Reviews (30)

Reel History: Johnny Tremain
Nostalgia compelled me to rent Disney's 1957 adaptation of Johnny Tremain. I remember seeing the film in grade school and indeed, some of the visuals from those early screenings left an imprint on my mind whenever I heard the terms "colonial life" and "Revolutionary War." Part of that, I think, is because Johnny Tremain (the movie, not the book) makes the era (1773-1775) seem like a great place for a 10-year old boy to seek adventure and take potshots at the villainous Redcoats. It's a glossed over (some would say "dumbed down) version of Esther Forbe's classic book, and unfortunately, the film, and not the book, is often what many educators choose to incorporate as part of their curriculum when teaching students about the origins of the Revolutonary War.
Aside from that, the film is classic in the Disney sense. Ever notice how 1950s and 60s Disney movies have a distinctive "look" all their own? As a "History Lite" lesson, I suppose the film works on some level. Most of the actors are fine, and some of the set pieces are also nice. The Lexington sequence near the end of the film is probably where young people will begin to pay more attention. Teachers for 6th grade and up might do well to consider Esther Forbe's book over the film, or perhaps "April Morning" by Howard Fast. PS - It's interesting to look at Johnny Tremain and consider that it was made in 1957 with the Cold War in full swing. The Cold War is something that most kids today cannot fully relate to. In the 1950s, Disney no doubt had the current political climate in mind when Johnny Tremain was produced. Youth, freedom, political principles and ideology are recurrent themes throughout the film, and the Revolution serves as a metaphor, ever so subtle, for the struggle against the Reds as well as the Redcoats.

An enjoyable Disney rendition of the cause of the Revolution
This is an enjoyable Disney rendition of the causes of the American Resolution. No, it may not be faithful to the novel, and some of the historical events may not ring true to how they actually happened, however I am sure Disney did not intend them to be. This movie was made in 1957, the same time frame that Davey Crockett played by Fess Parker was made, America was caught up in patriotic fever and Disney was more than happy to serve this up to the viewing public. I did enjoy this movie, and the overall theme it was trying to portray, such as freedom from tyranny, the rights of every man from the wealthy to the silversmiths apprentice. This may not be a movie to analyze the Revolutionary War with, however it is a great starting point to discuss the Revolution with young ones, and those who do not know very much about the American Revolution. An enjoyable film that is recommended to those who like Disney and "light history".

Very Good Movie!!!!
This movie was different than the book for sure, but it was very good. My sister and I bought this movie and we were very satisfied. Excellent casts, great history. This movie deserves five stars, but don't expect it to be like the book.

Weak link
the movie stunk. First of all the movie had all the details mixed up and how could u not have the Famous John hancock or laviinia Lye as a character.In stead of Dove there id some guy named caleb. talk ABout disney making movies they cant meake anything true. i REGRET I BOUGHT IT. 50% OF THE MOVIE WAS ALL mixed up stuff, totaly differnt from the book and the other 30% was bad quality effects even for an old video released.

not good...for shame*tisk**tisk*
I wasn't even a fan of the book, but I know that this movie is terrible. This movie has no elements from the book and this movie hardly deserves a star
My I.Q. (117) plummeted to room temperature....*tisk* ... Read more

Amazon.com essential video

One of the first Hollywood films to deal openly with white racism toward Japanese Americans during World War II, this drama directed by 1950s action maestro John Sturges (The Great Escape) stars Spencer Tracy as a one-armed stranger named MacReedy, who arrives in the tiny town of Black Rock on a hot day in 1945. Seeking a hotel room and the whereabouts of an ethnic Japanese farmer named Komoko, MacReedy runs smack into a wall of hostility that escalates into serious threats. In time it becomes apparent that Komoko has been murdered by a local, racist chieftain, Reno Smith (Robert Ryan), who also plans on dispensing with MacReedy. Tracy's hero is forced to fight his way past Smith's goons (among them Ernest Borgnine and Lee Marvin) and sundry allies (Anne Francis) to keep alive, setting the stage for memorable suspense crisply orchestrated by Sturges. Casting is the film's principal strength, however: Tracy, the indispensable icon of integrity, and Ryan, the indispensable noir image of spiritual blight, are as creatively unlikely a pairing as Sturges's shotgun marriage of Yul Brynner and Steve McQueen in The Magnificent Seven. --Tom Keogh ... Read more

Reviews (22)

Magnificent movie, Tracy is brilliant
Spencer Tracy delivers yet another outstanding performance in this under-rated sleeper. He is mesmerizing as the one-armed MacReady, ably supported by the devious Robert Ryan and Ernest Borgnine, in a role rivaling his vicious "Fatso" characterization in From Here to Eternity.

However, the original cinemascope format does not translate well in this version and a wide-screen format is necessary to do justice to the film. In many scenes, one or more of the actors are cut out entirely from the frame which is irritating and distracting. In several moments, we hear Tracy's voice but he is nowhere to be seen on screen because of the limitations of a TV screen format.

It's good to see this film finally getting the recognition it deserves for an excellent script (years ahead of its time) and a stellar performance by the inimitable Spencer Tracy.

An underrated film driven by stupendous acting
Although well directed by John Sturges, this film set immediately after the end of WW II is driven by great performances by a great, great cast. Spencer Tracy's role as the one-armed John J. Macreedy, who has come to Black Rock to deliver a war medal to the father of a Japanese-American hero who died fighting in WW II, is sufficient by itself to have made this a great film. But luckily, it features several other stellar performances, including several of the best tough guys in American film history, Robert Ryan, Lee Marvin, and Ernst Borgnine. The cast is rounded out by the extraordinarily beautiful Anne Francis (a beautiful and not untalented actress who despite a long career never managed a break out role that might have propelled her to stardom), the reliable Dean Jagger, and the great Walter Brennan.

Although John Sturges is known as a great action director--and this film does have some great action sequences near the end--this film is driven by interpersonal conflict and confrontational dialog. Nearly every line spoken by one character to another seems to contain a mystery or a threat. As a result, there is an edge to this film from beginning to end. The script is brilliant, with a good mystery but even better dialog.

It is impossible to overpraise Spencer Tracy's performance in this one. He is always completely natural in his acting, but no less so in this film playing a one-armed man. He hardly comes across as someone with a handicap, but a tough-as-nails force of nature. As tough as Ryan, Marvin, and the others are in the movie, Tracy can match them grimace-by-grimace.
I'm not sure why this film isn't better known than it is. Given the quality of the performances and the stature of the principle actors, you would think it would be a mainstay on TV and rental shelves. Anyone unfamiliar with this film should do him or herself a favor and get it as soon as they can.

Sublime work
The intolerance has not political color , identity card and it has not related with a specific nation.
Bad day... is a dark and bitter story in a small town about a murderer . The victim is a japanese citizen , killed by a leader who hated all men who came from the Eastern World .
Far beyond the horrors lived in WW2 , the hate still remains in the heart the soul and the memories of this little community who decides "to clean" the town from this japanese disease.
Spencer Tracy will be sent to investigate the sudden dissapearance of this japanese citizen.
Knock out performance of Spencer Tracy and unforgettable punch from Robert Ryan. Lee Marvin plays a little role.

