic and thrilling film of all time.

The DVD transfer is nothing short of miraculous. The film looks like it had been filmed today in B & W. Even the mono soundtrack sounds breathtaking. The DVD does not shy away from some amazing special features. I don't want to spoil them but anyone will find them interesting. I promise you this is one of the finest DVD packages on the market.

So go out now and buy the film that recieved three Academy Awards for Best Picture, Best Director, and Best Screenplay; the film that was called the Second Greatest Film of All Time on the AFI's 100 Best List (it's second to Citizen Kane); and also called the Most Romantic Film of All Time by the AFI's 100 Most Romantic Films.

"Play it again, Sam."

Best Gin Joint in the world!
Simply the best movie ever made.
Bogie at his best, Bergman as always splendid! Add in a wonderful supporting cast headed by Peter Lorre, and the result is the perfect bittersweet love story. A must have for any Bogart fan, and a must see for everyone!

Black & White For A Reason
Ah, kids today. "Man, it's crap if there's no color to assist my info-ladened cranium!" Get a life. It's "Casablanca", for God's sake. It NEEDS to stay in B&W format. And, might I say, this film is a cult classic for more reasons than just minimalist acting. Dialogue: Heard of it, kids? It's what actors used to do instead of blowing (...)up or flying through the air in front of a blue screen. I love my DVD of "Casablanca", and cherish the fact that I don't have to rewind a tape to get to some of my favorite quotes. ... Read more

Amazon.com

This 1943 version of thehorror story is more Technicolor musical than scare piece. Claude Rains plays the unfortunate, masked anti-hero, but he doesn't get the room to showcase a promising and sympathetic performance. Susanna Foster and Nelson Eddy, on the other hand, get plenty of screen time to warble. Well worth a visit just for the look of the film, which won an Oscar for cinematography.--Tom Keogh ... Read more

Reviews (44)

A cute but not particularly deep little flick
I wanted to see this because it had Claude Rains mostly, but also because I wanted to see Nelson Eddy as a person after hearing him in the Disney short "The Whale Who Wanted to Sing at the Met". Besides, I've been a fan of the book by Gaston LeRoux and the musical by Andrew Lloyd Webber for some time, have seen the silent movie version of this story, and wanted to chalk up another credit to my Phantom experience.

Overall, this wasn't a bad little movie - I felt that the fact that it was in colour rather detracted from the sombre, ominous mood this kind of tale needs - it should really be sort of Victorian film-noir, shot in black and white. But then, I felt that they really changed the story so much in this film version that it can only be looked on as a story independent of the book which was its inspiration, and so for that reason the colour is okay. I also felt that Claude Rains' character seemed as though it was going to be a main character at the beginning of the film, but then he seemed to disappear from the film for much of the rest of it. Also, the progression of his adoration complex for Christine was sadly overlooked throughout the film, and we are to understand his descent into bitterness toward mankind from the few scattered minutes of screen time that he has?

Although the rival banter between Raoul and Anatole was very amusing, it seems a little out of place in a story of such tragic dimensions, and draws one's focus completely away from the relationship between Christine and the Phantom of the film's title, which really is the core of the entire book and should be the same or similar in the movie. As another example of distraction - I like hearing Nelson Eddy sing, but at least two of the operatic numbers could have been shortened to make room for some more character development and depth in Erik and Christine's relationship.

I felt that the silent version of the film not only followed the plot of the book more accurately, but that the emotions and experiences of the characters were ones easier to "jump into", even despite the common (for a silent) over-acting of its players - but at the same time, this 1943 version was easier to watch. It's not as long or nervewracking. Still, I would recommend you to do it all - read the book, watch both films, and listen to the original London cast recording of the musical if you can't go and see it. Each one of these things will enhance your appreciation and enjoyment of the story in some way or another.

A Beautiful Film
I saw the 1943 version of "The Phantom of the Opera" before I read the book and (last) saw the 1925 version. I have to admit that it was not like the book at all, but the Lon Chaney version was a little. Claude Rains was very convincing as the tormented and lovesick Phantom, and was always more interesting than Lon Chaney. But Claude Rains was not given very much screen time, except near the beginning and end of the film. The sets were fabulous. Nelson Eddy and Edgar Barrier were almost constantly trying to win over Christine, and even though these scenes were funny, I've noticed that they can very easily become distractions that seem designed only to de-emphasize Claude Rains, which only hurts the film. Susanna Foster and Nelson Eddy sang a lot, and while these numbers were very nice and a joy to listen to, they were the only time Nelson Eddy really got a chance to shine, which is unfortunate. However, Susanna Foster fared well throughout the entire film. I would not recommend this film to anyone who doesn't like opera, or to anyone who wants to see a lot of the Phantom.

Horror fans will be disappointed
This film is more about the opera and the courting of an opera singer by two suitors than a deranged murderer running amok in the hidden chambers of the Paris Opera House. A great deal of screen time is devoted to the pursuit of the lovely Mademoiselle Dubois by a baritone and a Paris detective as both men are comically inept in trying to win the woman's favors. Claude Rains' phantom is a poignant figure, his madness notwithstanding, and he also has designs on the opera star and spirits her away to the catacombs under the building to possess her forever and have her sing the concerto he composed especially for her. The lush color and sets give the production a professional and polished look but the movie lacks suspense and thrills and is strictly for aficionados of the opera.

Pretty Good
Not my favorite interpretation of Phantom, but still good. Susanna Foster kind of bugs me, but that's okay. And they really changed the story. It's not at all like the origional novel, but it's about Phantom, and that's a good enough excuse for me! Anyways, it was pretty nice. The Raoul character was most realistic. I just don't like Susanna. :)

The Phantom Goes Musical
Gaston Leroux's penny-dreadful novel was hardly the stuff of great literature, but it did manage to tap into the public consciousness with its gas-light-gothic tale of a beautiful singer menaced by a horrific yet seductive serial killer lurking in the forgotten basement labyrinths of the Paris Opera. Lon Chaney's silent classic kept the basic elements of the novel intact'-and proved one of the great box office hits of its day, a fact that prompted Universal Studios to contemplate a remake throughout most of the 1930s. Although several proposals were considered (including one intended to feature Deanna Durbin, who despised the idea and derailed the project with a flat refusal), it wasn't until 1943 that a remake reached the screen. And when it did, it was an eye-popping Technicolor extravaganza, all talking, all singing, and dancing. The Phantom had gone musical.

In many respects this version of PHANTOM anticipates the popular Andrew Lloyd Webber stage musical, for whereas the Chaney version presented the Phantom as a truly sinister entity, this adaptation presents the character as one more sinned against than sinning'an idea that would color almost every later adaptation, and Webber's most particularly so. But it also shifts the focus of the story away from the title character, who is here really more of a supporting character than anything else. The focus is on Paris Opera star Christine Dae, here played by Susanna Foster. In this version Christine is not only adored by the Phantom; she is also romantically pursued by two suitors who put aside their differences to protect her.

Directed by Universal workhorse Arthur Lubin, this version is truly eye-popping in the way that only a 1940s Technicolor spectacular could be: the color is intensely brilliant, and Lubin makes the most of it by focusing most of his camera-time on the stage of the Paris Opera itself and splashing one operatic performance after another throughout the film. But in terms of actual story interest, the film is only so-so. Susanna Foster had a great singing voice, but she did not have a memorable screen presence, and while the supporting cast (which includes Nelson Eddy, Edgar Barrier, Leo Carrillo, and Jane Farrar) is solid enough they lack excitement. And the pace of the film often seems a bit slow, sometimes to the point of clunkiness.

The saving grace of the film'-in addition to the aforementioned photography, which won an Oscar-'is Claude Rains. A great artist, Rains did not make the mistake of copying Chaney, and although the script robs the Phantom of his most fearsome aspects, Rains fills the role with subtle menace that is wonderful to behold, completely transcending the film's slow pace, the lackluster script, and "sanitized for your protection" tone so typical of Universal Studios in the 1940s.

