Reviews (13)

Relatively Early, Excellent John Ford Movie
Relatively early, I say, because I think Ford really hit his stride in the 1940s once he started his John Wayne cavalry pictures.

"Drums Along the Mohawk" is a wonderful treatment of an era curiously left alone by most American movie studios, the Revolutionary War. Henry Fonda is a farmer on the Mohawk River in upstate NY, who brings home a "city" bride, Claudette Colbert. Much of the early part of the film is her adaptation to this backwoods life, so different from her father's home. Colbert's character is emblematic of the original settlers of the American continent, who left familiar ways behind them and set off into an adventure undreamed of. Bit by bit, her citified ways have to be jettisoned if she is to be a good wife to her honest and plain-speaking husband. Gradually their smaller domestic drama is engulfed in community concerns as the Revolutionary War whips up the warpath of the Indians surrounding the colonists, and they must fight for their very existence as that new concept, Americans.

There are some really pricless episodes in "Drums Along the Mohawk", such as when Fonda holds his newborn baby for the first time, Colbert goes into hysterics at her first encounter with an Indian, Edna May Oliver confronts Indian braves invading the sanctity of her home, and someone has to get word out of the beseiged fort to the soldiers for relief.

You'll be very glad to see "Drums Along the Mohawk", I assure you.

A Revolutionary War classic
Drums Along the Mohawk is a very good movie about a period in American history that not many movies have been made about. Set during the Revolutionary War, the story is about two newlyweds and their new life in the Mohawk Valley. The couple is trying to establish themselves with a home and farm of their own, but are interrupted when the British and the Mohawk Indian tribe begin to raid all along the valley. The settlers must deal with the raiding Indians while also trying to survive. There is plenty here for fans of Henry Fonda also. The action scenes are excellent, especially the attack on the fort. However, it is also very effective when the characters talk about a battle and how horrible it was rather than the viewer actually seeing it. An enjoyable film that is still very good!

Henry Fonda and Claudette Colbert play Gil and Lana Martin, the newlywed couple struggling to survive. Both are very good and believable as husband and wife. This was a good period for Fonda when he made The Grapes of Wrath around this time. There is an excellent supporting cast, most notably Ward Bond as Adam, Gil's friend and neighbor, Edna Mae Oliver as the widow Mrs. McLenard, who puts up Gil and Lana when their house is destroyed. She has some incredibly funny scenes especially when some marauding Indians invade her house, but she refuses to leave even as they drag her out on her bed. This is an excellent movie with a great cast and excellent story. Do not miss this Revolutionary War classic!

Still the best movie about the American Revolution ever made
There are relatively few movies about the American Revolution. I think this is due to the fact that the American side lost most of the battles of that war. The battle at Saratoga, the surprise attack at Trenton, and the siege of Yorktown are part of the short list of American victories, and except for the occasion television movie or mini-series, they are rarely touched upon. Consequently, "Drums Along the Mohawk" remains the best of American movie about the revolution even though it was made before World War I and even though the redcoats are not really involved in the fight.

"Drums Along the Mohawk" does not start off as a movie about the American Revolution. Instead it begins as a movie about settling the frontier, which, at that point, was upstate New York. The focus is on a pioneer couple, newlyweds, Gilbert (Henry Fonda) and Magdalena (Claudette Colbert), called Lana. Martin is a farmer who brings his bride to the Mohawk Valley where their home is burned out by Indians allied with the British. The couple are taken in by neighbors after that happens and Martin joins the militia, but the settlers are going to need more men than that to fight the Indians and save the fort from attack.

Based on a novel by Walter D. Edmonds the screenplay for "Drums Along the Mohawk" is by Sonya Levien and Lamar Trotti, although William Faulkner worked on it without receiving credit as well. Edmonds' history novels were all set in upstate New York and "Drums Along the Mohawk" is about the warfare between the settlers and the Six Nations of the Iroquois allied with the British. The Battle of Oriskany in 1777, fought in a forest, was a American victory although their commander General Nicholas Herkimer (Ralph Imhof) died of his wounds in one of the moving scenes of the film.

This was the third film that John Ford made in 1939, following "Stagecoach" with John Wayne and "Young Mr. Lincoln" with Fonda; his next film would be "The Grapes of Wrath." Colbert and Fonda are the stars, but they are upstaged by several members of the supporting case, such as Edna May Oliver as Mrs. McKlennar and Arthur Shields as the Reverend Rosenkrantz. The old lady has such an iron will that she can make Indians take her bed out, with her in it, while they are burning down her home, and the reverend has a memorable scene in which he eases the suffering of a tortured settler. Fonda is young and earnest, while Colbert comes to terms with what it means to be living on the American frontier in troubled times.

More than anything else "Drums Along the Mohwawk" is about people coming to the realization that they are Americans, an interpretation more than amply justified by the film's final scene. These are not the Sons of Liberty living in Boston and dealing with the King's troops and all those burdensome taxes. These are small families living out on the frontier for whom the idea of the United States of America was as odd as a flag with thirteen red and white stripes with a circle of white stars on a blue field. Perhaps it is because it takes place off the main stage that "Drums Along the Mohawk" manages to hit the right notes.

five star films
Put it out on DVD and I will definitely buy it! How much longer do we have to wait to see some of Miss Colbert's other great work, especially those wonderful comedies like The Egg and I and No Time For Love, made available and on DVD?

Lavish colour production from Hollywood's Golden Age
"Drums Along the Mohawk" was one of many lavish classic productions released in 1939 and marked the first real venture by Director John Ford into classic movie status. This production is lavish in all departments from the lush colour photography which even in 1939 was still only employed on a handful of productions, to the beautiful on location photography utilised throughout the story, to the many exciting action filled sequences employed around which the storyline is structured.

"Drums Along the Mohawk" tells the rather simple story of Mohawk Valley farmer Gilbert Martin who courts and marries refined city bred Lana Magdalena (Claudette Colbert)and brings her back to the valley to begin a new life as a farmer's wife in the untamed American wilderness. What ensures is a story of hardship in the face of the unpredictable environment, attacks from Indians, the revolutinary war, and in carving out a new world and new way of life. Much of the story focuses on Claudette's characters efforts to adjust to this strange and foreign new environment and to make a home for her new husband and she succeeds admirably in the task. It has often been stated by critics that Claudette was far more suited to sophisticated urban comedies and always looked far too modern a screen personality to fit into period productions. While she certainly had no peer in that area she is highly effective in historical roles as witnessed by her great work in "Cleopatra" and "The Sign of the Cross". In "Mohawk" she displays all the fear and uncertainity of moving to a new land and leaving behind her all that is familiar. While her makeup and pristine outfits throughout tells us this is indeed a Hollywood production I believe it is one of her more appealing performances combining equal measures of doubt about what she has done moving to the wilderness, to a longing to build a happy life with her husband. Henry Fonda an actor who I normally find fairly bland and unexciting on screen performs very well in this production playing the role of Gilbert who works like ten men to clear his property, often under very trying circumstances, and set up a workable farm with which to support his family.

Claudette Colbert by 1939 was at the peak of her popularity and success and that same year turned out what I feel was her greatest film performance in the classic "Midnight". At the time of release of this film Henry Fonda was also enjoying a triumph in "Jesse James" with Tyrone Power so it was easy to see why this film was also a great success upon release. As with most Epic productions of this type the supporting cast adds greatly to the overraul impact of a film and "Drums Along the Mohawk" had two of the best in Edna May Oliver and John Carradine. Oliver a superb character actress had the important role of Mrs. McKlennar and the character embodies all the standard qualities that she always brought to her film roles, a no nonsense flinty character with a deep down heart of Gold. Her big scene where her home is invaded by rampaging Indians is a delight to witness as she almost bosses them out of destroying her home! John Carradine a regular performer in these Fox productions is also effective in the devious role of Caldwell who is out to further his own ends no matter what it takes.

The beautifully staged action sequences of this film are terrific and really add to the excitement of the piece. The attack on the fort and the destruction of the farmers properties are two of the highlights and are staged to the maximum effect that only John Ford could bring to such things.