Good Day at Black Rock
All the negative comments made below by "almond cakes" are accurate. However, the film is extrememly enjoyable in spite of the "flaws" he mentions. I can't imagine these events actually taking place, but wouldn't that logic also apply to Star Wars? And The Wizard of Oz. And The Terminator? And thousands of other movies where credibility is stretched a little? John Sturges and the cast he directs are sensational in this movie. Though some of the events depicted may seem far-fetched, I don't mind going along for the ride. It's well worth your time, if for no other reason to see Spencer Tracy upstage a whole bunch of very talented actors competing with him for attention. Tracy shines brighter than the rest without even seeming to try.

Stands the test of time...
Spencer Tracy's performance is bombproof in this tale of bigotry and hatred. It is a universal story that will stand the test of time by illustrating how xenophobic behavior is allowed to fester in small towns, (and in small nations). It is admirable that it was made in 1955, only a decade after WWII had ended.

If you're a movie fan, it is hard not to be in awe of the tension that is created in this story. The determination of John J. MacReedy (Spencer Tracy) is remarkable as he persistently probes the town's inhabitants to find out what happened and then tries to save himself when he realizes what probably did happen. The brief fight scene with Borgnine in the 'restaurant' is realistic and highly satisfying.

The reviewer on this page who thought the story was hokey and flawed might be more satisfied watching something like 'Flubber' because they obviously weren't getting the message...

Tracy was nominated for Best Actor for 'Black Rock' and was up against James Dean, but ironically lost to Ernest Borgnine for his role in 'Marty.' ... Read more

Description

Academy Award-nominated biography of Franklin Delano Roosevelt from the time he was stricken with polio to his presidential nomination at the Democratic National Convention.Starring Ralph Bellamy, Greer Garson and Hume Cronyn. ... Read more

Reviews (2)

ONE DETERMINED INDIVIDUAL
Having read several biographies of FDR, I reached the conclusion that he was a very extraordinary individual. This story, however, regarding his paralysis, shows us what a truly great man he was. The fact that he was very wealthy and could have easily faded away into obscurity living a life of ease and comfort is another example of his greatness. Everyone who was both a principal actor did a magnificent job of portraying characters who were then a part of the recent past and did so with genuine respect. I recommend this movie to anyone whose interest in Mr. Roosevelt is like mine....passionate!

Wonderful Docudrama!
This movie is one of the best ever. Franklin Delano Roosevelt got infantile paralysis (called poliomyelitis, or polio) while vacationing at his family's summer home at Campobello, in August 1921. Although totally paralyzed by polio, FDR gains back the use of his arms. To the outside world, he appeared almost able bodied when in reality he was unable to walk unassisted: either with his crutches (and braces) or on the arm of someone (usually one of his sons). He mastered the art of appearing robust and healthy. Though unsure that he could deliver the 1924 nominating speech standing up, FDR assures Governor Smith: "You certainly can't make an effective speech sitting down."

The movie gives a glimpse into FDR's life as he deals with the truth of his disability. He faced many challenges, defeat, and ultimately despair as he tried in vain to strengthen his flail legs as he had his arms. FDR was lucky to have the support he needed to get on with his life. The press also respected his privacy to a greater degree than is possible today.

The movie, which I believe was filmed at Hyde Park in NY, shows ramps that FDR needed in order to get around in his wheelchair. You also see FDR's challenge to master his heavy metal braces which were admittedly hard to fit and often uncomfortable. And, you see the pride FDR felt after learning how to pull himself upstairs by upper body strength and sheer determination. Even though his mother was not at all as impressed with his "accomplishment."

It is a story of challenge, defeat, and even despair leading ultimately to victory and confidence. It is a very good look into the life of a great and respected world leader who went on to be elected president for four terms.

Great family viewing! ... Read more

Amazon.com essential video

Yes, it's true: you can virtually see Humphrey Bogart and Lauren Bacall falling for each other in this Howard Hawks variation on Casablanca but adapted from--as legend has it--Ernest Hemingway's self-declared "worst novel." (The story goes that Hawks told Hemingway he could make a movie of the author's least work, and Hemingway gave him the rights to this story.) The script by William Faulkner and Jules Furthman actually makes this one of Hawks's and Bogart's most interesting and often exciting films. Bogart plays a boat captain who reluctantly agrees to help the French Resistance while wooing chanteuse Bacall. Hoagy Carmichael, wry at the piano, adds a delicious accent to an already wonderful mood. --Tom Keogh ... Read more

Reviews (53)

HEMMINGWAY'S SAGA HITS THE BIG TIME!
"To Have And Have Not" is the film credited with launching Lauren Bacall's movie career. Under a personal and exclusive contract to director, Howard Hawks - who evidently hoped for a more personal involvement with his young find - Bacall disappointed her mentor by falling for, and eventually marrying, Bogart instead. In the film she plays Marie 'Slim' Browning, a pickpocket and girl about town who crosses paths with Harry Steve Morgan (Humphrey Bogart). He's a sea captain in Martinique who is double crossed by his most frequent fishing patron, Johnson (Walter Sande). However, before Steve can collect on their debt, Johnson is accidentally killed by a stray bullet. But a financial reprieve comes by way of nightclub owner and supporter of the resistance, Frenchy (Marcel Dalio). If Steve can water taxi Frenchy's freedom-fighting friends to safety his pay off will be substantial. Like most of Warner's adventure films of the period, its not the story, so much as the atmosphere that makes up the sum of this film - though in this instance - no less than literary giant, Ernest Hemmingway, was responsible for the framework on which the film's plot is based.

Again, Warner outdoes the competition when it comes to remastering their catalogue of great films for the DVD consumer. The gray scale is outstanding and fine detail is rendered with remarkable clarity. Blacks - for the most part - are black. The stock footage - used during the fishing trip sequence - is obvious, riddled with excessive grain and slightly out of focus rear projection. However, that's to be expected. The rest, as they say, is the stuff that dreams are made of! The audio is MONO but cleaned up and very well balanced.
Warner gives us a featurette that, although short, covers a lot of ground regarding the film's production. There's also a Warner Brothers cartoon and the film's original theatrical trailer.

You can't afford to not have this
I think that the1944 classic "To Have and Have Not", which features one of Humphrey Bogart's best roles as Harry Morgan, the film debut of Lauren Bacall as "Slim" and an excellent supporting role by Walter Brennan as Eddie, Harry's drunk friend, is a great movie. The dialogue in here is sharp and witty, the most famous being said by Slim to Harry: "You know how to whistle, don't you? You just pucker your lips and blow". A personal favorite of mine is Eddie's question to about half the other characters in the film: "Was you ever stung by a dead bee?"

However, while I don't really hold it against this film, a lot of plot elements in here reminded me of "Casablanca" (And, though officially based on Hemingway's novel, some say this was actually a remake of that film). It is mostly in the plot details: Harry Morgan is a refuge from America and refuses to get involved with the work of some Free French fighters. But he eventually decides to but only for the personal needs of himself and another runaway (Slim). Harry, like Ric Blaine, also has to leave at the film's end. The locale of Martinique is a strange and exotic one, much like French Morocco. There is also a club called Hotel Martinique that reminded one a lot of Rick's Café, such as a pianist (A major difference between the two places is that Morgan doesn't own the Hotel and the pianist is caucasian)

But remakes of films are very common and this movie breaks no laws by replicating another movie. I must also say that while this movie is worth watching on video or television, the only one you need to have is the DVD, whenever that'll be released.