Like most "Universal Horror" DVD packages, this one is superior. The centerpiece of the bonus material is a very nice documentary, "The Opera Ghost: A Phantom Unmasked," which details the origins of the novel and the numerous film adaptations of it'and which is actually quite a bit more interesting than the 1943 film itself. There is also a nice, if somewhat perfunctory, audio commentary track by historian Scott McQueen, trailers, stills, and the like. But when everything is said and done, it's the film that counts'and unless you're a diehard Phantom fan you're likely to be unimpressed. ... Read more

Reviews (103)

beautifully restored film with lots of dvd bonus features
It doesn't get much better than this -- a Hitchcock film starring Ingrid Bergman, Cary Grant and Claude Raines! What a treat it is to see all of this talent -- behind, and in front of, the camera. The story of a star-crossed romance set against the backdrop of post-WWII Miami and Rio, the film has a great script and terrific acting. The direction is awesome; Hitchcock did some wonderful camera work here -- innovative tracking and crane shots that are a delight to see.

This Criterion Collection DVD edition is more expensive but I think it's worth it -- a lot of time and effort have been taken to restore the film and the soundtrack, and it really looks and sounds great. Also, the many bonus features are excellent: excerpts from 'The Song of the Dragon', a two-part Saturday Evening Post short story on which the film was based; fascinating production correspondence by David O. Selznick, Ingrid Bergman, J. Edgar Hoover and the head of the Production Code Administration (censors); rear projection and production stills, including wonderful shots of the scaffolding used to get that breathtaking crane shot from a stairtop balcony right down to the key in Bergman's hand; script excerpts from deleted scenes and alternative endings; a music and sound effects only track; trailers; the complete 1948 Lux radio Theatre version of the story, starring Ingrid Bergman and Joseph Cotten; terrific voiceover narration with film scholar Marian Keene discussing artistic choices and film historian Rudy Behlmer discussing technique; and a touching story about the fate of the Unica key -- the one used in the film. Language and subtitles are English only.

This is a wonderful package for one of Hitchcock's best films. Highly recommended.

Beautifully Restored Film Classic
This review refers to the Criterion Collection DVD of Alfred Hitchcock's "Notorious".....

The master of suspense, Alfred Hitchcock, gives us another edge of your seat thriller. He combines, mystery,romance, and the evil's of Nazism in this chilling story.It takes place shortly after WWII. Alicia(Ingrid Bergman) is a woman with a past. Her father has just been convicted of spying. American agent Devlin(Cary Grant), enlists Alicia to infiltrate a Nazi spy ring.After her father's conviction, Alicia can prove her own patriotism by cooperating in this manner. She finds herself right in the thick of things and her own life in danger after she goes as far as to marry Alex(Claude Rains), one of the very powerful, rich and dangerous ring leaders of the group. Alex is on to her and tries to methodically get rid of his beautiful wife.Can the handsome "Dev" rescue the woman he has come to love so much before tragedy strikes.?

You'll delight to find Hitch's trademarks all through the film. The camera angles are definitive,the trademark staircase scene, the passion between Grant and Bergman electrifying,Claude Rains is terrifying, and the story a rollercoaster of suspense filled moments. There isn't a more perfect film I can think of.

Looking for Hitch: A little over an hour in you can have a little drink with him.(Not too much though, the Champagne needs to last the night at this party).

I am always happy to report on a great restoration of a classic film. This one made in 1946 is a beautiful, crisp, clean transfer to this DVD. The Black and White images are sharp and you will notice the attention that was made to every detail during the filming. The tears streaming down Ingrid's face look like drops of crystal. It's amazing. The sound is in Dolby Dig Mono and is very good. There are lots of "extras" on this edition. Among them is some great commentary from Marian Keane(she is a film scholar and talks alot about camera angles and other pertinent facts to the film) which you can listen to during the film if you choose, You can isolate that wonderful soundtrack,there is correspondce between Selznick and others connected to the film,TWO booklets, one about Hitch's Notorious and other films and another listing Criterions releases. And there is much more(see tech info for complete list).There are also subtitles which may be helpful to hearing impaired viewers.

You do get your money's worth on this one. However, if you are not as interested in the extras and are just looking to view this fabulous classic, there is another edition by Anchor Bay which costs much less. Although I have not viewed this particular Anchor Bay Release I do have many others by them and have always been more than happy with their treatment of the transfer.

Kick back with Cary, Ingrid and Hitch for a day of suspense and romance..........Laurie

Criterion Disappoints.
This is the first Criterion DVD that I've ever owned. I must say, I was pretty surprised by the price, but promises of extra treatment over standard editions of this movie convinced me to go the extra mile and pay twice as much. Notorious is, perhaps, my favorite movie with Cary Grant. Bergman's performance is excellent, to say the least (I think I'm in love with her now). The way that she passionately kisses Mr. Grant excites like no movies can. The look in her eyes makes her seem as though she is truly in love with him; which is exceptional for "acting". Grant's response seem almost insensitive, rejecting her for her "ways". It's very convincing work. The connection between the two characters amazes me, and the movie seems way ahead of its time. Claude Raines plays an overlooked (but perhaps the most important) performance that amazes me as well. Its definately a movie for all fans of classics to own. There's no doubt, in my mind, that this is deserving of 5 stars. It's probably one of my favorite classic films.

I have no regrets with buying this movie, but I feel very let-down by Criterion. Their attempts do not justify the jacked-up cost. The extras, at best, are pretty disappointing. The RKO radio broadcast (which is the best inclusion) is fairly sub-par in comparison to the film, especially since it was cut short to fit into 60 minutes. The "deleted scenes" and extras are merely text descriptions in most cases. All of this is material that has been in the Internet fan sites for years. As for the quality of the film; I'm neither impressed nor disappointed. The crispness of the film is certainly excpetional, but it almost feels a bit unnatural for such an old film. The "graininess" that many complain of is visable on a high-res TV or monitor (I watched on my standard TV and my PC as well), but it seems to be inherent in the film master itself. Dust particles and artifacts are pretty typical on older movies. Not bad, but not breathtaking. I'm happy with the video and audio quality.

Overall, it's a 5-star movie, but Criterion's effort is a 3 or 4 star attempt for the severe price-inflation. Unless you really must have this version, I can't see why the Anchor Bay release wouldn't be a suitable alternative. The picture quality is different, but each is nice in its own way. I will probably own both (in addition to possible future releases).

Neglected Classic
When I say neglected, I mean in comparison to other Hitchcock films. When people talk about Hitchcock, rarely does this film get mentioned. I think it stands alongside Sir Alfred's best work. Right up there w/ Rear Window, Vertigo and North By Northwest. Spectacular performances by Grant (a CIA g-man doing his job), Bergman ( a woman trapped by her past), Rains (a craven, cowardly, weak mama's boy) and Konstantin (an Austrian actress in her final film role playing the evil and sceming mother). Very realistic, conflicted and not particularly sympthetic characters. Hitchcock displays a perfect knack for creeping dread and a perfect final touch.

Shows How Much Love Hurts
I've always liked Notorious, but, until recently, it hasn't been one of my absolute favorite Hitchcock films. However, recently I've gained an appreciation for Alfred Hitchcock's more personal films. Lighter, more humorous films like The 39 Steps, The Lady Vanishes, Strangers on a Train, Rear Window, North By Northwest, Psycho (Hitch called this a black comedy), The Birds and Frenzy, to name a few, are masterpieces and rank among my favorite films of all time. But the films I have gained much more appreciation for in the past few years are those like Shadow of a Doubt, Vertigo and Notorious. Shadow of a Doubt showed that monsters can live among us, even in the most innocuous of settings and may even be someone we care about. Vertigo showed obsessive love taken to the extreme with deadly consequences. And Notorious shows just how hard it can be for someone to express love for another.

Like in many of Hitchcock's films, the central point of the story is masked by a plotline of suspense and intrigue. In this case, Alicia Huberman (Ingrid Bergman) must marry Alexander Sebastian (Claude Rains), an ex-Nazi in exile in Brazil, in order to infiltrate his organization. With the help of U.S. agent Devlin (Cary Grant), she finds out that Sebastian is stockpiling uranium (the MacGuffin). On the surface, it's a straightforward espionage tale.