Overraul "Drums Along the Mohawk" is an engrossing piece of cinema both from its more personal representations of settlers moving into a hostile land and making a new life, to the standard excitement of the action western type of film complete with Indians, besieged forts and spectacular scenery. In all these respects "Drums Along the Mohawk will not fail to both impress and entertain. ... Read more

Reviews (18)

The Blue Bird
As a small child I remember seeing this lesser-known movie, and it so impressed me that I wanted our small grandchildren to see it. I hadn't seen it since then, so I watched it again to make sure it was as I remembered. I know that when our "grands" come soon, they will enjoy it as much as I did years ago. Shirley Temple was magical little child, and the story line is unusual for a Shirley Temple movie in that it is a fantasy tale. I heartily recommend it for small children!

"The Blue Bird means Hapiness"says Berri Lou
This is my favorite Shirley Temple movie and I being a lover of "The Wizard of Oz," I fell in love with "The Blue Bird" also. I love stories that have fantasy plots and adventures of young children seeking love and/or happiness. The characters in the story are very creative and loveable-except for the mean Tylette and the greedy Luxuries. The setting is beautiful for being an early 1940's picture. I'm a big fan of Shirley Temple and love anything she does, but this is my favorite all time movie of hers. If you have children or are a child of the heart, rent or buy the movie from the trustworthy Amazon.com. If you miss out on this movie, you are missing out on a classic picture.

Sub-par attempt at Wizard of Oz
I previewed this movie for my 5 year old after all the great reviews I saw on Amazon... This movie has poor production. The shifting from black and white to color was not explained but just happens.
Then it is down right scary!
Walking across the grave yard at midnight comes out ok but I'm curious Why can't light go with them? No real reason is given.
the script is poor and pathetic. The lines these children were made to say makes me shutter...
Someone raved about the grandma scene.. It teaches your child to think Grandma is only "alive" when you think about her. Yuck! Why lay that burden on a childs' shoulders.
Oh and BTW all babies are pretty and caucasion before being born.
The big fire scene is really frighting.
Not to mention the script writer must have hated cats!
This is not a movie for Cat lovers.
I can understand why I had never heard of this movie.
The production writing and acting leave a whole bunch to be desired.

Grandmas house
when i was younger and i would visit my grandmas house, before bed i got to choose a movie to fall alseep to "The Blue Bird" was always my choice. the movie was filled with imagination and wonder. i fell in love with it the first time i saw it. now that my grandma has past away i want my own copy. not only because its my favorite movie, but because there will always be great memories with it.

A Remarkable film
"The Blue Bird" Has to be one of the most beautiful and underrated films ever made. I am also a big fan of "The Wizard of Oz" But Iv always felt that The Wizard of oz was not a childrens due to it's scary scenes and I for one used to be very afraid of it. I could never just sit and watch it because I would always be worried about one Scary Scene after another. With The Blue Bird you can sit back and relax while your chiled gets a good clear useful message from the film. I advise any parent to show there children "The Blue Bird" before showing the Wizard of oz. ... Read more

Reviews (21)

Nominated For Best Picture in 1937
THE GOOD EARTH is a screen adaptation of Pearl Buck's story about a poor Chinese farmer (Paul Muni) and how he is lifted out of poverty by the efforts of a sturdy wife (Luise Rainer) who was formerly a slave. After becoming prosperous Muni acquires a young second wife (Tilly Losch), an event which leads to considerable turmoil and scandal for him and his family.

Performances by Muni and Rainer were excellent. Both incidentally were born in Austria. Rainer had already won an Oscar in 1936 for THE GREAT ZIEGFELD in only her second Hollywood role. Much has been made about the lack of Chinese actors in the lead roles but the fact that there were still so many Asian actors in the cast was rather unusual for the times. Soo Yong, Keye Luke and Roland Lui filled important supporting roles.

Keye Luke plays Muni's elder son. He is best remembered for his numerous appearances in Charlie Chan movies. Luke is also respected for his fine acting in more than one hundred films and thirty television shows during a distinguished career which lasted over forty years.

The movie was produced at the height of the Sino-Japanese War. The special effects were outstanding for that period just before the outbreak of World War II.

THE GOOD EARTH received Oscars for Best Actress (Luise rainer) and Cinematography. It was also nominated for Best Picture, Director (Sidney Franklin) and Editing. The main competition for Oscars in 1937 came from THE LIFE OF EMILE ZOLA, CAPTAINS COURAGEOUS and THE AWFUL TRUTH.

You must see this movie
I am an American born Chinese, and I am very impressed by this exceptionally fine production of "The Good Earth". I am also not bothered by the casting of Caucasian actors, Paul Muni and Luise Rainer, in the lead roles. This was an expensive production for MGM. They understandably sought well-known stars who could draw audiences into movie theaters. Muni and Rainer were both Oscar winners with the name recognition and prestige that MGM needed to make this project viable.

I give enormous credit to Thalberg and MGM for hiring a mostly Chinese cast and for bringing a story about Chinese peasants to the screen in the first place. In the 1930's, the world was much more provincial than it is today. It took courage for MGM to undertake such a project as "The Good Earth".

As it turned out, the studio's foresight paid off because this movie achieved both critical and popular success when originally released.

The 1937 version of "The Good Earth" most assuredly stands the test of time. As other reviewers have so eloquently expressed here, every aspect of this production is superb with emphasis on the skillful direction and special effects. The special effects in this movie are even more realistic than alot of the effects you see in today's movies. Mercifully, they used REAL locusts in the 1937 version of "The Good Earth". If "The Good Earth" were filmed today, "animatronic" locusts or computer generated images of locusts would be used instead. Those generally are not as convincing as the real thing.

But what really sets this movie apart from other great films are the quality of the two lead performances by Paul Muni and Luise Rainer. Muni's character, Wang Lung, is a poor, unsophisticated farmer. Muni could have easily portrayed him as a caricatural "hick from the sticks" or as a bumbling ethnic stereotype. Instead, he gives the farmer depth and universality as a decent, hardworking man who has not had the advantages of education or travel, but who wants to make life better for his family. Wang Lung is basically a simple man, yet he is not simple-minded. Muni is able to convey the keen intelligence and drive beneath the farmer's lack of worldly experience.

Luise Rainer is a revelation as the farmer's wife, O-Lan. O-Lan's quiet strength, selflessness, and dignity are poignantly suggested by the gifted Miss Rainer whose slightest gestures, glances, or whispers can make the audience feel tidal waves of empathy and emotion.

I only wish that more people were familiar with this brilliant and ethereally beautiful actress. Miss Rainer's performance as O-Lan seems to transcend acting and enter the realm of spiritualism. It's truly one of the great performances by any actor in any medium.

For that alone, you must see this movie.

Fascinating Stereotypes
THE GOOD EARTH is fascinating today because of its blatant portrayals of Chinese stereotypes. Neither of the leads are Chinese but are Caucasians dressed in "yellow face" make-up which was supposed to make them look Chinese but in fact makes them look more like space aliens from another planet. The film deserves attention today because of the atrocious performance by Luise Rainer of Pearl Buck's heroine, the long-suffering peasant wife O-Lan. Originally, Anna May Wong was up for the role but deemed "not Chinese" enough for the part. Ha ha! Today, Rainer's performance which won an Oscar at the time has not withstood the test of time. Yet her cowering, passive, pathetic Chinese woman performance has influenced generations of Americans to view Chinese women as passive and docile. Books written by Chinese do not show any such thing! Check out Mo Yan's RED SORGHUM (there's a book and movie version starring Gong Li) to see the portrayal of a brave Chinese peasant woman. The movie is still worth seeing because it helps us to understand the stereotypes of yesteryear when the Chinese were seen as very exotic, but don't expect a realistic portrayal of Chinese rural life. For that, check out Zhang Yimou's films, such as Qiu Ju, Not One Less, and of course Red Sorghum.

"Good Earth" on CD
Would you purchase this movie on CD? Perhaps we can get them to make it available on CD if enough people rate this movie. Need I say more?