An H & H production
The success of this picture was apparently a little embarassing to the legendary director Howard Hawks. He and author Ernest Hemingway cooked it up during a hunting trip, according to Hawks, in trying to make a picture out of the author's novel. They ended up with a story that ends where the novel begins, and a title that has no bearing at all on the movie. Hawks refused to admit the two of them had been influenced by "Casablanca," but that's baloney, the parallels are just too strong. Nevertheless it's a fine picture, like a variation on an earlier theme of music. Bogart and Bacall have their famous meeting, some Vichy French types on Martinique take the gaff, and what is there to say about Walter Brennan, the greatest character actor in American movies? Just another day's incredible work. The real novel was later converted into "The Breaking Point" with John Garfield.

Works because of Bogie and Bacall's chemistry.
In my opinion, this movie's story is not all that interesting or original. As it's been said many times, To Have and Have Not is essentially Casablanca's twin sister, and bares almost no resemblance to the Ernest Hemingway novella. But despite it all, I must say that I prefer this movie as opposed to the other.

What makes this movie so good are three things: the writing, the acting, and the real-life chemistry between the supercouple of the time, Humphrey Bogart and Lauren Bacall. The screenplay has perhaps some of the most clever and memorable one-liners in movie history. In fact, this is the movie that produced the now-cliche saying "You do know how to whistle, don't you...just put your lips together, and blow," as well as the lesser-known but sure-to-bring-chills "It's even better when you help," sdaid after Bacall kisses Bogart. The acting is extremely good, especially since both the leads can be very cold and distant one moment, and very warm and sweet the next. Finally, as this movie will always be remembered for, Bogart and Bacall are clearly falling in love as the story is going, a case of art imitating life. The sexual tension in the beginning can be cut with a knife, while the true love in the middle and end is nothing short of romantic and touching.

To Have and Have Not is a quintissential example of the stars making a subpar story into one of the most romantic films of the era. This is the perfect start in exploring the world of Bogart and Bacall, and perhaps the best of their four films.

The first meeting of this immortal couple
Bogart in his well known of anti hero owner-operator of charter boat in wartime Martinique.
The essential inner values about the freedom however don't tie Bogart with anyone except for himself. The overwhelming presence of Lauren Bacall makes this film a winner match between the growing attraction she awakes in our no land anti hero and the fight against the enemies forces.
This is not precisely a film noir due the happy ending. But the script is dazzling with the Hawks's camera flowing through the viewer.
And instead the fact we are talking about a sixty years movie , this one hasn't got old.
Watch this legendary picture. One of the best works in that year. ... Read more

Amazon.com

Along Came Jones is one of the most oddball artifactsfrom Hollywood's golden age. Gary Cooper (who doubled as producer)plays Melody Jones, a "common ordinary useless bronc-stomper" whomoseys into the town of Payneville--or is it Painful?--just afterlegendary badass Monte Jarrad has held up the stagecoach. The townsfolkeyeball the "MJ" on Melody's stirrup, leap to hysterically wrongconclusions, and start giving him a wide berth--in some cases, thebetter to lie in ambush for Jarrad while planning how to spend thebounty money. Now, as it happens--and as his crusty sidekick George(the insuperably irreverent William Demarest) keeps remindinghim--Melody can barely get his gun out of the holster without blowing hisown kneecap off. All that stands between him and extinction is thequick-thinking intervention of a local maiden, one Cherry de Longpre(Loretta Young). Melody, of course, promptly becomes hogtied with love,little suspecting Cherry's the childhood sweetheart of the real MonteJarrad (Dan Duryea).

Along Came Jones was developed for International Pictures, aquasi-independent outfit better remembered for such noir classics asWoman in the Window and The Stranger--something that mayspring to mind as you contemplate the flagrantly artificial exteriorsettings and the reservoir of duplicity lurking behind the heroine'sdewy sweetness. Stylistically the film is a wild mix, with directorStuart Heisler paying close attention to down-the-gun-barrel point ofview in several scenes, yet also sitting still for floatyback-projection photography so egregious that it may bring on motionsickness. Still, Nunnally Johnson's script is droll, Cooper clearlyrelished the chance to poke fun at his strong-silent stereotype, and heand Preston Sturges stalwart Demarest establish a sardonic comicrapport. --Richard T. Jameson ... Read more

Reviews (1)

Cooper tour-de-force
Whatever ALONG CAME JONES lacks in comic pacing is more than compensated by Gary Cooper's delicious romp of a performance as Melody Jones, a cowboy who can't shoot or fight. Cooper produced this himself -- he was the first star to form his own company -- and clearly knew what he had in the role of Melody Jones. This is also a film far ahead of its time in the role reversal plot, in which Loretta Young can outshoot Cooper. It is Loretta Young, not Coop, who faces down villain Dan Duryea in the climactic gunfight. Highly recommended for Cooper's tour-de-force performance. ... Read more

Reviews (9)

Stylish, but not genuine noir
The opening shot may be one of the most knowing and beautiful ones in film noir, a focus on the word 'Hollywood' which after the camera pulls away, is actually a destination on a bus sign. With fiml noir, just utter "Hollywood" and there is no need to explain betrayal, hypocrisy, seediness, injustice or pretence.

The screenplay is classic Raymond Chandler, sharply brilliant with rat-a-tat fire exchange. But the plot fails -- it's too simple, too linear, and not convuluted enough to darken the shadows and reflect the torn morals noir characters have to face. Veronica Lake as the femme fatale isn't quite vicious enough, and her own private agenda is boring enough to bleach white into the noir. In fact, that credit should go to man-caught-in-the-middle Johnny Morrison's (Alan Ladd) ex-wife, who goes out of her way to make a war hero look bad.

The Best of Everything
The Blue Dahlia is the finest noir film of it's kind and everything is absolutely perfect in the third of four films Alan Ladd and Veronica Lake would make together. Raymond Chandler wrote the origional screenplay and George Marshall turned in his finest directing job in this screen classic. This film has the perfect blend of grit and gloss, romance and female treachery, and for my money is better than the film often held up as the perfect noir, Casablanca.

Ladd returns from WWII with his two buddies only to find his wife has been unfaithful, in your face unfaithful, and responsible for his son's death while he was away. He confronts her at a party and blows out in a storm, unaware that someone kills her with his gun only hours later. Veronica Lake picks him up in the pouring rain and an attraction begins between the two.

The dialog is crisp and the atmosphere perfect as Ladd finds out by accident he is being sought for the murder of his wife. Like Ladd, Lake is running from something as well and trying to help Ladd takes her right back to The Blue Dahlia. Ladd's loyal buddies, who have been through so much together overseas, are on hand to help also. Did his shell shocked friend, played nicely by William Bendix, kill Ladd's wife or was it the owner of The Blue Dahlia, or maybe someone unknown?

Finding out is about the most entertaining 100 minutes you'll ever spend watching a movie and this is certain to be one of your all time favorites after you see it for the first time. Alan Ladd and Veronica Lake were the perfect screen duo. Ladd tells Lake early on in the film that every guy had seen her somewhere before, meaning the girl we all see in our dreams. When things are all wrapped up Ladd stops her from driving away, reminding her of what he said. We know then as she does that she is Ladd's dream, and ours as well.