However, the film, at its very core, is a tale of frustrated love. Specifically, Devlin can't bring himself to express what he feels for Alicia and must watch helplessly while she marries Sebastian. Devlin knows that he would jeopardize the entire mission if he tells Alicia he loves her and this repression begins to eat him up inside. Even at the beginning of the film when Alicia has fallen deeply in love with Devlin and tell him so, he can't bring himself to return that love, even though he feels just as she does. Cary Grant, usually charming, plays one of his darkest roles brilliantly. He shows his longing for Alicia in every expression on his face. Ingrid Bergman, likewise, shows the frustration of having to marry a man she despises while pining for the affections of the man she truly loves -- a man she thinks doesn't love her. The emotions onscreen are sometimes so raw its almost painful to watch. When Devlin finally tells Alicia how he really feels about her at the climax of the film, the scene ranks as one of the most emotional in screen history.

The movies often make it seem so easy to find true love. In Notorious, however, Alfred Hitchcock shows how painful and just how difficult it is to just say, "I love you" to someone you care about. Everyone has had situations where they were too afraid to tell someone they cared about that they loved him/her and have wondered what would have happened had they done so. It's agonizing to think that you may have missed your chance for happiness with someone who loves you as much as you love them. Alfred Hitchcock brilliantly recognizes those feelings in Notorious -- that's what makes this one of his best. ... Read more

Reviews (140)

The BEST action/adventure film ever made.
Errol Flynn at his best...swashbuckling at its best...action and adventure galore. This film is simply the best of the genre. The casting is perfect, from Flynn in the best role of his career, to Herbert Mundin as Much the Miller's son. The 3-strip color photography remains as vibrant today as when it was released 61 years ago. The dialogue between Flynn and Oliva de Havilland, between Flynn and Basil Rathbone, between Flynn and Claude Rains, is always lively, always fun. And Miss de Havilland's costumes are absolutely gorgeous, as is she.

The film moves, never stops, and you are never bored. If you watch this movie alongside Kevin Costner's ill-advised Robin Hood, Prince of Thieves, you realize why one should never try to improve on perfection.

As the New York Times said in its original review in 1938, this film entertains everyone from 8 to 80. No argument here!

The Greatest Robin Hood ,Flynn now a fantastic WB DVD set!
Warner Brothers (WB) Studios has begun meticulously digitally restoring its action classics of the 1930's & 40's under the "Two Disc Special Edition" Series. This 1938 TECHNICOLOR (awesome) film "The Adventures of Robin Hood" starring Errol Flynn, Olivia deHavilland, Basil Rathbone & Claude Rains is still the best rendition of this fictionalized English tale.

Warner Brothers has given us with this 2 Disc set the complete movie theatre experience circa 1938. DISC 1 - First we get a complete "Night at the Movies" program. Introduction by film critic Leonard Maltin explaining for your 10 cent investment what you got in a 1938 movie house. Next the entire continous show with; coming attraction, news reel, Bugs Bunny Cartoon, short subject feature and then the main feature, "The Adventures of Robin Hood". This is a totally ingenius idea!!! Also on Disc 1 - you have 12 Errol Flynn movie trailers and finally an indepth feature commentary by film historian Rudy Belhmer.

Disc 2 - Includes 3 hours of everything about Robin Hood, the movie, the stars, documentaries, cartoons, and a most informative documentary about TECHNICOLOR and why even today it still was the best color process ever.

I love this fun filled DVD set. My hat is off to Warner Brothers for their dedication to the golden age of Hollywood and bring back the grandest of movies for us to see again & again better than their original release. Enjoy.

great movie ....second DVD is amaaazing!
This is more a review of the package than the movie , which is a classic and extremely well presented on disc one....vivid colors , crisp images....not a complaint there....and the bonus features are very good....a comprehensive set of Errol Flynn movie trailers...WB night at the movies....(an exhausting Rudy Belmer commentary track that will have you gasping for air).
the SECOND disc is just ridiculous in its amount of archival coverage..
a wonderful documentary on the movie
a great feature on the history of Technicolor....
two very fun looney tunes cartoons with a Robin Hood theme...
outtakes from the movie!
home movies shot during filming!
a long lost Errol Flynn movie about yachting..
and a positively thrilling short film about archer Howard Hill...
and more.
HOURS of fun and informative viewing on disc two alone!
Warners should be congratulated for such a comprehensive set ....buy this and encourage them to keep this type of content coming!!!

Errol Flynn: Truly The Sheerwood Forest outlaw
One of the Greatest action/adventure films of the 20th century. The epic swashbuckling adventure of one of history's greatest heroes.the dashing Errol Flynn as Robin Hood or as they also call him "Sir Robin of Locksley" was perfect. He was what a swashbuckler should be and probably the greatest of all swashbucklers. Basil Rathbone and Claude Rains were brilliant as Robin's foes, Sir Guy and Prince John. Oliva DeHavilland was glamorous as the love of Robin Hood, Maid Marian. My Favorite scene was Robin and Sir Guy's sword fight during King Richard's return. Flynn and Rathbone two of cinema's sword fighting experts. I love the sound of sword clangling. If your looking for a classic film or a swashbuckler film, this is a great one. Because this a film that created Pirates of the Carribean, "Long Live King Richard."

The Kids Loved It!
This was one that our boys (ages 7 and 10) watched with their grandfather, who caught it in the theatres when it first came out. It's hard to say who enjoyed it more! A fun, spirited and utterly charming film, this one has aged beautifully. Everyone loved the bonus features, too. The DVD transfer is exceptional. Add some popcorn, and you've got a wonderful mulitgenerational hit that will enchant the whole family. ... Read more

Amazon.com essential video

There's no getting around a simple, basic truth: watching Lawrence of Arabia in any home-video format represents a compromise. There's no better way to appreciate this epic biographical adventure than to see it projected in 70 millimeter onto a huge theater screen. That caveat aside, David Lean's masterful "desert classic" is still enjoyable on the small screen, especially if viewed in widescreen format. (If your only option is to view a "pan & scan" version, it's best not to bother; this is a film for which the widescreen format is utterly mandatory.) Peter O'Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It's a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. --Jeff Shannon ... Read more

Reviews (278)

DVD the best looking version yet
Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.

The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.

The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

Arabian Winner
Lawrence Of Arabia is one of the biggest and grandest films ever made. Director David Lean crafted a stunning epic that tells the tale of World War I British soldier T.E. Lawrence. Lawrence joined the various desert tribes of Arabia against the Turks and the desert battle scenes are breathtaking. Peter O'Toole is amazing as Lawrence in what would be a star-making turn for him. Omar Shariff, Anthony Quinn and Alec Guinness provide strong support, but this is Mr. Lean's film through and through. His direction provides sweeping shots of the desert vistas and gives the film its big look, but he also allows the story to flow and we really get inside the complicated head of Lawrence and see his psychological foibles. The film is beautifully transferred to DVD and it brings justice to the film that had previously suffered on video transfers. The movie was a major success as it swept through the 1962 Oscars winning Best Picture and Best Director, but Mr. O'Toole lost out on what would be the first of his of his seven unsuccessful Best Actor nominations.

Conservatives support slavery? This movie makes the case
Hi. My name is Steven Thulen. You might know me from such reviews as "Bowling For Columbine" and "My Life." I am here today to talk to you about "Lawrence of Arabia." While this may shock and astonish you, I will offer a long-winded review without actually discussing this film.

I am that good.

First, a history lesson. In the year 1492 Columbus sailed the ocean blue. He landed in Haiti and raped the native there, then enslaved them. Later, many Africans were captured and made slaves by white people. White people continued to terrorize other races throughout the latter half of the 19th Century.

Finally, World War I took place. During that war, many people died, including white people. Some people who were too cowardly to serve in the world fled to California, where they became subpar sports writers. Later, World War II took place. In that war, white people dropped atomic bombs on Asians.

Peter O'Toole was probably gay and acted really well in this movie.