The Good Earth
I think this was the most terrible movie I've ever seen. You should run, run as fast as you can away from this movie.... Now! ... Read more

Reviews (17)

Love Among The Ruins
Clark Gable stars as Barbary Coast club owner Blackie Norton who doesn't believe in God - only in taking care of himself. Priest Spencer Tracy knows that his old friend has a bigger heart than he lets on, especially when singer Jeanette MacDonald enters the scene as the classy, proper, opera -rained singer who captures Gable's heart. As MacDonald finds herself caught between Gable and his enemy Jack Holt, everyone finds themselves in peril when the great San Francisco earthquake of 1906 hits. The love story is ridiculous, as MacDonald switches allegiances more often than she changes clothes. She's a bit over-ripe as the confused singer and her singing begins to wear out its welcome toward the end. Gable is strong in the kind of role he did often at this point in his career. Tracy, too briefly seen, is a tower of strength and honesty. Although the script lacks depth in plotting and characterization, the film is watchable. The best parts of the film deal with the quake and its aftermath. The special effects and the atmosphere created are definitely impressive. The film's moral message falls on you like a ton of the falling bricks from the quake, but then again it's the spectacle that drives this film.

Memorable film treatment from MGM at its peak
"San Francisco" is the epitome of excellent 1930's filmaking at its best. Boasting a rousing story scripted by Anita Loos, crackling direction by the prolific W.S. Van Dyke (a director unfairly neglected in Hollywood history), and beautiful costumes and sets, the film is most justly famous because of the unforgettable special effects depicting the famous San Francisco earthquake of 1906. These sequences have gone down in Hollywood folklore as possibly the finest of their kind ever created.

The film offers a top notch cast in Clark Gable as Blackie Norton the rough around the edges entrepeneur in the dance hall area of the Barbary Coast, Spencer Tracy in the first of his famous priest roles as the caring Father Tim Mullin, a childhood friend of Blackie's, and last but not least Jeanette McDonald as Mary Blake the singing sensational torn between her strict upbringing and her love for Blackie. They make a memorable trio of performers in their only film together. Gable and Tracy would go on to make two more films together, "Test Pilot" and "Boom Town". Despite it being well known that Gable and McDonald did not get along during shooting they combine well in their acting depite their very different personalities. Spencer Tracy is on screen for less time than is desirable and certainly his father Tim is not as well written a character as the priest he played so wonderfully 2 years later in the classic "Boy's Town". Tracy always had a way with no frills sympathetic characters and he brings conviction and feeling to his role as the self appointed protector of Mary in Blackie's world of dancing girls, card sharps and crooked deals. Gable apparently was very reluctant to undertake his part which in some ways could be classified as a "typical Clark Gable role" however I feel he delivers a wonderfully rounded performance as the heel without a heart who learns about what is important from the person he never thought he would fall in love with in a dozen lifetimes. Many people have commented on the apparent lack of chemistry between Gable and McDonald on screen but I feel that opposites can attract and the two make a most welcome and refreshingly different type of team to Gable's usual pairings with leading ladies such as Jean Harlow or Joan Crawford. The film was a definite showcase for Jeanette McDonald's vocal talents and indeed she was the one that campaigned to get Gable as her leading man. She was then in the middle of her successful teamings with Nelson Eddy and was anxious to work with other leading men on the MGM lot. Her musical numbers at times do tend to slow down the progression of the story but they are beautifuly staged and her voice has never been in finer form. Gifted designer Adrian's stunning costumes for the Mary Blake character are both historically well researched and beautiful to look at and no expense is spared in creating truly breathtaking outfits for one of the Queens of MGM in the mid 30's.

No review or mention of "San Francisco" could be made without a special nod going to the amazing special effects that were created for the famed earthquake scenes near the end of the film. Almost every technician on the MGM lot was involved in the huge undertaking that involved the filming of the earthquake sequences. The sight of tall buildings collapsing, street lights shaking, streets opening up and whole walls falling on people are superbly recreated and even now have a frightening look about them. Never in this era of film making have they ever been surpassed and they still hold up against all the technology now available to filmmakers. Nominated for a number of Academy Awards the film was an outstanding success and MGM's biggest moneymaker of 1936.

Rousing entertainment is what you get in "San Francisco" and it is always a pleasure to watch as it displays the expertise that a major studio like MGM possessed at its peak in the golden era of the 1930's. Known for its perfectionist approach to all aspects of filmmaking here MGM excelled itself and created a memorable classic that has stood the test of time and will surely continue to amaze film watchers with its spectacle for generations to come.

THIS REALLY DESERVES A "6"
Now this is what all-timers must have meant when they snapped "they don`t make`m like that anymore!".
MGM`s San Francisco offers us star names, good plot and dialogue, superb photography, special effects, scenary(Cedric Gibbons), sound(Douglas Shearer, brother of Norma), music, song.... The Hollywood of 2day should look back and really learn that you just can`t throw in spcial-effects, PRAY - a n d hope for a good movie. The Day After Tomorrow is great, but sadly lacking star names like in this 1. Today - more often - the effects are the stars... It didn`t use 2 be like that(The Poseidon Adventure, Earthquake, The Towering Inferno to name but a few)...

I name SAN FRANCISCO(with Mutiny on the Bounty), the best MGM b&w melodrama of the 30s... 20th Century-Fox made "IN OLD CHICAGO" 1937 but as with the MGM musical.... NO ONE COULD TOP METRO-GOLDWYN-MAYER AT THEIR ZENITH.

THIS REALLY DESERVE A "6"
Now this is what all-timers must have meant when they snapped "they don`t make`m like that anymore!".
MGM`s San Francisco offers us star names, good plot and dialogue, superb photography, special effects, scenary(Cedric Gibbons), sound(Douglas Shearer, brother of Norma), music, song.... The Hollywood of 2day should look back and really learn that you just can`t throw in spcial-effects, PRAY - a n d have hope for a good movie. The Day After Tomorrow is great, but sadly lacking star names like in this 1. Today - more often - the effects are the stars... It didn`t use 2 be like that(The Poseidon Adventure, Earthquake, The Towering Inferno to name but a few)...

I name SAN FRANCISCO(with Mutiny on the Bounty), the best MGM b&w melodrama of the 30s... 20th Century-Fox made "IN OLD CHICAGO" 1937 but as with the MGM musical.... NO ONE COULD TOP METRO-GOLDWYN-MAYER AT THEIR ZENITH.

I COULD HAVE GIVEN THIS A 6
This is melodrama par excellance: drama, suspense, action, song, music and effects to end all effects... MGM gives us CLARK GABLE, SPENCER TRACY & JEANETTE MacDONALD in what I will call the biggest and the best of their b&w period. Now this is what the all-timers must have said when they snapped that "they don`t make`m like that anymore". Nowadays, disaster-movies seldom have star names(The Day After Tomorrow etc)- they effects themselves - are the real stars...

OK - look back Hollywood... and watch "SAN FRANCISCO": a good story, star names and production values - incredably high...It was all shot in the Metro-Goldwyn-Mayer studios:-) 20th Century-Fox tried to copy it with "IN OLD CHICAGO" 1937 but it wasn`t the same. ... Read more

Reviews (14)

Hollywood's first great sequel!
"After the Thin Man" is the second of five sequels in "The Thin Man" series. It was released in 1936, two years after the original movie, and literally takes up where the first one left off - aboard the Sunset Limited headed from New York to California.

Having had their Christmas holidays in New York interrupted by a murder mystery [much to Nick Charles' dismay and wife Nora's delight], the couple is looking forward to a quiet New Year's Eve at home. This is not to be. Their house, it seems, has a huge cocktail party going on in it. And - you guessed it - there's another mystery brewing. Nora's cousin's husband has gone missing, and scandal threatens her stuffy, socialite family. Nick could care less. He has no use for his holier-than-thou in-laws. Nora is concerned - and not a little thrilled at the prospect of another adventure.