This film is everything others of it's kind during the '40's tried to be. The Blue Dahlia is a film you HAVE to own if you love the movies.......

Why isn't this on DVD
Alan Ladd and Veronica Lake made some of the best film noir movies of all time and none of them are on DVD. These are great movies if you love old black and white intrigue and mystery however. They are worth getting in any format.

Engaging Early Noir
Although riddled with improbabilities, Raymond Chandler's tough story and script is well served with a glossy look and the hard-edged performances drawn by director George Marshall from a superior cast. THE BLUE DAHLIA concerns a recently discharged military man Johnny Morrison (Alan Ladd) who returns home to find his wife Helen (Doris Dowling) has been as unfaithful as the day is long--and is presently carrying on with club owner Eddie Harwood (Howard da Silva), over whom her hold is not entirely romantic. After stomping out into the rain, Morrison learns Helen has been murdered, and must race to prove his innocence before the coppers pick him up.

Ladd would give considerably more sophistocated performances in his later years, but he strikes all the right ultra-tough chords, and although Veronica Lake is a rather wooden actress she is remarkably beautiful and as a team the pair has considerable chemistry. The standouts in the cast, however, are Da Silva, who gives the role of the heavy a surprising interpretation, and William Bendix, who plays Ladd's war-wounded buddy to great effect. THE BLUE DAHLIA lacks both the moodiness and grittiness of truly great film noir, so it is not in the first rank of the genre--but it is no less enjoyable for that. The film cracks along at a rapid pace with plenty of action and a surprise twist or two that will keep you guessing to the very end. Ladd and Lake fans will love it, and any one who likes the hardboiled style will be in for a real treat. Recommended.

One Of The Best Noir Films I've Ever Seen!
I love Noir films. And while Hollywood tries to keep this genre alive today, the movies that come out now, can never be compared to the "classics" of the 30's and 40's. If a noir film doesn't have Alan Ladd, Lana Turner,Veronica Lake, or Orson Welles in it, then, I don't want to see it! "Dahlia" was the first time fammed novelist Raymond Chandler took a crack at writting a screenplay. And the results were amazing. Directed by George Marshall (Some might know him for directing a couple of Bob Hope films like "Fancy Pants", and Monsieur Beaucaire")this movie has all the mystery, suspense,and entertainment you could want from a movie. Alan Ladd plays Johnny Morrison, an ex millitary man comes home to find out that wife has been cheating on him since he's been away with Eddie Harwood (Howard Da Silva) who runs a club called "The Blue Dahlia". When Johnny and his two friends return Buzz (William Bendix) and George (Hugh Beaumont)he's furious! He's yelling and screaming and is even more bitter when he finds out that it's because of his wife that their daughter has died! After a house detective notices that Johnny is pushing his wife around, he warns him if he plans on doing that he can at least close his shades. Johnny full of hate steams out of the room and is never seen again. The very next morning his wife is found dead! But did Johnny actually do it?? Well, all I'll say is be was with Joyce Harwood (Veronica Lake) at the time picking up a ride. Soon he finds out tha she's Eddie's wife, and she finds out he's on the run from the police. A lot of twist and turns take place and make this movie enjoyable to watch. We're lead to believe one thing and then in the end, find out something complete different is what happened. A classic noir film is I ever saw one. Great acting by Lake and Ladd, not to mention Da Silva. Good solid directing by Marshall, and a terrific screenplay by Chandler. ... Read more

Reviews (10)

One of the Greatest War Movies of All Time
There are no combat scenes - none. Yet the battle sequences are among the most powerful I can remember. Halsey, having bet the farm on his attack of a superior Japenese fleet, sits alone in his quarters waiting for the battle to begin, waiting for word from the Combat Information Center, while in the background disembodied radio chatter chronicles the preparations of war. Wow. Cagney's face is all you need to see. Your tension increases with his. And then his transformation into a warrior leaves you unable to take a breath.
The black and white movie uses a narator to solve brilliantly some complex story telling problems, and background music is by a male chorus. And this stuff really works. Robert Montgomery, a competent actor in his own right, directed.
I have an old copy taken off the air 20 years ago that I am wearing out. I sure hope the DVD comes out soon.

Bill Wood

A brilliant depiction of the price of leadership. . .
Basically, The Gallant Hours is an episodic biography of Admiral William "Bull" Halsey during the early days of the Second World War, specifically while he was the naval theater commander for the Guadalcanal campaign.

James Cagney is superb in this very unusual war film, which has no combat footage, relying instead on character development and the intensity of interpersonal relationships to tell its story.

Although Admiral Halsey (Cagney) is the central figure, the movie also closely follows the involvement of Admiral Isoroku Yamamoto, the Japanese theater commander, giving the viewer an interesting and enlightening counterpoint persective in the attitudes, concerns and approaches of the opposing leaders.

The most remarkable feature of The Gallant Hours is its willingness and effectiveness to show emotions seldom dealt with in military movies. One of these shows Halsey in the horrific dilemma of knowing that he is sending two close friends (Admirals Scott and Callaghan) to certain death, but being constrained by circumstance from any alternate course of action. In yet another sequence, Dennis Weaver gives a brilliant portrayal of a combat pilot dealing with the conflicting emotions of being relieved at having survived his mission and yet feeling both disgust and shame for what he is doing as he and his command "roll up a big score."

For the individual who wants a serious treatment of the personal effects of warfare, without the usual rah-rah, flag-waving and stereotyped villification of opposing forces, The Gallant Hours is a sobering, not to be forgotten movie experience.

The masterful combination of taut direction, a superior cast, eerie soundtrack and a very unusual approach make this remarkable film a must for any military video library.

James Cagney as Rear Admiral "Bull" Halsey
"The Gallant Hours" is one of the more usual bio-pics of a military leader I have ever seen. This is a semi-documentary dramatization of the pivotal role that Rear Admiral William F. "Bull" Halsey, Jr. played as commander of U.S. naval operation in the South Pacific in bringing about the victory at Guadacanal. The framing device is Halsey's retirement ceremony and the film begins with a moving choral arranged by Roger Wagner that tells us: "I knew a lad who went to sea / and left the shore behind him / I knew him well the lad was me / and now I cannot find him." The hymn sets an almost religious tone for the film that seems rather strange given the events depicted and the approach of the director. Contrast this with the running bit about getting Admiral Halsey to take his shots.

The film is directed by U.S.N.R. Comdr. Robert Montgomery, the actor who served in the Navy during World War II but who is better remembered today as being the father of actress Elizabeth Montgomery. One of the most surprising things about this film is that is a war movie without any battle scenes. There are battles, but we hear about them rather than see them. Mostly "The Gallant Hours" is about Halsey's command decisions and the way he worked with his subordinates (when the Chief of Staff of the admiral he replaces because he provides contrary views). There are many scenes that consist mainly of a subordinate bringing Halsey dispatches and him thoughtfully coming up with responses.

Halsey, as the cover art emphasizes, is James Cagney, in what would prove to be his second to last film before he retired from acting for twenty years. Having met with Halsey, Cagney was struck by how the navy man hardly made any extraneous gestures, and the actor made a point of excising all of his well-known mannerisms from the performance. Cagney's presence is critical to the film because with it this 115-minute film would have been tedious. However, his presence allows Montgomery to focus on the decision making process during a war in more detail than any other film that comes to mind ("Command Decision" would be in the running, but this one has it beat). Clearly you can do a talking head war movie when the main talking head is James Cagney.