STEVEN THULEN
AUTHOR OF "JIMMY KEY: BASEBALL'S BATMAN"
(...)

The Greatest Historical Epic Ever
LAWRENCE OF ARABIA is, without a doubt, the greatest historical epic ever filmed and the crowning achievement of David Lean's career. It's also the film that makes best use of the majestic desert landscape with shots of extraordinary rock formations, dunes, shimmering "mirages," and caravans making their way across seemingly endless sands.

LAWRENCE OF ARABIA tells the story of T.E. Lawrence and his adventures in the Middle East during World War I as he led the Arab revolt against the Turks. It is loosely based on Lawrence's book, THE SEVEN PILLARS OF WISDOM.

Even though there are battle scenes in LAWRENCE OF ARABIA, this film is, first and foremost, a character study of Lawrence who was, by anyone's account, a fascinating figure. Even the battle scenes serve to enhance the character of Lawrence rather than detailing the horrors of war and we see Lawrence's dark, embittered side as well as his heroic one.

Although Peter O'Toole wasn't David Lean's first choice to play Lawrence (both Marlon Brando and Albert Finney were offered the part), I can't imagine anyone else in the title role.

Omar Sharif is impressive as Sherif Ali Ibn El Kharish. Prior to this film, he was a virtual unknown, but LAWRENCE OF ARABIA launched Sharif on a long career that made him instantly recognizable the world over.

Even though O'Toole and Sharif weren't well-known when they starred in LAWRENCE OF ARABIA, the film's supporting case is certainly stellar: Alec Guiness, Anthony Quinn, Jose Ferrer and Claude Raines.

Although I think LAWRENCE OF ARABIA is best viewed on a large theatrical screen, this doesn't mean anyone should pass up the DVD. It's just too good for that, especially the Director's Cut (but do make sure you get the widescreen edition; this film demands it).

Don't watch LAWRENCE OF ARABIA expecting to get a history lesson. Watch it to learn more about the fascinating man who was T.E.Lawrence. If you do, I can't see any way you'll be disappointed.

Read the book, then watch again in awe.
I have seen this masterpiece many many times, but only after reading T.E. Lawrence's book "The Seven Pillars of Wisdom" this year do I now begin to understand. This movie is a product of two of the century's greatest minds, one an author and soldier, the other a film maker. The power of Lawrence's descriptions of the desert matches the great cinematography. No film could fully project the power of the inner thoughts of this most introspective man; for that you absolutely need the book to fill in the gaps. Many of the scenes take on a much deeper meaning once you have read the book in detail. The Columbia Tri-Star two-DVD edition is faultless, something I will always treasure. I find it hard to believe that someday a better movie could possibly be made, but we can hope against hope. ... Read more

Reviews (14)

Secrets Behind A Small Town
King's Row starts off with a view of a sign that announces that the town of King's Row is a great place to live and have a family. The rest of the movie shows you just how untrue that sign was. The film turns the romantic view of life in a small town upside down, exposing a lot of vices and prejudices. The performances are a mixed bag. Ann Sheridan gives one of her best performances as the girl from the wrong side of the tracks (literally), and Ronald Reagan surprises with an effective job as the victim of a sadistic doctor. But Robert Cummings is sometimes laughable as the very idealistic young doctor and Betty Field is over the top as his troubled girlfriend. The supporting cast is generally fine, with an especially fine performance by Nancy Coleman, who should have become a star but didn't. The movie is both dramatic and entertaining, and if you like stories about small towns like I do, then don't miss this one. It's an eye-opener!

A grim soap opera with Ronald Reagan's finest performance
"Kings Row" is the most distinguished film of Ronald Reagan's actor career, for which he drew his best reviews. However, by the time it was released in 1942, Reagan was in the Army and his film career had received a fateful interruption that would eventually lead to his shifting to a political career. I remember that when Breshnev was preparing to meet with President Reagan the Soviet leader screened several of Reagan's films, and "King's Row" was the one that impressed him. If you have already seen this film, directed by Sam Wood, you know why.

The film focuses on five childhood friends who grow up to complicated lives. Parris Mitchell (Robert Cummings) has become a medical student, studying privately with Dr. Alexander Tower (Claude Rains), whose daughter Cassandra (Betty Field) is a sheltered neurotic. Louise Gordon (Nancy Coleman) has been raised by harsh parents who warn here away from playboy Drake McHugh (Reagan), who is living off an inheritance. Drake ends up falling for Randy Monoghan (Ann Sheridan), the former tomboy who has grown up in to a most practical working class girl. Things then get very dark. First, when Dr. Tower discovers Cassandra is pregnant he kills her and himself. Then, after losing his fortune and taking a job at the railroad yard, Drake is injured and Dr. Gordon (Charles Coburn) decides to amputate the young man's legs as a punishment for his former hedonism. This is what leads to Reagan's unforgettable scene when he wakes up and discovers what has been done to him. The scene could have become ludicrous, but Reagan pulls it off and it is clearly his finest moment as an actor.

"Kings Row" is based on the novel by Henry Bellamann, which is a massive story of sadism and thwarted love in what was clearly the "Payton Place" of its day, set in a quiet Midwestern town at the turn of the (last) century. A lot of the novel's elements, such as incest, homosexuality and euthanasia were never going to make it into the film forcing screenwriter Casey Robinson to salvage what he could (e.g., turning the incest between Dr. Tower and his daughter Cassandra into a question of insanity). Robinson also gave the movie a "happier" ending (originally, Drake McHugh dies of cancer after his legs are unnecessarily amputated). Even more radical was the casting, since few in Hollywood were comfortable with Sheridan, Cummings and Reagan having the three lead roles. However, all of them perform admirably, as does Field and the supporting cast of veteran character actors.

Reagan would go on to entitle his autobiography "Where's the Rest of Me?" after the famous line he screams when he awakens to discover his legs are gone. He often told the story about what it was like to film the scene, his worried preparation for him to find the moment in him as an actor and director Wood waiting for Reagan to give the go ahead. For his parent, Reagan always credited Ann Sheridan, who was not supposed to be in the scene. But when he suddenly started calling for Randy she rushed into the room in character and Reagan delivered a powerful scene.

"King" Size Entertainment
I am not a fan of Ronald Reagan on any level, but the one movie I've always heard talk about when discussing Reagan as an actor has been "Kings Row" the movie filmbuffs reserve as one of Reagan's best films.

I saw this movie mainly for two reasons. The first being, it's one of my grandmother's favorite movies, the other, the death of the former President.

"Kings Row" is quite an accomplised film from director Sam Wood, a man who has directed serval American classics that would take up too much space if I recited them all here, but they include "Goodbye Mr. Chips", "For Whom the Bell Tolls", "The Pride of the Yankees", and two Marx Brothers comedies "A Night at the Opera", and "A Day at the Races".

"Kings Row" directly and indirectly takes on what must have been a lot of taboo subjects. One of the main ones being fornication.

The movie starts off with a shot of a sign that reads; "Kings Row, a great pace to raise your children". From that we are suppose to suspect this is a friendly small town, that to some would seem being. Everybody knows each other and spreads the town's gossip and the people give excited waiting for the local events, but as the film goes on we find out there is much going on behind everyone's back.And the town is not as innocent as it seems.

The film's main characters are Parris Mitchell (Robert Cummings) and Drake McHugh (Reagan) who have remained friends since childhood. Now that both are older they are soon starting to discover the secrets that lie beneath the town and some of its citizens.

The movie has a terrific cast including Claude Rains as Dr. Tower, a man who is trying to help Parris become a doctor, he also happens to be the father of Cassie (Betty Field), the love of Parris' life. Then there Dr. Henry Gordon (Charles Coburn) who is known to give usual operations and is the father of Louis (Nany Coleman), the girl Drake plans to marry. And there's Ann Sheridan as Randy Monaghan.

Just about everyone in the film does a good job acting wise, but I think it's Cummings' movie all the way, not Reagan. But either way you look at it you have to admit "Kings Row" is an interesting film that holds your interest.