William Powell and Myna Loy are, as always, Nick and Nora. They are one of the great screen couples of all time. Their relationship is often hysterically funny, sometimes touching, and more than a little complicated. A very young James Stewart has a meaty supporting role. The star quality is easy to see. Selma Landis is in top form as the neurotic cousin who is under the thumb of her frightfully domineering mother.

"After the Thin Man" [great sequel title!] is only slightly less entertaining than its predecessor and is certainly superior to most of the comedies of today. That superiority is due to great screen writing, true star power and a genuine zest for life that rarely is seen today - at least in the movies.

By the way, there IS no thin man!

A Worthy Sequel
Although it lacks the sharp edge of the original, AFTER THE THIN MAN is a worth sequel to THE THIN MAN, with the famous William Powell and Myrna Loy chemistry as intoxicating as one of Nick Charles' famous cocktails.

The sequel finds Nick and Nora Charles newly returned to their home in San Francisco in the wake of Nick's successful handling of "the thin man" case--only to find Norah's formidable aunt Katherine determined to keep the family name out the papers re cousin Selma's wayward husband, who has been missing for several days. Nick is accordingly summoned to track him down as discreetly as possible. But where Nick and Norah go, both murder and publicity is sure to follow.

AFTER THE THIN MAN boasts a cast equal to the original, most notably a young James Stewart as cousin Selma's former love, Jessie Ralph as Aunt Katherine, and a truly delightful Penny Singleton as Polly, the hard-knocks cabaret singer who leads wealthy husbands astray. The story is a bit convoluted, but the complications never get in the way of the film's witty dialogue, and while many may find the killer a bit obvious it doesn't prevent the film from being a great deal of fun. Recommended.

Best of the 6 THIN MAN movies!!!
The very first THIN MAN movie was so popular due to love bickering relationship between Nick and Nora. It was no doubt a treat to see a married couple pick at each other and all the while the love they shared for each other was evident to all. The murder mystery almost takes second place to the bickering between Nick and Nora. Not so in AFTER THE THIN MAN.

AFTER THE THIN MAN devotes the bulk of the story to the murder mystery. Nick, who is still supposedly retired from detective work, gets lured into another case. A relative of Nora's needs Nick to prove her innocent. The case seems iron clad and Lieutenant Abrams, portrayed by Sam Levene is sure who the killer is. Only Nick seems to be able to sift through all the circumstantial evidence and get to the real evidence. Nora dogs his every step as she attempts to convince her family Nick is a good man even if he wears a "blue" collar.

James Stewart, prior to becoming famous, does well as the rejected love interest of the accused murderer. He will do anything to help her...or will he? Penny Singleton, prior to her role as Blondie Bumstead in the BLONDIE movies and her providing her voice as Jan Jetson on the JETSONS, has an interesting role as 1930's sexy street sassy blonde. As she would tell you, she's not illiterate because her parents were married at city hall.

So, while the original THIN MAN was fresh and new AFTER THE THIN MAN has all the dents and dings banged out of the script. It is a much better and much more interesting film. It is my favorite of the six THIN MAN films.

The DVD edition of this film is long overdue.

MORE BRILLIANCE FROM NICK AND NORA
The second in the series of Thin Man films and the second best one, just a notch below the first. The story begins just days after the first movie. Nick and Nora have returned to their very luxurious home in California from New York.

They arrive home to find a house full of (uninvited) guests who are there to welcome the couple back home. They attend a Dinner party at Nora's very uptight socialite Aunt. Hilarious watching Nick interact with these old, wealthy step-relatives.

Soon, though, Nora's cousin Selma is accused of murdering her estranged husband and Nick and Nora have to step in to investigate.

This time the Charles celebrate New Years Eve with plenty of drinks at the night club of a small-time hood named Dancer. Nick is joined by a table full of his less than savory past friends who tell Nora "I don't like Dames who get mouthy afte a couple of snorts!"

Sam Levine is very funny making his first of two appearances as Lt. Abrahms. A young Jimmy Stewart is also along as the unrequited love of Selma.

As with the first, the drinks flow freely, particularly in the night club scenes where Nick finds himself the object of affection of a drunken young lady, much to the chagrin of her boyfriend.

Fantastic banter between the two stars as usual. Their chemistry was second to none. Asta is along too.

This was also, I think one of the better mysteries of all the Thin Man movies. Where is the DVD????

Still Meaningful After All These Years
Great periscope view of the thirties. Everybody wears a mustach (except the women). Humor still valid. And cocktail- drinking? sheesh! Humor still valid. Good acting. And where does one find a marriage like this? Wonderful. Take me back (altho I wasn't even a gleam yet). ... Read more

Reviews (11)

Perfect Character Actors
MGM's David Copperfield was a great opportunity to make use of some Hollywood's great character actors, and the film does so to great effect. Of course, the film is based on Dicken's famous novel, although the story is condensed. Freddie Bartholomew stars as the title character, a young boy eventually orphaned who meets a host of characters as he grows up alone. Although Bartholomew was actually one of the better child actors in film history, he never captures this character and his performance sometimes seems forced and ineffective. However, he is surrounded by an incredible group of actors playing memorable supporting characters. Basil Rathbone, W.C. Fields, Edna May Oliver, and Roland Young are all excellent in roles that only Dickens could have written. They make the movie. The film features the usual MGM production values and is well worth a look.

Most accurate representation of characters
Out of all the movies I've seen made from Dickens novels this is the one that most truly represents the characters of David Copperfield. It is a bringing together of some of the finest character actors that ever graced the screen. Any Dickens fan will love this version. W.C.Fields was born to play Mr.Micawber. Edna May Oliver was created to play Dickens.

Jane Murdstone
I would like to add that Jane Murdstone also played an excellent role as Murdstone's black sister. Did you notice the steel handbag she carries and the way she threads beads? She is quiet and deadly, always behind the back of her icy brother, ready to give him directions. I have tried without luck to get a photo of her in this role --- can anyone help?

a cherished classic
Shouldn't one of the great endearing classics from Hollywood's golden era be transferred onto DVD? Films like these are to be cherished, so Come on studios get with it, video is becoming obsolete!

A sweet movie
A really good movie. Freddie Bartholemew plays young David Copperfield, a boy who lost his father, and whose only relations are his doting mother and his spunky aunt Betsey Trotwood. His nurse Peggoty (I think I spelled it right-) Takes him on a trip to visit her relatives by the ocean. When they return, His mother has married Mr. Murdstone. (Basil Rathbone in a role that sends shivers up my spine)His mother dies, Mr Murdstone sends him away to work in London and board with Mr Micawber ,(WC Fields), Who is constantly hounded by his creditors. Micawber ends up moving, and David goes to live with Aunt Betsey. The second half (When David grows up) Is not nearly as good as the first, Its one redeeming value is 'Umble Uriah Heep (Roland Young). He is truly revolting. (As Uriah Heep SHOULD be).
I reccommend you try it. ... Read more

Amazon.com essential video

The swashbuckler had been around long before Errol Flynn drew a cutlass, but the Tasmanian-born bit player reinvigorated the genre with his mix of dashing good looks, haughty insolence, and alluring confidence. Adapted from the novel by Rafael Sabatini (who also pennedThe Sea Hawk), this rousing adventure chronicles the travails of Peter Blood (Flynn), a righteous doctor unjustly sold into slavery for treating the wounds of rebels, a kind of British Dr. Mudd. Sent to a Jamaican plantation where he toils under the brutal whip of Lionel Atwill and seethes with passion for his fair niece (the astonishingly beautiful Olivia de Havilland), he escapes from bondage with his fellow prisoners and becomes the gentleman rogue pirate of the Caribbean. Director Michael Curtiz builds from one set piece to another, including a nimble beachside sword fight with pirate nemesis Basil Rathbone and climaxing with a grand sea battle that belies the film's modest budget. Flynn's bravado and charisma are apparent from his entrance, but once he leaps into action he takes command of the picture, overcoming his still-green dramatic skills with sheer personality. Captain Bloodmade stars of Flynn and de Havilland and catapulted Curtiz to the top ranks of Warner directors. The three reunited for some of the studio's best-loved adventures: The Charge of the Light Brigade, The Adventures of Robin Hood, and Dodge City. --Sean Axmaker ... Read more

Reviews (30)

Hollywood Classic
This film starts with the 1685 Duke of Monmouth rebellion. The battle of Sedgemoor rages in the background as Errol Flynn's character is wrongly accused of supporting the rebels. King James II is portrayed as an arrogant prince, something which most Protestants of the day would have agreed with, and which Hollywood does not seem to deny. James, while detached, was not the cold hearted fool we see here. But this is only a minor point. The film has historic interest, portraying England as it does during the 1680s, the reign of James II before the advent of the Glorious Revolution which sees him removed in favor of William III of Orange and Queen Mary. The movie only touches on these political developments, but its interesting to see them as factors in the background.