The film is as much about the duel between Halsey and his Japanese counterpart, Admiral Yamamoto (James T. Goto), which becomes not only a question of winning the battle to control Guadacanal but a personal attempt to kill each other. The Japanese commander is portrayed as a worthy opponent and there is as much attention to the aspects of his work as there is to that of Halsey. Biographical details abound in this documentary. Every time Halsey meets somebody a voice over tells us not only who they are but what is going to happen to them. The guy who is driving the jeep is an hour away from being short by a sniper and becoming a paraplegic for the rest of his life. A squad heads out on Guadacanal and we learn that only three of them are coming back. The details are such that I would have sworn this film was adapted from a book, but there is no book by that title or any other work cited as the source for this story.

The screenplay is by Frank D. Gilroy and Beirne Lay Jr. Lay was the co-author of "Twelve O'Clock High" and it is interesting that like the film version of that classic World War II novel there is a scene in which the central character waits out a pivotal moment alone in his office, living out the battle in his own mind. In case you are not sure what the moral of "The Gallant Hours" happens to be, Cagney reminds us with a voice over at the end: "There are no great men, only great challenges that ordinary men are forced by circumstances to meet." Of course, "The Gallant Hours" pretty much disproves that point, at least with regards to the man at the top in the South Pacific.

unbelievably powerful movie
I saw this movie on television when I was probably 12 years old. The opening and closing hymn goes as follows:

" I knew a lad who went to sea---and left the shore behind him
I knew him well the lad was me---and now I cannot find him. "

This is a very mature movie. It captures imaginations and inspires at whatever age. The disembodied CIC radio transmissions in the midst of approaching naval battle as the only audio while the video shows only Halsey's anguish alone with himself ---is hauntingly powerful. It tells better than anything the reality of the vigilance of the determined search for an overwhelmingly stronger enemy force and the tension as the naval units appproach the inevitable meeting with its own destruction at the hands of the superior Japanese force which they are trying to block, delay or deter from obliterating the Marines on Guadacanal. " No contact......No contact.....No contact ....No contact -----the endless tension as the certain peril draws near---- No contact ....... CONTACT!!!!! .....then the reports as the ships who sacrifice themselves are ripped apart in terrible explosions........"

The movie is so powerful and moving. Without gore or the usual battle scenes. The movie reached out to me as a 12 year old and spoke to me as if I were an adult and conveyed very important messages into a reservoir that has been there for me the rest of my life. When I saw it again last week--exactly 40 years later-- I relived this movie's power and classic grace.

It is a shame that such movies are not known more widely ...and that the ability to make such has atrophied.

The Gallant Hours
As a character study in film, this is one of the most provocative, haunting ones I've ever seen. The camera angles, the choral music, Cagney's riveting performance--why isn't this film readily available, especially on DVD?? ... Read more

Reviews (8)

Not a Typical 1950s Anti-Commie Movie
Rival scientists from the USSR and the US are engaged in a Contact-the-Martians Race. The scientist from the US makes contact first (or does he?) and those stereotypical 1950s commies (evil vodka swilling atheists all) are upset because the superior Martians with a perfect society are Democratic Christians. So the USSR sets out to prove it is all a hoax being conducted against the world, including against the US government, by the american scientist.

In an extremely interesting twist on the usual 1950s sci-fi movie mindset, the originally thrilled US government also becomes afraid and starts to question its scientist's veracity and motives when the Martians' promises of cheap energy, long life, etc., for all humans on Earth begins to panic big union and corporate interests (fuel companies, pharmaceuticals, etc), and so the scientist also has to fight against his own government trying to put a gag on him (hey, they know where their campaign contributions came from). Even "worse", I'm sure, is the fact that the Martians appear to be Socialists. This all helps make the film far more relevant to today than most 1950s sci-fi since although the "Communist scourge" of the USSR no longer exists, rampant Capitalism is still a threat to Democracy.

At turns, this is a very good sci-fi movie which shows great creativity and insight, or a sugary schlockfest filled with caricatures. In either case, it is entertaining and makes worthwhile viewing.

A prequel to "Contact"?
I thoroughly enjoyed this Sci-Fi classic 1952 production and feel it has been largely under-rated and ignored!

If you've grown tired of the portrayal of Martians or aliens as nasty, freaky bug creatures, "Red Planet Mars" is for you!

It uses a lot of religious symbolism and touches on issues of atheism and theocracy...

I also enjoyed Peter Graves performance as the "pure scientist' who is only following his profession and then finds himself in a theological, ethical dilemma...

The scientist's wife played by Andrea King is interesting character... as she is torn between her fifties dutiful wife role of supporting her husband no matter what and her strong conservative Christian values which sound a lot like the religious paranoia. She has occasional outbursts that seem unreal at times and you wonder how a scientist could have ever married her!

Eventually the military and security establishment, as usual wants to control the release of these messages from the more "highly advanced" Martians...

The message isn't totally Christian either as the American President eventually makes clear that the religious values are shared by Christians, Moslems and Buddhists!

I thought a lot of the above themes...even, contact via hydrogen tube radio showed a lot of foresight and you can really see how they are played out in the recent film "Contact". I'd recommend watching "Red Planet Mars" first and then view "Contact" to see what I mean!

AKA message from Mars
This is a toughie to review, as the only way to review it is practically tell the story.

So lets suffice to say that the movie was made in a time when everyone was into the red scare. A nuclear family has the means and knowledge to build a device (from public domain information) to transmit to a 1952 version of Mars.

Messages appear to return. The content disrupts economics and supports the concept of theocracies over democracies (Iran is a theocracy). However it is not so much the messages that catch your eye, as the 1950's stereotypes. The nuclear family is just missing the family dog. The wife even thought standing beside her husband is more behind him and is scared of her own shadow. The commies are ruthless and dumb. The president (this is before we started to degrade presidents) is fair and benign. I can go on but you get the idea. Now it is amusing to watch in retrospect. But if any of these people existed today it would be scary.

Peter Graves gets to play the good guy "look to the future" father.

Marvin Miller (Arjenian) the confused bad guy (typical 50's commie) can bee seen again as Michael Anthony in the 1955 TV series "Millionaire, The"

Uplifting and Inspirational
In these early days of the 21st Century, Christianity is of dubious cache among the semi-educated literati of America. Phoo on them all!

"Red Planet Mars" is an inspiring SF vision of the Christian ethic, from a time when atheistic Communism was known for what it was--60 million dead at Stalin's hand, liars and traitors in the US (The Hollywood 10, Julius & Ethel Rosenberg, Alger Hiss, "Col." House and more), and there really was a secret plot to overthrow the United States!

This movie, born in that time or confusion and fear, shows that Christ's simple lessons work even in a nuclear world. To those bigots out there who despise Christianity, or those ostrich-like intellectuals who still believe in the innate goodness of Communism, GET A LIFE! The rest of the world ought to see this great film.