Bottom-line: Well made dramatic suspense film notably known as one of Ronald Reagan's best films, but Robert Cummings gives one of his best performances. Well worth seeing.

Wow! What a job Reagan does!
I've always been a big fan of Reagan the President, but I studiously avoided Reagan the Actor. I had seen just one movie of his - ironically, "Bedtime for Bonzo" - and while it was a cute little romp, I didn't walk away from it, bowled over by Reagan's acting ability.

TCM had a Reaganfest this week because of the president's death, so I tuned in to see "King's Row." All I can say is WOW! I seriously underestimated him!

Not only is Reagan handsome, he steals the movie! You can find out the plot details from other reviews, but I'll guarantee you, when he wakes up to find out his legs have been amputated, you'll be riveted to the screen.

Reagan delivers a bravura performance, tough and touching at the same time. If you always assumed Reagan was a B-movie actor, this movie will blow that assumption to smithereens!

good melodrama, great cast
This is a riveting soap opera with a cast that holds all the pieces together, and keeps the sometimes improbable plot fascinating at all times for the viewer.
It was filmed on a soundstage, with very effective scenic design by William Cameron Menzies...I just love the skies !
Brilliantly conceived and directed by Sam Wood, it's based on Harry Bellamann's best-selling novel. The excellent Erich Wolfgang Korngold score also adds to the drama and atmosphere.

Set in a turn of the century small town, where the dark secrets and vile motives of some contrast with the goodness of others, the best scenes are between Ann Sheridan and Ronald Reagan.
The chemistry between them is a delight, and their acting so real, one feels one is sharing the moment with them, even though this was filmed over 60 years ago. They shine as Randy and Drake, two strong, independent, and fun loving souls.

With the exception of one or two scenes with rather stilted dialogue between Betty Field and Robert Cummings, the pacing never lags. There are great actors even in the supporting roles, like Dame Judith Anderson and Maria Ouspenskaya. Claude Rains is absolutely marvelous, and steals every scene he's in.

This classic was nominated for several Oscars...B&W Cinematography (James Wong Howe), Director, and Best Picture, but lost to a "Mrs. Minever" sweep.
It's perhaps Ronald Reagan's best performance, so this film is a piece of American history, as well as being highly entertaining. ... Read more

Amazon.com essential video

Even a man who is pure in heart,
And says his prayers by night,
May become a wolf when the wolfbane blooms
And the autumn moon is bright.

If you haven't heard this piece of horror-movie doggerel before, you'll never forget it after seeing The Wolf Man for two reasons:it's a spooky piece of rhyme and nearly everybody in the picture recites it at one time or another. Set in a fog-bound studio-built Wales, The Wolf Man tells the doom-laden tale of Lawrence Talbot (Lon Chaney Jr.), who returns to the estate of his wealthy father (Claude Rains). (Yes, Chaney's American, but the movie explains this, awkwardly.) Bitten by a werewolf, Talbot suffers the classic fate of the victims of lycanthropy: at the full moon, he turns into a werewolf, a transformation ingeniously devised by makeup maestro Jack Pierce. Pierce was the man who turned Boris Karloff into the Frankenstein monster, and his werewolf makeup became equally famous, with its canine snout and bushy hairdo--and, of course, seriously sharp dental work. The Wolf Man was a smash hit, giving Universal Pictures a new monster for their already crowded stable, and Chaney found himself following in the footsteps (or paw prints) of his father, who had essayed a monster or two in the silent era. This is a classy horror outing, with strong atmosphere and a thoughtful script by Curt Siodmak--well, except for the stiff romantic bits between Chaney and Evelyn Ankers. It's also got Bela Lugosi (briefly) and Maria Ouspenskaya, the prunelike Russian actress who foretells doom like nobody's business.--Robert Horton ... Read more

Reviews (68)

A distant howling.
This legendary horror film is the granddaddy of all werewolf movies. The previous "Werewolf of London" notwithstanding, this film set the standard for much that followed. Wolf Man Larry Talbot (Lon Chaney) became a popular member of the classic horror family at Universal Studios. Makeup genius Jack Pierce created the trademark hirsute fright look that has been imitated, but never improved, over the years. The familiar story of metamorphosis, wolfbane, and the autumn moon unfolds quickly. The running time of the film is a mere 70 minutes. Once it gets going, the action doesn't let up. The inspired casting of Maria Ouspenskaya as Maleva the gypsy woman is a memorable event in classic horror flicks. She brings a mystic sense of Slavic fatalism to her role. Her son, Bela the fortune teller, has the mark of the beast and infects Talbot. Bela Lugosi's appearance is brief, but he manages to project the world-weariness and suffering of his peculiar malady as the doomed gypsy who sees the pentagram in the palm of his next victim. The terrific scenes of Chaney in full makeup, creeping amid the gnarled trees and through the foggy night are the stuff of troubled childhood dreams. Scream Queen Evelyn Ankers is the resident threatened female. Claude Rains is cast in the unlikely role of the hulking Chaney's father. American Ralph Bellamy is also a peculiar choice to play the stern local chief constable. Despite these little quirks, it all blends nicely. About the only thing missing, is the dark sense of humor of James Whale, which made the early Universal Frankenstein flicks so richly enjoyable. Every serious collector of Classic Horror 101 needs this addition to their collection. ;-)

Your suffering is over, Bela my son.
Don Smith, Lon Chaney, Jr.'s biographer, states that the most important horror film of the 1940's is "The Wolf Man". This new full screen(aspect 1.33:1) release of "The Wolf Man" is what DVD is all about: A clear, pristine restoration of a cinema classic, an original documentary with director John Landis(written by historian David J. Skal), commentary by expert Tom Weaver, a trailer, and bio's on the major stars, including listing every film by Lon Chaney, Jr. and Bela Lugosi. The Wolfman story, perhaps a classic Greek tragedy, is well-known. Lawrence Talbot returns to his father's estate in Wales. After romancing a local village girl, Talbot is bitten by a werewolf. At the full moon, he suffers the curse of lycanthropy. Like a football team, a movie is perhaps, only as good as it's players. "The Wolf Man" is all first string. Fresh from his accolades for "Of Mice and Men", Lon Chaney, Jr. steps into the leading role with conviction and empathy. This is his finest work. His father, Sir John, is played by Claude Rains. Just one year later, he would be Oscar nominated for "Casablanca". British actress Evelyn Ankers began a long Universal film career here as the love interest. Warren Williams plays the doctor. Williams was once touted as the next Barrymore. Ralph Bellamy appears as Constable Montford. Bellamy was in over 100 films. He won the Academy Award and a Tony for his work. Patric Knowles, a Universal staple, plays the gamekeeper. World famous Maria Ouspenskaya emigrated to the U.S. from Russia, surviving the Revolution and famine. Her role here as Maleva, the old gypsy woman, is pivotal.Finally Bela Lugosi, as Bela the gypsy, is at once riveting and magnetic. Originally considered for the lead, Lugosi's part was sadly cut to 7 lines. It is his only screen appearance as a werewolf. "Wolf Man" director George Waggner creates a frantic pace and eery backgrounds here. Waggner started as an actor, appearing in "The Shiek", with Rudolph Valentino, in 1921. The "Wolf Man" story comes from a taut script by Curt Siodmak. An original music score from Charles Previn and Hans J. Salter was so successful, it popped up in Universal films for years. Some of the track was recycled in 1954 for "Creature From the Black Lagoon". An early "Wolfman" scene in Talbot Castle includes a candlabra prop seen in 1935's "The Raven". In a later segment, Chaney exits a magnificent old church. That set was built for his father in "Hunchback of Notre Dame". "The Wolf Man" finished shooting in November, 1941. Just weeks later it opened in theaters. It was an instant hit, earning over $1 million. Within days, five of the principal actors were rushed into Universal's next opus, "Ghost of Frankenstein". Lon Chaney, Jr.'s grandson, Ron Chaney, lives in Palm Springs, Calif.. I have spoken with him several times. He holds his famous ancestors in high esteem, thanks to his web-site (...). He remembers his grandfather as warm and generous. For "The Wolf Man" commentary, Tom Weaver is detailed and inspired. He makes one error, however,mentioning that Lon Chaney, Jr. died of lung cancer. He's wrong. It was actually his father, Lon Chaney,Sr., who passed away in 1930 after shooting his only sound film, a re-make of his own "The Unholy Three". Lon Chaney,Jr. died in 1973 of a heart attack and liver failure. He was 67. In "The Wolf Man"'s final epic scenes, Maleva, the old gypsy woman, bends over the battered body of Lawrence Talbot, and whispers the words that have echoed down and haunted Hollywood horror film history..."The way you walked was thorny, through no fault of your own. But as the rain enters the soil, the river enters the sea, so tears run to their predestined end. Your suffering is over, my son. Now you will find peace..."