The rest is pure Hollywood adventure with fiction playing havoc with fact! Still, the movie is so entertaining and classy that we don't mind a few historical gaffes. Flynn is elegant in his first major role, and Olivia Dehavland is strikingly beautiful. Hard to beleive she was only 18 when this film was made. The rest of the supporting cast may be a bit standard for a 1930s production, but they pull their weight well with all the cute touches of the day. The production value of the film appears more impressive than it actually was. The fast pace combined with clever plot makes for a classic of its kind. The French as perenial villins may strike a chord with today! For period swashbuckling, romance and class, you won't find better than here.

Blood! Blood! ......And A Film Legend Was Born
"Classic", is written all over this legendary Warner Brothers production from Hollywood's heyday in the 1930's. A fine literary source in the novel by Rafael Sabatini formed the basis for what was to become easily one of the best loved pirate tales ever filmed by a Hollywood Studio. Many (myself included) believe that "Captain Blood", is THE definitive swashbuckling adventure and contains everything to satisfy the pirate enthusiast, from a dashing leading man fighting for justice in a corrupt world,a beautiful damsel in distress to be rescued by the hero, lively swordplay, brilliantly staged sea battles, and the essential quota of villianous characters to add spice to the drama. "Captain Blood", was as well a "first", in many ways. Firstly it marked the breakthrough role for Tasmanian born Errol Flynn who was perfect for the role of Dr. Peter Blood, a man of good character wrongly condemmed to a life of slavery for helping tend the injuries of a rebel soldier in the corrupt England of James 2nd. Also this film marked the first teaming of Flynn with rising young actress Olivia de Havilland and the two went on to work beautifully together in eight films over the next seven years earning them immortality as one of filmdom's most unforgettable screen couples.

It's hard to imagine nowadays anyone but Errol Flynn in the role of Captain Blood but he was not even considered in the original casting of the film being an almost complete unknown at the time. Robert Donat was set to play the lead but had to withdraw due to illness and Jack Warner took a considerable gamble in casting the untried Australian actor in the lead of one of the studios biggest productions for the year. Once the decision was made however the rest as they say was film history as Errol Flynn swashed and buckled his way to Hollywood stardom in a stunning debut which helped make "Captain Blood", one of the years most successful films and helped gain it a nomination as Best Picture of the year. "Captain Blood", relates the story of Irish Doctor Peter Blood who is called out to tend the wounds of a rebel soldier fighting the corrupt governement of King James 2nd. Caught at the scene Peter is imprisoned as a rebel of the crown and in a sham court hearing is condemmed to a life of slavery in the infamous colony of Port Royal. Suffering brutality under the cruel Planatation owner Col. Bishop (Lionel Atwill in a masterfully evil role) Peter has the chance to escape when Port Royal is attacked by the Spanish. He forms a crew with his men and together they head out to sea on a stolen ship to become pirates with no country to call home. Very soon the name of "Captain Blood" is infamous throughout the Carribean and no ship Spanish, French, or English is safe from his looting. Making an uneasy alliance with French Pirate Capt. Levasseur(Basil Rathbone in a small but effective role) Peter finds his loyalties tested when Levasseur captures Arabella (de Havilland) the niece of Col. Bishop who Peter loves, as she returns to Port Royal with Lord Willoughby (Henry Stephenson). Fighting a duel to the death with Levasseur over Arabella's safety, Peter learns from Lord Willoughby the King James has been driven out of England and the new King William 3rd has not only pardoned Peter and his men but also offered them places in his navy. Returning to Port Royal the men find the port under attack from the Spanish and Captain Blood now fighting for King and Country in a exciting finale manages to defeat the Spanish invasion and save Port Royal from falling into enemy hands. For his great service to the crown King William then makes Peter the new govener of Port Royal much to the distress of his old enemy Col. Bishop but to the utter joy of Arabella who now plans to marry Peter at the happy conclusion.

Errol flynn had no peer when it came to these types of dashing adventure roles. His performance here and in such classics as "The Adventures of Robin Hood", and "The Sea Hawk", certainly saw him in his element being ideally cast. He teamed perfectly with Olivia de Havilland, he all bravado, masculinity and dashing energy, while she was the epitome of the demure refined young lady waiting for love. "Captain Blood", however is peopled with some other great acting talent that must not be forgotten under the bright light of Errol Flynn's screen charisma. Lionel Atwill excels as the cruel Col. Bishop in a tailor made role and character actors Donald Meek and especially George Hassell as the comical gout ridden Gov. Steed are both excellent in their smaller parts that help give "Captain Blood", some of its fine acting moments. Directed with usual high energy by Michael Curtiz, he manages to extract a marvellous performance out of the still largely inexperienced Flynn. Theirs was a definite hate relationship as the two loathed each other but by some miracle produced consistently excellent work together.The visuals of the film are first rate with the superbly staged sea battles unrivalled in their authentic look. Erich Wolfgang Korngold furnished another of his rousing musical scores that succeeds in really adding a high level of excitment to all the action secquences in "Captain Blood".

"Captain Blood", makes for ideal entertainment of the old fashioned kind and is a perfect example of Errol Flynn's great screen presence in a role idealy suited to him. Here we see him and Olivia de Havilland in the full bloom of their youthful vibrance in an exciting tale of adventure and romance,with good winning out over evil. It's Hollywood filmmaking of the old school and it is sure to leave you cheering as the good Captain romances his ladylove and fights against corruption and cruelty on the High Seas. Enjoy!

Simon Davis
Now that I have read Simon Davis' review, I dont have to watch the film?

Actually , I have seen the film a few times..and I can only add that Lionel Atwill pouts as well as any actor I have seen and Mr Rathbone begins his legacy as one of the great screen villians

CP

Shine on
Captain Blood is a great film, let alone a tremendous pirate film. There's something about the plot that has a certain resonance today as much as that of Robin Hood, namely that age-old sense of justice triumphing over rigid law and order, of robbing the rich to feed the poor. Yet Captain Blood is a little rougher edged, a little crueler in its machinations. Peter Blood (Flynn) is a well-meaning doctor who happens to aid the wrong side in one of Britain's innumerable civil wars, and is sentenced into slavery in the outer colonies along with a pack of other unfortunates. Right from the moment you see him level his icy gaze at the consumptive, soon-to-be dead Royal judge who passed the sentence, you know this party is just getting started.

Hollywood has used the 'good-man-wronged' scenario countless times since this movie, but rarely to such effect. Battered, beaten, but never broken, Dr. Peter Blood transforms into Captain Blood, the terror of the high seas that crushes his enemies without ever letting anyone affect his high-minded moral core. It was not his choice to become an outlaw, but if he has to become one, he will be the best one there ever was. Redemption, honor, and love all make their appearances in the fine script enacted by a worthy cast, but at every point Blood is a man in control of, and therefore responsible for, his own destiny. It's a great film and one you definitely should check out.