Pure Art
'Howards End' + 'Sense and Sensibility' = 'Red Planet Mars' ... Read more

Reviews (1)

Classic Barbara Stanwyck western suitable for family viewing
The Maverick Queen is a classic Barbara Stanwyck western suitable for family viewing. The plot is straight forward with just enough surprises to keep your interest. Stanwyck's character, the Maverick Queen, is similar to her role as Victoria Barkley in The Big Valley--a strong woman in a man's world. One of the best things about the movie is the spectacular scenery. The Maverick Queen was shot on location in and around Silverton, Colorado. It utilizes excellent footage of a real life slice of history, which is still much the same today. Hollywood staging cannot compare to the real location shots available in Silverton. I highly recommend viewing this classic western filmed in spectacular Silverton, Colorado. ... Read more

Amazon.com essential video

George Stevens won an Oscar for his 1951 adaptation of Theodore Dreiser's novel An American Tragedy, though the film seems a little overwrought today and even self-parodying at times. Still, Montgomery Clift's performance as a poor lad so drawn to a rich, beautiful girl (Elizabeth Taylor) that he contemplates killing his lower-class fiancée (Shelley Winters) is powerful, sympathetic, and mesmerizing. Taylor makes a strong impression, but Winters is awfully good in the less-glamorous role. The tone of the film is oppressive--the film doesn't exactly breathe with possibility--but there are lots of good reasons to give this movie a visit. --Tom Keogh ... Read more

Reviews (62)

A Bad Life Decision
A Place in the Sun, 1951
Running time: 120 minutes in black & white
Director: George Stephens
Studio: Paramount Studio
Actors/Actresses: Montgomery Clift (George Eastman)
Elizabeth Taylor (Angela Vickers)
Shelly Winters (Alice Tripp--name is symbolic of her behavior)
Awards/Nominations: Oscar won in 1952 for best cinematography, black & white; best costume design, black & white; best director; best film editing; best music; and best writing.
Nominated for an Oscar in 1952 for best actor and actress in a leading role and best picture.
DGA Award won in 1952 for outstanding directorial achievement in motion pictures.
Golden Globe won in 1952 for best motion picture drama.
Silver Ribbon Award won in 1952 for best director of a foreign film.
NBR Award won in 1951 for best picture.
PGA Hall of Fame for Motion Pictures Award won in 1997.
WGA Screen Award won in 1952 for best written American drama and nominated for the Robert Meltzer Award.
Genre: Romantic Tragedy

In summary, the movie includes the trials and tribulations of a love triangle between a smart nice guy, a rich nice woman, and a manipulating possessive working-class woman. George Eastman hitchhikes from Kansas City to his uncle's swimsuit factory to work. Once there, he is given a position boxing merchandise by his not-too-friendly cousin. Prior to his employment, George is informed that he is not to have romantic relations with his fellow co-workers as a condition of employment. Unfortunately, George broke this rule by dating and ultimately getting one of his coworkers pregnant. While dating her (Alice), he falls in love with Angela Vickers, a high-class woman that is well-known throughout the comunity and by Charles Eastman (George's rich uncle). Instead of telling Angela about Alice and vice versa, George "drives himself crazy" and eventually commits the ultimate crime. What may astonish the viewer is that even after learning of George's hideous crime, Angela confesses that she still loves him.

Both George and Alice would have different lives at the end of the movie if George had stayed in Kansas City! He also should have been honest with both women in order to alleviate stress for both he and Alice. This movie was given four stars due to its relativeness to society and its great plot for the time period. It was interesting throughout the whole movie.

What Chemistry
The first time I viewed A Place In The Sun it did not have much of an impact on me. Perhaps I was too young, plus I did not understand Montgomery Clift's acting style. Subsequent viewings have made me realize the quality of this film. Clift stars as the poor relation of an important family who begins to work his way up. He first has a relationship with plain working girl Shelley Winters. Then he meets the real love of his life, beautiful, wealthy Elizabeth Taylor. From that point, things become very complicated for all concerned. Clift was an actor that played everything deeply, and his performances are always painfully real, just like this one, in which you can feel the conflicts that tear him apart. Winters is excellent in her tragic role, while Taylor, besides looking unbelievably beautiful, brings a lot of honesty to her character. The chemistry between the Clift and Taylor is palpable, and their on screen kiss is one of the most memorable you will ever see. Although there is a sense of doom that permeates the movie, the actors make every moment a great one. Some of elements of the story may seem dated, but it is played with such honesty and intensity that you will appreciate it for the very fine film it is.

Heartbreaking & Realistic
Ever wanted something you couldn't have? Ever wanted it so badly you'd kill to have it? In "A Place in the Sun" George Eastman (Montgomery Clift), a poor young man with big dreams, deals with these questions as he tries to make it to the top of the social ladder in spite of social prejudices from the richer Eastman clan.
As he pursues his dream of social grandeur, he falls in love with the beautiful and unatttainable Angela Vickers (Elizabeth Taylor), a rich socialite. But just as his dreams begin to come true, George is confronted by his ex girlfriend (Shelly Winters), a poor factory employee, who is pregnant with his baby and threatens to destroy his newly attained social lifestyle. Having made it to the top, however, George is determined to stay there at any cost - a decision that leads to tragic results.

Memorable performances
Excellent movie about the tragic consequences of pushing too hard to obtain the american dream. Montgomery Clift gives a realistic performance as the poor kid who makes it to the top at a high price. Liz Taylor is believable as the rich beauty who falls in love with Clift, and Shelly Winters is especially memorable as the poor factory worker who gets shoved aside by Clift after he meets Taylor. Beautifully made movie that makes you really get into the mind and heart of its protagonists. Highly Recommended.

Tragedy Turned to Melodrama
It was probably inevitable that "An American Tragedy," in its evolution to screen, would become more about the doomed love affair of Montgomery Clift and Elizabeth Taylor than the moral and ethical dilemmas that really form the foundation of Theodore Dreiser's novel. After all, doomed love is a bigger sell, especially when you have the romantic faces of Clift and Taylor swooning together in extreme close-up.

I'm not a fan of doing book to movie comparisons. I figure that film and literature are two different art forms, so I shouldn't compare their rendering of the story anymore than I would compare the same story as presented in a painting as opposed to a ballet. So I tried to take the film on its own merits (admittedly difficult to do, since I watched the movie on the same day I finished the book), but even at that, I think the movie falls short.

Clift plays George Eastman, poor nephew to a rich, socially elite family in a small New York state factory town. He's been invited by his uncle to come and work in the Eastman factory, giving him an entre into a world of luxury that has always been out of his grasp due to his family's humble position (they run a mission and preach on the streets). George strikes up a love affair with Alice Tripp (Shelley Winters), a girl who works with him in the factory, but his attentions for her quickly fade when he becomes interested in Angela Vickers, another member of the rich set, played by Liz Taylor. Complications ensue, and George finds himself and his situation spiralling drastically out of control, with an ending more tragic than he ever thought possible.

George Stevens directs the film with a sure hand, and there are some breathtaking displays of directorial skill. For example, one that stands out in my mind comes when the camera focuses on a radio reporting a possible murder, while the young, rich kids with whom George has struck up a friendship goof off in the water in the background. There are also some great uses of dissolve editing, though the technique is somewhat overused.

But there are many problems with the film, notably its pacing. Much time is spent on George's love triangle with Alice and Angela, while the script races through the trial and George's ultimate fate, as if the screenwriter realized he only had two hours to tell his story when he'd already wasted an hour and a half on front-end material. Rushing through the end blunts much of the story's original intent and power, as that is where the majority of moral questions arise.