The birth of Universal's most tragic monster character
Among the pantheon of classic Universal monsters, only Dracula and Frankenstein's monster stand taller than The Wolf Man. This 1941 classic starring Lon Chaney, Jr., is a must-see for anyone claiming any interest in horror movies. The film has exerted a huge influence on the art of bringing horror to life for over six decades now, thanks to the heralded make-up prowess of Jack Pierce, the tight and powerful script of Curt Siodmak, some impressive photography work, and wonderful performances from a truly stellar cast of actors and actresses.

There is just something different about The Wolf Man; I have a hard time viewing him as a monster Larry Talbot is a thoroughly sympathetic and tragic character. Dracula loves being a vampire, Frankenstein's monster is just an unfortunate victim of circumstance whose various body parts have already lived full lives, but Larry Talbot desperately hates the monster he has become. He's already a sympathetic character, coming home after eighteen years following the death of his older brother, trying to fit in among the folks he said goodbye to long ago. Then, when he hears a fateful howl accompanied by a scream, he races off in heroic fashion, taking on a wolf in order to try and save a woman's life, killing the doggoned creature. And what does he get for his noble, self-less act? First of all, suspicion, because instead of the wolf he described, the authorities find the body of a gypsy fortune teller (played by Bela Lugosi, who gets all of seven lines in the film) clubbed to death by Talbot's cane. Then, tragically, he finds himself inflicted with the curse of the werewolf, thanks to the bite he suffered in the struggle. Chaney's performance also adds to his tragic status. He had a style of acting all his own; at times, I watch him and think the guy just couldn't act his way out of a dark room with a flashlight, but his strange and slightly awkward manner, tempered by a sort of gentle slowness ends up leaving me mesmerized. In most horror movies, I'm always ready to bring the monster on and get the party started, but I never look forwarding to watching Talbot turn into the werewolf.

I think everyone is pretty well acquainted with the story here. Man gets bitten by werewolf, man turns into werewolf, man suffers a tragic fate. The Wolf Man, though, succeeds in becoming much more than just the simple tale of a hairy monster. The inimitable Claude Rains lends the film character and class as Talbot's father. The lovely Evelyn Ankers makes a great leading lady in the form of Gwen Conliffe. Lugosi is of course terrific as the gypsy Bela, but the role is a minor one indeed. Maria Ouspenskaya is masterful as the gypsy woman Maleva who tries to warn Talbot and help him deal with the curse that suddenly consumes his life. Siodmak really provided a tight plot; there would be a number of sequels, but The Wolf Man is a completely self-contained movie of great power and meaning.

There are a number of really interesting things about this movie. For instance, we never actually see Talbot's transformation from man to wolf - we see the legs change, but that is it. There is a scene toward the end where we witness the transformation from wolf to man, but you won't see any time-lapse treatment of the change from man to monster. Of much more interest to me is the fact that you don't hear a single reference to the moon in the entire film. Apparently, the transformation happens nightly to Talbot; there is nothing to indicate that a full moon plays any part at all. Thus, some of the core Wolf Man assumptions do not trace themselves back to the original movie.

The commentary by film historian Tom Weaver, included on the DVD, is just superb. It's one of the most engaging commentaries I've heard. This guy is loaded to the gills with facts and trivia, and he barely pauses over the course of the film's 70 minutes, delivering one gem after another. He also asks some of the questions I ask when I watch the movie, and I love that. This isn't a commentary by some stuffy "expert." Weaver is indeed an expert, but at the same time he is one of us, a true fan of classic horror movies.

Lon Chaney and Claude Rains together.
The best thing about The Wolf Man is not the monster itself but the subtle progression of wolfish themes that are brought out from start to finish in the movie. Even though the much dated 'look' of the monster brings this Universal Classic offering a notch down it still happens to be the best screenplay of the Horror Classics. Larry Talbot (Lon Chaney, son of Phantom of the Opera's Lon Chaney) shows that he has some of his father in him (not much facial contortions until the transformations) in his way of bringing darkness and madness to a character that is jolly, loving and smitten by local town kitten after he arrives at his fathers estate following a brief period of absence to take care of things. He learns the local legend of The Wolf Man in the village, how strange poems about the moon and wolfs bane can bring out the wolf in a man, the pentagram and how it can prevent werewolf attacks but also how if it appears on someone's skin then that person is the werewolf's next victim.

All of these superstitions come true very quickly when Larry finds himself the centre of a strange murder mystery in the nearby woods where a gypsy man (Bela Lugosi, in a bit of an under-performance [he is only in it for a few minutes]) was found dead without his shoes on next to the corpse of a young woman who had been mauled by a wolf that Larry had killed with his cane after going to visit the psychic gypsies who had stopped there after passing through the village. Larry remembers killing a wolf but no wolf was ever found...

... later after a gypsy funeral Larry learns that there is a werewolf in the village and that the gypsy's are leaving but not before he meets the wife of the dead gypsy who tells him that the gypsy was really a werewolf and that Larry is cursed!

Claude Rains (who also stars in The Invisible Man and the remake of Phantom of the Opera) has a supporting/lead role as Larry's father who means to prove his son's innocents and protect him from self harm as Larry falls slowly into despair with the knowledge that the superstitions are true and that he is a werewolf.

Most lovers of the classics will probably recognise this as the catchiest of the lot probably because it was closer to more supernatural/natural horror than Frankenstein, Dracula, The Invisible Man or Phantom of the Opera. Here we learned about the moon and fascinating facts about the werewolf that have not often been repeated in any other werewolf movie. Also Lon Chaney is the real reason to watch this and along side Claude Rains is to die for, really. The documentaries and extras make this a 5 star package!

Hair¿s an Interesting Look
The Wolf Man is simply one of the greatest horror films ever made. Written by Curt Siodmak and directed by George Waggner this film had the perfect combination of narrative content and visual elements. The Wolf Man was one of a dozen B horror movies that Universal produced within the 1930s and 40s, but remains of an elite category for its excellence. From its release in 1941 and until now I believe this film hasn't been getting the appreciation it deserves. Its reputation of being just another black and white B horror film precedes it unfortunately.
The Wolf Man is the story of a man who takes the shape of an animal, in this case a wolf, to deal with his struggle with sexual repression. Larry Talbot, played by Lon Chaney Jr., returns to his home in England after studying abroad for nearly two decades. Shortly after his return, he falls in love with the daughter of an antique shop named Gwen Conliffe, who is played by Evelyn Ankers. Gwen is the stereotypical country girl. She is pretty, sweet, and moral. Larry is bitten by a werewolf on his first date with Gwen and becomes inflicted with the disease of lycanthropy. As the film prolongs we learn of Gwen's engagement to another man and how it leads to a great deal of Larry's frustration. An interesting aspect of this film is that before almost all of Larry's transformations into a wolf he is either directly or indirectly engaged with Gwen's seemingly unreachable hand until it's too late. This leads me to believe that Gwen is, in a way, responsible for Larry's "liberation" from man into beast; being that she is the object of not only his love, but of his sexual frustrations and repressions.
It is always interesting to see how a leading lady was depicted in the golden years of Hollywood films. In The Wolf Man's case, as in many other cases, she is represented as a stereotype and as an object. Without her character, however, the narrative would not have had its particularly well crafted strength. ... Read more

Reviews (21)

DAVIS at her greatest!
Bette Davis plays a beautiful New York socialite with "every man in New York at her feet". Many, many men are interested in marrying her.