A great buccaneer epic.
I think that this is one of the greatest action - adventure films and perhaps the greatest adventure-epic film about pirates ,ever made in cinema's history. Adapted from Raffael Sabbatini's homonymous novel, "Captain Blood" introduced 26 years old Australian-born actor Errol Flynn, in Hollywood as a great star and it was the first of a movie-series that granted him the title of "swashbucklers's king".The film also created Flynn's image (solidified in the next years) as the dashing young romantic adventurer hero who always saves the day. Flynn plays the Irish doctor Peter Blood who becomes the handsome gentleman rogue pirate of the Caribbean with bravado and charisma ,appearing his great talent that made him a legend. But here we can locate some historical inaccuracy , (an inheritance of 19th century's romantic literature ) because the real pirates were quite repulsive, poor , illiterate and not fascinating and educated sea knights. The historical background on the contrary is quite accurate and very interesting. The film beggins in 1685 when Duke of Monmouth organised an unsuccessfull rebellion and portrays England during the 1680s, the reign of James II before the advent of the Glorious Revolution which sees him removed in favor of William III of Orange and Queen Mary. An other notable point is that the film portrays pro-catholic King James II as an evil and cruel tyrannical persona ,a fact that might be seen as a film's pro-protestant position on history, yet don't forget that this story is adapted from a novel and this was Sabbatini's view on historical facts.
Curtiz's direction is excellent and impressive,especially at the great terrific sea battle which is amazing. Olivia de Havilland is brilland and adorable as Flynn's sweet love interest ,with astonishing beauty. Even she is only 19 years old ,she plays her role with maturity and high professional capability. Basil Rathbone is perfect as the villain-fond of women French pirate Levasseur (and as swordfighter) using a peculiar french accent . Lionel Atwill as de Havilland's uncle is very convincing as a brutal plantation owner who finally reconciles with Captain Blood (Errol Flynn).You have also to notice the great performances by the actors who compose Captain Blood's crew. They're really charming.
A must-see high entertaining master piece epic. I give it all the stars I can . Enjoy it and love it. ... Read more

Amazon.com essential video

One of Greta Garbo's touchstone films, this 1937 adaptation of the Alexandre Dumas novel finds the actress playing a dying courtesan who falls in love with a young nobleman (a slightly miscast Robert Taylor) and must sacrifice her happiness. Directed by George Cukor (The Philadelphia Story), the supreme "women's director" in Hollywood at the time, the film could have existed just to give Garbo room to be luminous (despite her character's illness) and a great star. But it is also a gorgeous MGM production with strong performances from Lionel Barrymore and the rest of the cast. (Henry Daniell is a standout as the villain.) --Tom Keogh ... Read more

Reviews (17)

Brilliant and Timeless Love Story - a Masterpiece
I have seen many, many classic movies. I have seen the best performances of the best movie stars and I have seen all of the most respected classic films. None come close to Camille, the best movie ever made! I'm not kidding, either. This film is pure magic. The screenplay is brilliant and flawless. The romantic lines will last in your memory just as long as the beautiful images. And there are many unforgettable scenes.. Garbo drops her fan as she walks down the staircase (in a magnificent Adrian gown), as she sees the man she loves. The scene where Robert Taylor throws his money at the woman he can't have. And the single best scene in motion picture history..Garbo's legendary and tearjerking death scene. The first time I saw this movie, the end made me cry uncontrollably for half an hour. Just as magnificent are the heartfelt performances by Garbo and Robert Taylor, who is sensitive and tender, as his character should be. Garbo is breathtaking in her best role. Her lines are perfectly blended with her character, such as when she is on her deathbed and whispers, "If you can't save me, how can a doctor?" or "My heart isn't used to being happy." As they are falling in love, the lines are absolutely wonderful, such as when Taylor tells Garbo his parents were married 30 years and Garbo says, sadly, "Nobody could ever love me 30 years." People could laugh at this movie and say it is sentimental, but that just indicates lack of heart. I have never seen a movie without a sentimental script that ever inspired me to write. This movie inspired me in every way.. It inspires us to be more compassionate towards each other and live to love. This is the most effective love story ever told, and this 63 year-old film still breathes life into a 150 year-old story. Why? Because it is timeless. A story is only old if the artists think so, but this film is a masterpiece. It will always be my favorite movie.

Little bit on the boring side....
Yes, I just saw this movie tonight at the Metropolitan Museum of Art as a tie-in to its exhibit on MGM costume designer Adrian, and I was surprised to find myself getting restless.

I think there might be too many scenes in the beginning that are similar, when boytoy Robert Taylor keeps trying to convince jaded courtesan Greta Garbo that he can love and take care of her better than anyone else. In movie shorthand, this should've been established with just one scene. It's a Cukor film, and looks it. By that I mean, Cukor somehow managed to make his movies look antique--just think of Hepburn's "Little Women" or Bartholomew's "David Copperfield". A tad treakly and too soft focus not to sit 100% right with present-day viewers.

But that's not to say that "Camille" is a bad movie, because it's not. Garbo gives a very interesting performance as Marguerite; she does a lot with her eyes in the early scenes to convince us she's got some kind of interior life going on. Laura Hope Crews offers good support as her flighty friend Prudence--hard to believe it's the same woman who played Aunt Pittypat in "Gone with the Wind" a few years later. Best in show: Henry Daniell as Marguerite's lover the Baron. Now, we're supposed to see him as an ogre, I suppose. But really, she IS trying to play him for a chump and cuckcold him with Taylor's Armand, so I must side with the Baron on that one, for self respect. Daniell puts over cynical acceptance of things like the pro he is.

And about that tie-in to the Met: These costumes are truly outstanding, not just for Garbo but for every woman in the movie. Exquisite, every one of them! Dying of consumption may not be fun, but it sure is something to look at clothes-wise.

Great Garbo--The Rest , well . . .
Greta Garbo is so good in this film, so witty and touching and appealing, that it's easy to forget how ordinary much of the surrounding film is. To be sure, it was given a lush budget and Henry Daniell, as Garbo's "patron" of the moment is almost as accomplished and touching as she (how much more interesting; a love story between two people who are prevented by convention from admitting the fact, even to each other), but Robert Taylor's perfromance is as stiff as his collars, the rest of the cast is little more than competent, and George Cukor's direction confirms that he was much luckier in his casts than they were in getting him as a director; Vincente Minnelli actually got a performance of sorts out of Lana Turner--a few years earlier Cukor did little more than make sure the lighting was flattering and that Turner didn't trip over the furniture. Fortunately, Garbo had no such problems, and her performance makes Maguerite Gautier one of the wittiest and most appealing characters in film history, and when she dies at the end, she makes you feel that a little bit of what makes the world good left with her--not a bad accomplishment, that.

Inspiration for Baz Lurhman's "Moulin Rouge," perhaps?
I thought Camille was a very good movie. Greta Garbo is stunning as always, and I really liked Robert Taylor as her love interest. As I was watching the movie, I couldn't help but notice some startling similarities between this film and the more recent, Moulin Rouge, starring Nicole Kidman and Ewan MacGregor. Some lines in Camille sound almost exactly like one's in Baz's flick, and Greta's character, Marguerite, does resemble Nicole's Satine; at first, they seem over the top party animals, and then you realize they're regular, sensitive girls (and they both have a fatal illness). Also, the Baron in Camille is quite a lot like "the Duke" in Moulin Rouge.
Anyways, sorry for the rambling. I recommend you see this film. Especially if you enjoyed Moulin Rouge!

"You will never love me thirty years; no one will"
Quite by accident I saw this film and "Bridget Jones Diary (2001)" on consecutive evenings; both are about women of a similar age with somewhat similar dilemmas. Their approach (as films), however, is two generations apart--with the contemporary one rather shallow, the former (Camille), more idyllic and, in my opinion, more satisfactory.

Camille (an odd title--flowers?) is about Marguerite Gautier (Greta Garbo), a Parisian woman of the 19th century torn between love and money. The main attraction of this film is its romance. Robert Taylor, as Armand Duvall, shows undying love to Marguerite, in spite of his occasional jealousy. She, who initially resists his advances because she is practical and worldly, is eventually taken by his devotion. Armand's father (Lionel Barrymore) intervenes--leading to a sacrifice by her, and, eventually, tragedy.

The Baron (money), is a superbly-played character and not so hateful as many reviewers imply. He, too, makes a noble sacrifice. There is a great scene where he plays an incredible piano amidst a very tense moment.