Also, the character Shelley Winters plays is so drab and mousy, that one doesn't understand why George would entangle himself with her in the first place. But Clift does a great job with the lead role, delivering a performance of raw nerve.

It befuddles me somewhat as to why this movie is quite so acclaimed. I can only imagine that its reception has to do with cultural moods at the time it was released and that it just hasn't aged well. It came out in 1951, a big year for literary adaptations ("A Streetcar Named Desire" and "Death of a Salesman" were both given big-screen treatments that year), and you only need to compare "Sun" to "Streetcar" to see how short it falls at capturing the essence of a ture literary classic.

Grade: B- ... Read more

Reviews (18)

A Neglected Masterpiece!
I first saw this film on the late show back in the 50's when I was a mere child. It scared the pants off me then, and pretty much does the same now. This is what I call staying power. Too bad more people aren't aware of this film. The sad thing about the presentation of this film (I have both the VHS & DVD) is that the sound recording needs definite restorative work. This would really be disturbing if the film itself wasn't so compelling. The production values as well as the production team are all A-List, from the fine direction of Delmer Daves to the outstanding mood-setting score of Max Steiner to the casting of pro stars like Edward G. Robinson & Judith Anderson sharing the screen with teen magazine heart-throbs Rory Calhoun and Julie London. Lon McCallister is fine in what is really the lead role, and a very fine performance by young Allene Roberts (whatever happened to her!). The DVD is pretty much of the bargain-bin variety, though there are a couple of little extras on it...most notably explaining that Robinson's career came to a standstill after this film because of the Hollywood blacklist. The suspense factor is among the highest I can recall (EVER!); the script is literate and clever; characters are well-defined; and the creepy mood is consistant. See this film and tell all your friends; you will NOT be disappointed.

Worth seeing for all kinds of reasons.
Ooh, fun! Like film noir? Don't miss this, if only because of Edward G., and just so you can say you saw it. If Disney couyld make a good film noir back in the 40's, this might have been it. And that's a compliment. Hitchcock wouldn't have done this:L it's too moody and down-home. It's different. Ma and Pa Kettle quit foolin' around, lose a few years, and go out to find a few corpses.

1. See if you can guess my favorite shot ( with Aileen Roberts, alone)

2. See Judith Anderson in something besides REBECCA: "Every living soul has their Oxhead Woods..."

3. See Edward G. in a lesser known film, and still doing an excellent job ("...it can still be you and me, Jeannie...")

4. See Julie London. Sassy and delinquent here: "A fine swimming date we had, I don't think!" "I'm not gonna give you any kisses...I want you to miss 'em..." Gorgeous and talented, you could also sense the Hollywood ambition exuding from her during this film...no?

5. Rory Calhoun. A good job. Not given TOO much to do here except drink, hunt, beat up Lon McAllister and grab Julie London, he does it well: "Because it'll be a prettier bond if you buy it for me..."

If this is a piece of American candy, it's still a good piece--and more complex than you'd expect. (Probably moreso than I am capable of revealing here.)

Don't just leave it for the kids. In fact, it may scare the hell out of them. Ultimately, I believe there are aspects of this film that are of more than average, 'happy-day' depth.

Buy it. A true noir fan, you'll watch it more than once.

Should be restored but...
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: ** /**** Sound: *1/2 /**** Plot: *** /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

This is not a great film but very eerie, strange, nearly on par with something like "Carnival Of Souls" or "Incubus".

Rory Calhoun and Lon McCallister are solid in their roles. Arlene Roberts is good but does not come close to the sexiness of Julie London. Edward G. Robinson creates the mystery and suspense while his sister (in the film), Judith Anderson (Mrs. Danvers in "REBECCA") enhances and intensifies Robinson's esoteric character.

Granted, the film transfer is quite soft and glowing and the sound hisses throughout, however, it is still quite interesting to view and, due to the digital transfer process, the sound is stabilized.

Until/if a restoration is ever available this is the best we'll see but, in my opinion, is worth the low asking price - if you are expecting the quality of a Criterion Collection DVD you will be disappointed.

Brilliant Offbeat Daves Film, Horrible Print for DVD
As with many of Delmer Daves' films, The Red House shows originality, flair, and an intense weaving of landscape, theme, and character (rare among American directors working in the studios). He consistently achieves moments of great subtlety. In addition, Lon McCallister and Allene Roberts deliver striking performances under Daves' sensitive direction. It's no surprise that Scorcese noted this film in his "Personal Journey Through American Movies". Unfortunately, the print of the film used for the DVD is HORRIBLE -- there have to be better prints out there of this film!

A Long Lost Classic!!
Edward G. Robinson is fantastic as the man with the dark secret, in this excellent thriller! I bought it expecting to be either bored or amused. Instead, I was pleasantly surprised! The Red House is actually pretty creepy. Robinson plays a farmer who is not what he appears to be. There's a red house in the woods where something terrible happened many years earlier. His daughter (Arlene Roberts), and his sister (the magnificent Judith "Mrs. Danvers" Anderson) live with him. A boy comes to help out on the farm and the web of mystery slowly unravels. I highly recommend this for anyone who loves thrillers, chillers, or just plain good movies... ... Read more

Reviews (2)

The only time I draw is when I'm crowded
I've been avoiding Audie Murphy for years, copping the attitude Howard Cosell had for the Frank Giffords of the world. Cosell devoted a good portion of at least one book attacking "jockocracy," the invasion of the professional broadcasting booth by unqualified ex-jocks. Audie Murphy was a war hero but the bits and clips I've seen of his work always made it look like he was in over his head. Murphy's appearance in a movie meant one unemployed real actor.
So I was a little trepidatious when I hit the play button on DUEL AT SILVER CREEK. I hung with it through the slow opening exposition scenes (a pod of claim jumpers are terrorizing silver miners, forcing them to sign over their deeds and then shooting them.) By the time Murphy's pa was kilt and he morphed into the poker playing Silver Kid I was hooked. DUEL AT SILVER CREEK is a fun little flick.
Look, this movie made me laugh at things decent folks don't laugh at, but I believe these elements were put in deliberately. This is director Don Siegel's first western and his first Technicolor production. He would go on to work with the likes of Clint Eastwood (Dirty Harry) and John Wayne (The Shootist.) Siegel knew what he was doing.
One of the humorous elements, to me at least, was the proliferation of nicknames. Murphy's Luke Cromwell is the "Silver Kid," or just "Kid." Sheriff Stephen McNally is "Lightning," there's a character called "Rat Face." Lee Marvin plays a heavy nicked "Tinhorn." The lovely Faith Domergue (Opal Lacy) is nicked "Brown Eyes" early on by "Lightning."
Then there's mondo-heavy Eugene Iglesias, who plays Johnny Sombrero. I honestly couldn't refrain from laughing every time he was on screen. Dressed in red and white striped pants and wearing an impossibly large sombrero pushed back off his head he was a caricature of... something. How can a guy in candy stripe pants and a balloon hat intimidate?
Wisely the film-makers don't overload Murphy in this one. Although he's the nominal star, McNally does most of the heavy lifting. Murphy is along more as a wise-cracking (!?) sidekick. My uninformed take on Murphy was that he was a Roy Rogers/Gene Autry type. Squeaky clean, you know. Siegel gives the Silver Kid an edge, and to Murphy credit that edge remains sharp. Still and all it was a bit of a surprise to see Lightning and The Kid interrogating Brown Eyes and hearing The Kid impulsively say "I bet I can get it out of her." Heeheehee. I was half expecting The Kid to call her a punk and ask her if she was feeling lucky.
DUEL AT SILVER CREEK is a dandy little horse opera. It will satisfy without offense those who love traditional westerns, and sate those with less conventional tastes.