And what does she do? She marries a rich, Jewish stockbroker, Job Skeffington (Claude Rains) for his money. It is only at the end of the film (after thirty years of countless beaus) that she realizes that Mr. Skeffington was the only man that really and truly ever loved her.

There is a much humor in the film including a wonderful running joke about one of Fanny's best friends whom we never meet because Fanny always cancels lunch dates with her.

The script was brilliantly written by the Epstein brothers who co-wrote an earlier Davis hit, MAN WHO CAME TO DINNER as well as one of the greatest films of all time-CASABLANCA.

The film begins in the year 1914 just before the beginning of World War I and ends during the midst of World War II. We see Claude Rains after returning from a German concentration camp and this was one of the first time American audiences were able to get just an inkling of the horrors of the Nazis and their anti-semitic practices.

The fade-out scene is one you'll not forget easily. Be sure to have that box of tissues handy.

You WILL enjoy this film!

EPIC DRAMA AT ITS FINEST...
A pre World War I society beauty, self absorbed and shallow Fanny Trellis (Bette Davis), enjoys being besieged by besotted suitors. She simply cannot make up her mind whom to marry. She finally ends up choosing one of the unlikeliest of men, one who was not even aa avowed suitor, the enormously wealthy Job Skeffington (Claude Rains). Her reasons for marrying the enormously wealthy and jewish Mr. Skeffington are linked to something disgraceful her ne'er do well brother did.

Mr. Skeffington provides Fanny with a good life and simply adores her, tolerating her flirtations with other men as simply something Fanny's vanity requires. They have a child, a daughter, also named Fanny, whom Mr. Skeffington adores. Fanny, however, loves only herself. When Fanny's brother, who had objected to her marriage and had run off to fight in World War I, is killed in action, Fanny blames her marriage to Mr. Skeffington as the catalyst for his death. From that point on, the marriage takes a nosedive.

Fanny proceeds to take her flirtations beyond the bounds of propriety, and Mr. Skeffington also looks for greener pastures elsewhere, as his is a loveless home. They end up having an open marriage that ultimately ends up in divorce. Mr. Skeffington takes custody of their daughter, when Fanny voluntarily seeks to relinquish custody, as she does not want the responsibility. Fanny proceeds to spend her life charming new suitors and having love affairs. She tries to turn back the hands of time, lavishing much time and effort in remaining youthful in her appearance. Meanwhile, Mr. Skeffington and their daughter spend years living abroad in Europe, until he sends their now grown daughter to live with Fanny just before the outbreak of World War II due to the growing Nazi menace, while he stays behind in Berlin. Unfortunately, he does not fare so well as a jew in Nazi Germany. This 1944 film was one of the first to allude to anti-semitism and the Nazi menace.

When her daughter returns home, after many years of not seeing her mother, as Fanny was always too busy, Fanny is startled by the fact that her daughter is now a young woman, and realizes that she serves just to make Fanny seem older than she appears. The daughter is an unwelcome reminder that her youth has passed her by. When Fanny is struck down with diptheria and her good looks are ravaged by her illness, she has a hard time coping with the loss of her youthful appearance and comes to a crossroads in her life. What she discovers is hard for her to bear, but she ends up being able to love someone other than herself. Watch the movie to find out who.

This is a superb film with superlative performances by the entire cast. Bette Davis is divine as the silly, self absorbed Fanny. Bette Davis succeeds in making the viewer believe her to be a grand beauty. Speaking in a voice, dripping with artiface, that she purposely pitches high in order to sound more youthful, her voice changes as she ages. Her costumes are first rate, as is her performance of this silly, vapid character. Claude Rains is wonderful, giving a powerful, though understated, performance as the patient and loving Mr. Skeffington. The supporting cast is likewise excellent. The lavish sets are magnificent and give the viewer the feeling of tremendous wealth and power. They are richly redolent of another era. Magnificently cast, the film deservedly won Bette Davis an Academy Award nomination for Best Actress.

This is a must see film for all Bette Davis fans. It is also one that those who love vintage films will enjoy!

looking back at the inimitable claude rains
this is basically a soap opera and the divine bitchy ms davis as usual plays the divine bitchy ms davis.
but, bette davis said upon numerous occasions that her favorite actor was claude rains and this is yet another example why.
claude rains possessed one of the most beautiful voices ever captured on film (it was for no reason that james whale cast rains in the invisisble man). he could be a terrific villian, suave and despicable in the same breath and as a villian we love hating him. but he could touchingly empathetic too and his acting often makes the whole method acting seem silly and pretentious.
chaeck out this, the invisible man adventures of robin hood and countless others to see what great character acting in classic hollywood was all about

My favorite Bette Davis film.
Yeah, I've seen Now Voyager and Baby Jane and All About Eve. I've actually seen most of Bette Davis's pictures (this was before I discovered Joan Crawford - if you like one, you'll probably like the other). Anyway, Mr. Skeffington is Bette's very best film. I say this because of the very impressive acting, production, and screenplay. There is some very powerful social commentary in this film - just as relevant today as 60 years ago, if not more. The main theme of the film is you are only beautiful if you are loved. Damned if this isn't the same theme of Madonna's latest album, American Life! Anyway, we follow the epic life story of a very rich, beautiful and selfish woman (Bette) as she willingly marries a man for his money and throws him and her daughter away afterward as if they never happened. Years pass and Bette loses all her "beauty" and the makeup is plastered on to make her look like Baby Jane (this is 20 years before Baby Jane, but the effect is the same)! She tries to pretend she is still young...and all her fake hair falls out and none of the men want her any more! Then comes the great moment of catharsis, when Bette's daughter leaves and tells her that if somebody truly loved her, it wouldn't matter to them that she was now older (such a true statement and one of the best in the movie). I won't give the whole plot away, but the movie stands up because there are a lot of selfish people in our world today, not just women. I'm going to go out on a limb and say this movie would have been better with a real beauty like Joan Crawford, but she was off doing Mildred Pierce and whatnot. This movie really is a masterpiece, though, and it has a wonderful happy ending that will make you cry tears of joy!

Supreme Emotional Drama with Bette Davis and Claude Rains
"A woman is only beautiful when she is loved", so says Job Skeffington to his capricious wife Fanny during this emotionally taut drama that chronicles the life of New York beauty Fanny Trellis Skeffington (Bette Davis). Indeed beauty of the face and that of the soul are the two conflicting themes in this powerful drama and in the lesson in what should be really valued in life. Beautifully and emotionally put together this story of one vain woman's pointless life and continual quest for shallow adulation over real emotional commitment makes riverting viewing in any generation.

"Mr. Skeffington", based on the acclaimed novel by "Elizabeth" covers a period of over 40 years and offered a supreme starring role for the Queen of Warner Brothers, Bette Davis then at her peak of popularity and Box Office power. The story sees Fanny Skeffington's progression through many decades from being a young lady courted by many eager suitors to an old emotionally alone victim of her own caprices in life. What occurs along the way makes powerful viewing as we see Fanny first try and bail out of financial trouble her worthless brother Trippy (Richard Waring in a small but highly effective performance) by marrying for money his boss Jewish financier Job Skeffington (Claude Rains in one of his finest performances.) Time passes and we see the continual quest for youth and adulation that Fanny seeks all the while ignoring and alienating her adoring husband. Their child is born and still Fanny ignores her family commitments and steadily drifts away from Job who out of sheer loneliness seeks affection with a succession of secretaries. No longer content to dream that his marriage is anything more than a farce Job and Fanny divorce and Job along with baby Fanny sets off for a new life in Europe just as the warning clouds of the rise of the Nazi's begins to become evident. Fanny's shallow life continues but a severe case of diphtheria robs her of her only asset, her good looks and suddenly Fanny must come to the sad realisation that she is growing old and no longer the attractive young woman who men flocked to. Even when her now grown daughter returns years later an emotional block still sepearates the two and young Fanny eventually spurns her and ends up marrying one of Fanny's younger suitors further emphasising the passing of time. Just as all seems lost however Job, now a broken man, blinded and a victim of Nazi oppression suddenly appears and for the first time Fanny, with her ruined looks and lonely prospects, sees the real value in loving people for who they are not what they look like. She happily announces that "Mr. Skeffington is coming home!" and helps the blinded Job up to his room.