This film, because of its age, may not seem readily accesible to the contemporary viewer. But in spite of such it did not take long before this viewer was sold on watching it all. "Camille" is well done and, for those who really like romance, probably a classic film. ... Read more

Reviews (3)

Sparkling MGM Comedy Of Jewel Thieves In High Society
"The Last of Mrs. Cheyney", in my opinion epitomises everything that MGM represented at it's peak in the late 1930's. Based on the famous and often revived stageplay by Frederick Lonsdale, we have here the perfect star vehicle for a highly sophisticated Joan Crawford at the peak of her artistic and glamourous film stardom where we find her yet again moving in levels of society above where she originated from. In this film Joan Crawford's legendary "shop girl", characterisations really came of age in a delightful confection dealing with "street smart" jewel thieves in high society who realise they are not as smart or indeed as street wise as those high society "dupes" they are prepared to fleece. The "MGM", look is rounded out by leading men William Powell (in his only appearance with Joan Crawford), and Robert Montgomery and with a beautiful class "A", production with careful attention to detail expended in every department. Indeed "The Last of Mrs. Cheyney", despite it's strange lack of success at the boxoffice in 1937, provided Joan Crawford with a refreshing change of pace which she handles very well indeed and illustrates the development in her acting abilities since her famous efforts of the early 1930's such as "Grand Hotel", and "Sadie McKee".

The famous play which this film was based on has seen many revivals including an earlier 1929 film version starring Norma Shearer and Basil Rathbone. That version was very successful however in terms of top production values this 1937 version is far superior. Joan Crawford plays Fay Cheyney, an American woman who travels easily in British high society. She possesses all the manufactured refinement, poise and conversation skills to win over the jaded aristocrats and "old money" crowd who when she has won their trust, proceeds to relieve of their ancestral jewels. In her schemes she is aided by her "butler" Charles (William Powell) and a ring of no good types intent upon making themselves rich via Fay's ability to win the trust of England's titled gentry. Setting up residence in London Fay catches the eye of young Lord Arthur Dilling (Montgomery) and elderly Lord Francis Kelton (Frank Morgan)both of whom will be at a lavish weekend party at the country residence of the Duchess of Ebley(a superb Jessie Ralph), who happens to have a valuable jewelry collection. Seeing this as the possible heist of the century Fay manages to be invited for the weekend by charming the Duchess. Fay considers herself above the titled group around her and touchingly sees herself as "a respectable adventuress rather than a criminial"! Carrying off a beautiful and rare pearl necklace however Fay is caught in the act by Lord Arthur who has his own terms and conditions about whether to turn her into the police. Just as Fay is about to abandon her "calling in life" and go away quietly with Charles who also loves her and is very protective of her welfare, highly embarrassing love letters written to Fay by an ardent Lord Kelton are revealed which turns the tables on the priviledged group assembled at the house by painting them in a very unflattering light and showing them to be no better or trustworthy than the jewel thieves currently in their midst. With this solid gold evidence in their hands Fay and Charles threaten to reveal all to the police and the courts upon which to save face a very hasty solution is found to "everyone's" satisfaction", that also sees Fay happily settled afterall with Lord Dilling in a respectable life as Lady Dilling that will definately see "the last of Mrs. Cheyney".

Despite Joan Crawford's shaking standing in Box Office terms in 1937 this film was an all out effort by MGM to provide her with just the right property to hopefully restore her standing in Hollywood. Joan had to wait for 2 more years and the role of Crystal in "The Women", for that to happen but "The Last of Mrs. Cheyney", is a respectable film sadly not well enough known today. It boasts all the expected MGM polish as became an "A" class production at this time. It combines superb art direction and settings courtesy of the celebrated Cedric Gibbons, wonderful costumes in particular for Joan by the legendary Adrian who was always expert at creating clothes for high society settings of whatever age. The supporting players alone could have earned MGM the title of having more stars than there are in heaven in particular Jessie Ralph as the no nonsense Duchess who takes a shine to Fay, Nigel Bruce as befuddled Lord Winton, and Benita Hume, Ralph Forbes and Aileen Pringle lending their always excellent support to the proceedings. The film was marked by tragedy and potential crisis during production when veteran director Richard Boleslawski suddenly died before the film was completed. Although he received sole billing as director of "The Last of Mrs. Cheyney", in actual fact the chore of completing the film was handed to famous female director Dorothy Arzner who took over the direction for the last few weeks of production. She would team again with Joan Crawford in both women's next film "The Bride Wore Red".

As a typical product of late 30's sophistication "The Last of Mrs. Cheyney", makes wonderful entertainment revealing a world removed from day to day reality with no thoughts of war or depression evident. Joan Crawford and William Powell might not be the most memorable screen team in MGM's history however their work together is polished and offers an interesting variation on Powell's work in particular with more regular co stars like Myrna Loy. Enjoy Joan Crawford as a female "Raffles" finding love in high society in the glossy "The Last of Mrs. Cheyney".

CLASSIC CRAWFORD
This movie actually contains a superior Joan Crawford performance. A beautiful example of a "class picture" from the M-G-M of 1937, this movie - surprisingly - wasn't quite successful enough on its own to pull Crawford out of the "box-office poison" category which plagued her in the late thirties. The movie is based on the Frederick Lonsdale evergreen, which was filmed previously in 1929 with Norma Shearer; the critics mostly agreed that this version was a definite improvement. Crawford got special praise for her smooth comedy playing (although she and Bill Powell had an odd chemistry) and the supporting cast was generally excellent. The Leon Gordon-Monkton Hoffe-Samuel Raphaelson script for producer Lawrence Weingarten made few alterations to the play about jewel theives in high society.... Director Richard Boleslawski, died suddenly while the film was still in production.

Joan Crawford shines as jewel thief who meets her match!
I would not consider this movie "dated" in 1999. The cast is superb with Crawford and her partner in crime Powell planning to endear her to a wealthy family,so she can steal their jewels. Crawford does not know all the pitfalls she will encounter-some hilarious ones at that. Robert Montgomery proves Crawford's ultimate test. Can she give up her exciting but shallow life of crime for him, or will he turn her in if he figures out her ploy. Watch it and have fun seeing it all unfold. ... Read more

Reviews (18)

The Blue Bird
As a small child I remember seeing this lesser-known movie, and it so impressed me that I wanted our small grandchildren to see it. I hadn't seen it since then, so I watched it again to make sure it was as I remembered. I know that when our "grands" come soon, they will enjoy it as much as I did years ago. Shirley Temple was magical little child, and the story line is unusual for a Shirley Temple movie in that it is a fantasy tale. I heartily recommend it for small children!

"The Blue Bird means Hapiness"says Berri Lou
This is my favorite Shirley Temple movie and I being a lover of "The Wizard of Oz," I fell in love with "The Blue Bird" also. I love stories that have fantasy plots and adventures of young children seeking love and/or happiness. The characters in the story are very creative and loveable-except for the mean Tylette and the greedy Luxuries. The setting is beautiful for being an early 1940's picture. I'm a big fan of Shirley Temple and love anything she does, but this is my favorite all time movie of hers. If you have children or are a child of the heart, rent or buy the movie from the trustworthy Amazon.com. If you miss out on this movie, you are missing out on a classic picture.

Sub-par attempt at Wizard of Oz
I previewed this movie for my 5 year old after all the great reviews I saw on Amazon... This movie has poor production. The shifting from black and white to color was not explained but just happens.
Then it is down right scary!
Walking across the grave yard at midnight comes out ok but I'm curious Why can't light go with them? No real reason is given.
the script is poor and pathetic. The lines these children were made to say makes me shutter...
Someone raved about the grandma scene.. It teaches your child to think Grandma is only "alive" when you think about her. Yuck! Why lay that burden on a childs' shoulders.
Oh and BTW all babies are pretty and caucasion before being born.
The big fire scene is really frighting.
Not to mention the script writer must have hated cats!
This is not a movie for Cat lovers.
I can understand why I had never heard of this movie.
The production writing and acting leave a whole bunch to be desired.

Grandmas house
when i was younger and i would visit my grandmas house, before bed i got to choose a movie to fall alseep to "The Blue Bird" was always my choice. the movie was filled with imagination and wonder. i fell in love with it the first time i saw it. now that my grandma has past away i want my own copy. not only because its my favorite movie, but because there will always be great memories with it.

A Remarkable film
"The Blue Bird" Has to be one of the most beautiful and underrated films ever made. I am also a big fan of "The Wizard of Oz" But Iv always felt that The Wizard of oz was not a childrens due to it's scary scenes and I for one used to be very afraid of it. I could never just sit and watch it because I would always be worried about one Scary Scene after another. With The Blue Bird you can sit back and relax while your chiled gets a good clear useful message from the film. I advise any parent to show there children "The Blue Bird" before showing the Wizard of oz. ... Read more

Amazon.com essential video

High on the list of W.C. Fields's achievements is this 74-minute feature from 1940, rich in his brilliantly rambling inspiration. Fields plays Egbert Sousé (pronounced Soo 'zay, of course), who manages to foil a bank robbery, tilt a glass in the Black Pussy Cafe, and marry his daughter to Og Oggilby (Grady Sutton) before the closing credits. Maintaining his usual and deliberate half-step behind the rest of the world, Fields's characteristic persona gets a truly worthy movie here that always seems, wonderfully, to be on the verge of racing ahead of him. --Tom Keogh ... Read more

Reviews (25)

This is Just Too Funny
This is the second best Fields film (after It's a Gift) and it's similar in that it casts Fields as the lovable drunk with an absolutely hateful family. From the almost surreal episode directing the movie to the eye-poppingly ridiculous chase scene, this one is pure comic entertainment. One side note: it's sad and not a little scary how bloated and tired the Great Man looks in this compared to just six years earlier when It's a Gift was released

a fine example of slapstick comedy
This review is for the Criterion Collection DVD edition of the film.

W.C. Fields stars as Egbert Sousè (Pronounced as "Soosay" but mispronounced as "souse" by many of the people in his town though he is also a souse) a husband who is constantly critized by his family for his drinking and smoking. He lated inadvertently catches a bank robber and is offered a job as a guard at the bank.

The acting is what one would expect from comedy films of the time, and has a cameo role by Shemp Howard best known for his work as one of the 3 stooges.

This is W.C. field's last major film role. The DVD has no special features.

Pretty Good for Sketch Comedy
If this had been made 20 or 30 years later, it would have been great television stuff like Monty Python or Benny Hill. Essentially plotless w/ Fields careening around. Fun but no reason to own it.

W.C. Fields is too funny...
this movie may cause you to lose faith in the possibilities of comedy in the new millenium. W.C. Fields was the best curmudgeon ever and this is one of his greatest films. His wife and his children hate him. Only his friendly neighborhood bartender (played by 4th or 5th stooge, Shemp Howard) loves him. As usual, W.C. gets himself into loads of trouble and finds a way to get out of it with a bunch of money. The final chase scene is rivaled only by It's a Mad, Mad, Mad, Mad World, What's up, Doc?, and Seven Chances in it's superfluity of gags and danger.

Watch this movie....or die!

Essential W.C. Fields DVD
The Bank Dick is pure Fields and the best of his feature films (with My Little Chickadee a close second). The comedy is timeless; most of the jokes, although written 60 years ago , are relevant today. Supporting cast is brilliant. A must have for all classic comedy fans. ... Read more

Reviews (9)

Hugo's Classic Brought To Life
Fredric March stars as Jean Valjean, a poor man sent to the galleys for stealing some bread for his sister and her child. After the hardships of his imprisonment, he is naturally a changed man, but he reforms himself and becomes a productive, highly respected citizen. In doing so, he violates the terms of his parole, and for that he has Charles Laughton, a police inspector, on his trail. Although the pursuit anchors the film, there is more going on here, as the dignity and rights of all men, rich or poor, convicts or not, is also a strong theme of Victor Hugo's novel and the film. March is excellent in his role, undergoing a number of physical transformations, while always conveying the honesty of the character underneath it all. Laughton is forceful as ever, this time as the inspector that is blinded by the law and cannot see the humanity behind the actions of others. The film has a number of chase sequences accompanied by music that will certainly remind viewers of a silent film. I don't know anything about the director, but I suspect he may have come from that era. The script weaves together the various elements of the story well, and viewers will come away from the film quite satisfied.

Casting carries this one
Although not 100% true to the book, this version of Victor Hugo's tale becomes a classic due to the casting of Frederic March and Charles Laughton. Watching this version, I literally can not imagine a better choice for Valjean and certainly for Javert. March makes a brilliant transition from a viscious ex-convict to the compassionate mayor, and Laughton just gives me chills. Because this film was made in the early 30's, the acting is EXTREMELY overdramatic and dialogue poorly delivered by the supporting cast. Also, the lack of technology prevented music and dialogue from existing simultaneously in the film (with the exception of one chase scene). This was a very expensive process back then. Overall, I believe this film will be cherished more by fans of the actors rather than by fans of the story. There have been more elaborate versions of Les Miserables since then. The best version I have seen is the one with Liam Neeson and Geoffrey Rush. I have not seen Depardieu's version.

(**P.S. For you nostalgia buffs out there: When Valjean leaves the Bishop's house, if that "Ave Maria" sounds familiar, you may remember that being used in Robert Donat's Count of Monte Christo made approximately the same time.)

A bit stodgy and stagey, but worth seeing...
This 1935 version of LES MISRABLES has interesting cinematography (the sewer scenes have Valjean and Marius traversing a near-mythological underworld) and fairly solid performances by March and Laughton (who leaves no scenery unchewed, but is still effective). Still it seems dated and very stagey--with that early-talkie sense of there being a little too much dead air. One senses the limitations of the cinema of the era, although we're only four years away from such (technicolor) splendors as "Gone With the Wind" and "The Wizard of OZ." The art of movie-making must have been growing by leaps and bounds in these years. Well worth seeing as a slice of cinematic history. Admirers of Hugo's novel can, with some justification, complain about its treatment of the classic tale, but compared to more recent cinematic attempts at realizing the author's vision, it holds up rather well.

Riot Act
I can't believe what they did with the barricade scenes. The noble cause of the students and the lower classes was turned into a riot, and those same students were pictured as "Rebel Without A Cause" louts stirring up trouble. Now, I understand, this was the '30s, Depression Era, the government did not want anyone getting any ideas about revolutions, but this character assasination saddens me. And by the way, people, Les Miserables is about far more than Javert chasing Valjean. It's about freedom, and hope, and opression, and guilt, all those universal topics all of us face every day of our lives. You can't get all the feeling of the book in any of the adaptions, save perhaps the musical, the only version where the writers obviously read the unabridged book. So take my advice, forget the movies. Go see the musical and read the book instead. You won't regret it.

Unforgettable
Ironically, I too saw this film in French while attending a Franco-American high school at a local museum and I have been searching for it ever since (15 years ago). Hopefully, this is the right one. I have always been disapointed watching other versions of "Les Miserables" because of this film. ... Read more

Reviews (17)

Love Among The Ruins
Clark Gable stars as Barbary Coast club owner Blackie Norton who doesn't believe in God - only in taking care of himself. Priest Spencer Tracy knows that his old friend has a bigger heart than he lets on, especially when singer Jeanette MacDonald enters the scene as the classy, proper, opera -rained singer who captures Gable's heart. As MacDonald finds herself caught between Gable and his enemy Jack Holt, everyone finds themselves in peril when the great San Francisco earthquake of 1906 hits. The love story is ridiculous, as MacDonald switches allegiances more often than she changes clothes. She's a bit over-ripe as the confused singer and her singing begins to wear out its welcome toward the end. Gable is strong in the kind of role he did often at this point in his career. Tracy, too briefly seen, is a tower of strength and honesty. Although the script lacks depth in plotting and characterization, the film is watchable. The best parts of the film deal with the quake and its aftermath. The special effects and the atmosphere created are definitely impressive. The film's moral message falls on you like a ton of the falling bricks from the quake, but then again it's the spectacle that drives this film.