Vintage melodrama? Perhaps but produced in superb style helped immensely by the playing of the two powerful leads. Bette Davis has a difficult part here as her character of Fanny is a vain shallow woman and not at all likeable. With her girlish manners and high pitched voice she gets across beautifully the character of this uncaring woman who never wants to grow older. Her work after the attack of diptheria is especially good and even though her makeup for the disfigured scenes caused her no end of trouble during Mr. Skeffington's filming she rises superbly to the possibilities of a woman for the first time learning how to appreciate others. Claude Rains as Job has one of his best roles ever and clearly relishes working with Davis. Being one of the few actors she in later life mentioned as admiring Rains brings a beautiful balance of affection, loathing, frustration and desperation to his performing. His confrontation scene with Fanny when he mentions that if he had even one shred of affection from her in their marriage he would never have left is one of the emotional climax's of the story. The talented Walter Abel exceles as Fanny's cousin George who is the witness to all of Fanny's superficial behaviour over the years and Jerome Cowan is excellent as the most presistent of Fanny's suitors who in another sad and emotionally wrenching scene returns as an old broke man seeking money from Fanny under the guise of still supposedly being infatuated with her. Being one of Warner Brothers major productions of 1944 no expense was spared on this Bette Davis vechicle which had an agonizingly long shooting schedule filled with constant battles between Davis and director Vincent Sherman. It is a lavish film to behold from the amazingly extravagent sets, costumes changing over a forty year time span and the powerful Franz Waxman musical score.

First and foremost this is a Bette Davis film all the way and in the 1938 to 1946 period when she had many memorable parts it is still a stand out. However I dont think that any part taxed her as much as the part of Fanny Skeffington built as it was on one woman's devotion to herself and in living a life built on artiface. Quite deservedly she was nominated for an Academy Award as Best Actress and in "Mr. Skeffington", she has never been better in a different type of role than she normally tackled. To see this film is to view film making as it used to be when the resources of a whole studio were put behind a lead performer like Davis. For lovers of fine acting settle back and enjoy the tear jerking emotional drama of "Mr. Skeffington" soon. It is a viewing experience to cherish always. ... Read more

Reviews (13)

Dino Cheese
You can watch "The Lost World" one of two ways.

1) A maddeningly poor version of the great Arthur Conan Doyle novel, turning memorable characters into crude stereotypes, and adding a half-dozen others so you won't notice there's only one brief sequence featuring "dinosaurs" (magnified lizards with rubber collars, tortured into listlessly attacking each other).

2) As an early '60s camp fest, what with the babealicious cave girl, Fernando "you look mahvelous" Lamas as a vengeful native, and Claude Rains as a peppery pipsqueak Professor Challenger -- not to mention Irwin Allen's trademark colored-lights-on-styrofoam special effects. Best of all, Jill St. John (an Annette Bening without irony) in her pink boots, who announces "I can ride, fly, and shoot better than any man I know" and then spends the balance of the movie shrieking and running for the strong arms of David "Al" Hedison. Or is it Al "David" Hedison?

Anyway, stick with the sweet, rather innocent 1925 silent version... Conan Doyle loved it and it's still miles ahead of every subsequent "Lost World" movie -- including the recent Bob Hoskins "ecologically correct" CGI fiasco.

COULD HAVE BEEN BETTER, BUT STILL WORTH 10 BUCKS!
Irwin Allen's 1960 version of Sir Arthur Conan Doyle's classic dinosaur adventure, and the Willis O'Brien 1925 classic of the silent era. A band of explorers travel to an ancient plateu in South America, and encounter gigantic prehistoric beasts. The actors are great (to to Allen form, he made up for the poor special effects with big time actors) including Michael Rennie (THE DAY THE EARTH STOOD STILL), Claude Rains (THE WOLF MAN) Jill St. John (DIOMANDS ARE FOREVER) Fernando Lamas, and many more! Sadly, only lizards with phony make-up aplinces are blown up on film to tremendous size. But using real lizards does have a cetain charm, and the motion is realistic because it is real! So all in all, good production values, good acting, exeptable special effects, a 4 star movie.

Loved Lost World
I loved this movie. I know it's been bashed a lot by today's audiences, but you have to consider that when it was made special effects were not what they are now.
I think it's the story that counts. My two cents anyway.

In addition, what also impresses me, is that several scenes and actors reapeared in "Voyge to the Bottom of the Sea (series)" and other Irwin allen productions. It's great to see earlier performances as well as the inevitable stock footage Irwin and Fox used.

Especially of note are really great performances of David(Al) Hedison (later Capt. Crane in Voyage), and Ms. Marcus (the native girl) who shows up later on Voyage both as the same native girl, and also as a love interest for a ghostly u-boat captain! I think it's rather fun to see the orig. movie while picking out 'hey-that was used over there'scenes)

As I said, the story itself is good. It's entertaining,and doesn't try too hard.

I think it's worth the purchase and I'd like to see it released in widescreen format as it was originally shown. You miss some things in the regular format, but hey, it's not avail.in widescreen, so I'm just glad to have it at all. It hasn't been avai. for awhile at all.

I'd suggest you just settle down in a comfy chair and just enjoy it.

"A land where monsters live"
Poor Willis O'Brien was slated to do stop-motion spx for this film
but due budget oversights future "Towering inferno" director Irwin
Allen handed 20th Century Fox his 1st unintentional "disaster" film

Claude Rains who as the reknowned Professor Challenger leads the
cast including Michael Rennie,Jill St.John,David Hendison,Fernando
Lamas and "frosty the poodle" onto an amazon plateau where time is
frozen and prehistoric animals still exist. Their lives are put in
even more jeopardy when they find themselves stranded.

Dispite it's flaws,I still love this flim for what it tries to be
lavish epic with a supercast of characters, but will always be my
haunt is how at the time of production (released in 1960) could a
special effects crew STILL use the same standards from the early
matinee days of cinema. Right down to the projected green spider
(Bert I.Gordon) when lower case B films such as "lost contintent"
(1951)used stop-motion animation Maybe there was a time factor.

The tape is excellent quality this Fox series also includes the
original trailer which is always a hoot for me but where is Fox's
DVD version in widescreen maybe.....no definitely!

Best Sci-FI Movie for the Time
I remember seeing this movie as an early teenager and found it to be excellent for the time. Compared to movies today it seems very poor but it was a classic "B" movie for the times. I recommend it for anyone's video library ... Read more

Reviews (11)

Mark Twain, Warner Brothers' Style
I've never read Mark Twain's novel to be able to say how closely this movie follows to the original story. It certainly has the Warner Brothers' touch. Errol Flynn is his usual dashing, dauntless self, perfectly at home with a sword in hand. Claude Rain again is the cunning, cultured villain, and Alan Hale is a welcome face, although this time he is Flynn's foe instead of friend. As Prince Edward and his look alike beggar friend, the Mauch twins are occasionally annoying, but for the most part quite effective as the victims of a switch that learn to appreciate the other side of life. The story is fun and played with a lot of energy and humour. Don't assume that this is an Errol Flynn video, because he really isn't the star - the twins are the stars. However, there is enough of Flynn to keep his fans happy, and a good enough story and movie to keep everyone happy (including children).

CLASSIC TWAIN ADVENTURE - GREAT LOOKING TRANSFER!
The Prince & The Pauper is based on the much loved Mark Twain classic. In a nutshell, the plot centers around twins, one the spoiled heir to the English throne, a other a begger with a heart of gold. When the two accidentally cross paths they become best friends and secretly trade places, much to the chagrin of one of the king's advisors (Claude Rains) who is plotting to kill the heir and take over himself. Enter into this fray a fortune hunter (Errol Flynn) who v