Overlooked but very good....
I had forgotten just how enjoyable this little Audie Murphy Western was until I recently purchased this handsome Universal DVD release. Murphy in this venture is "the silver kid," and his co-star Stephen McNally actually steals the show. The action is fast-paced and believable, the plot way above average. There are shoot outs, claim jumping, and some humor thrown in--Audie has some droll lines. Universal-International made a number of fine Murphy Westerns in the 1950s into the mid 1960s. DUEL AT SILVER CREEK is one of the better ones. Now let's hope that Murphy's finest outing in the genre, NO NAME ON THE BULLET, and some of his other, better films---RIDE CLEAR OF DIABLO, GUNSMOKE, SEVEN WAYS FROM SUNDOWN, TUMBLEWEEDS, get the nod from the engineers at Universal. ... Read more

Reviews (6)

Last train from gun hill
The movie is wonderful but in my opinion the quality made by STARMAKER is really bad. I purchased 3 movies titled The last train from gun hill by Starmaker hoping to get a good one and the quality ranges from bad to worse.

One of the best westerns of all time!!!
This film is extremely exciting and full of many "murderous" problems, such as the evil person at the beginning that murdered that poor young and beautiful Indian woman!!{I do not agree with that old reviewer that gave this movie only two stars}. I saw this movie for the first time on AMC. I made an attempt to tape it on the VCR that I had at my house, but failed, although I wanted the movie so badly, I really would hunt for it after that miserable failure!!! Several months later, I found it in the newspaper and knew they were planning to show it again, finally!! I set everything up, this time correctly, and found it at the back of the 8 hour tape that I had used to tape it with on "American Movie Classics". But, two months later, I taped it AGAIN, this time without all the other movies that I had on the other taping tape!! So, this movie is about Kirk Douglas chasing down the Belden family for the murder of his wife!!! And without further ado, I am calling this one of the best westerns of all time!!Also recommended: The Bravados, True Grit, The Sons Of Katie Elder, and River Of No Return...

You can't be serious?
This has got to be the WORST attempt at masquerading as a western I have ever seen, and I've seen some bad westerns. This one is inching pretty close to Billy the Kid Meets Dracula for just pure bad acting. Great story-pitiful script. You want spoilers...OK. Well, Kirk Douglas plays a Sheriff whose wife was just raped and murdered. The clue to the identity of the killer comes from a saddle he recovers while in pursuit. Oh yeah, he knows who the owner is right off cause it belongs to his best friend from the good old days, one Anthony Quinn-who is more comfortable playing Greek fishermen and Mexican banditos. Not much intrigue here folks. Anyway, ole Kirk just saunters into Anthony Quinn's ranch (aka. Saddle Owner) just grinnin' and yucking it up like old times. I suppose that's where this thing lost me.

There was a reason I'd never heard of this turkey and missed this for the last 40 years. Just pathetic. 2 spurs

I am taping this movie on AMC on October 25th! I cant wait!
I am making an attempt to tape this film on October 25th! I do not know how much longer I can wait to get this out-of-print masterpiece on tape! I just hope the TV Magazine is correct in saying that it comes on at seven thirty AM! Please do not let me down, magazine! Ok now, enough with that! This movie is about a man who is tracking down the criminal that murdered his wife. But the owner of the town, Craig Beldan, is covering up for his son that commited the murder! I do not want to tell you the climax, you will love it!! Recommended!!

I am taping this movie on AMC on October 25th! I cant wait!
...This movie is about a man who is tracking down the criminal that murdered his wife.But the owner of the town,Craig Beldan,is covering up for...I do not want to tell you the climax,you will love it!! Recommended!! ... Read more

Reviews (4)

Stupid ... just like a Fox
To phrase this as kindly as possible ... the folks at Fox Home Entertainment are dumber than dirt, especially when it comes to their library of classic movies. They've pulled off some spectacular marketing fiascos over the years ... such as releasing the 1939 box-office smash "Jesse James" on laserdisc in a faded, washed-out print back in the early 1990's; and more recently, pushing their (badly) colorized versions of several Shirley Temple classics into the marketplace on DVD instead of the glorious black and white originals.

But the DVD edition of "To the Shores of Tripoli" represents a new low for the company. This movie received an Oscar nomination for Edward Cronjager's and William Skall's gorgeous candybox TECHNICOLOR cinematography. The title frame of the film itself says: "'To the Shores of Tripoli' in TECHNICOLOR." The DVD box itself says, "1942, COLOR, 86 minutes" under the advertising blurb; and then proclaims "Photographed in TECHNICOLOR" in the credits area. But guess what?!!? The DVD was mastered from a BLACK & WHITE re-release print, and not the original Technicolor negative! Hello, 11th-Century Fox! That churning sound you hear is former studio head Darryl F. Zanuck spinning 'round and 'round in his grave. Unfortunately, this movie is just not worth watching unless you get to marvel at Maureen O'Hara's beautiful tresses in all their flame-colored glory!

But that's not the only blunder on this disc or its packaging. In the box describing the DVD's features, the aspect ratio is correctly noted as 1.33:1, Full Frame Format. However, the last line on the bottom of the box's back panel notes: "WIDESCREEN VERSION: Presented in a letterbox format preserving the aspect ratio of its original theatrical exhibition." Huh! Who proofreads this stuff? And while I'm on a rant ... the actress featured on the front of the DVD looking soulfully at John Payne - and who is also featured in a scene still on the back of the box - is none other than fourth-billed Nancy ("The Bad Seed") Kelly, who played the distaff second lead in the film. NOT that you would know from reading the DVD box, since Fox didn't bother to give the future Oscar-nominee even a small feature credit.

Fox Home Entertainment, get it together! At this point, you're the laughingstock of the industry, despite having some of the best classic films ever made in your library ("The Grapes of Wrath", "The Ox-Bow Incident", "Laura", "Leave Her to Heaven", "Pinky", "A Letter to Three Wives", etc., etc.). We're waiting patiently for these goodies ... and praying you won't screw them up too badly when you finally get around to releasing them.

The DVD version is misrepresented.
I bought a copy of the DVD version of this movie which I had seen in the theatres many years ago. When I started the movie I noticed it was in black and white, not in color as the movie was photographed in and what the DVD jacket said it was in. Thinking the DVD was defective, I returned it. I then went to another place and bought another copy. It too was in black and white. I sent e-mails to Fox asking what was wrong and never received an answer. I strongly recommend that you do not buy the DVD version. Too bad, the movie actually is very good.

DON'T BUY THIS DVD!!!!!!
This Technicolor film received an Academy Award nomination for best color cinematography. So what did Fox Home Video do? They put out the film on DVD in a BLACK & WHITE PRINT!!!!!!

The way it really wasn't
Playboy John Payne joins the Marines, makes time with pretty nurses, beats up Randolph Scott, his DI, (how we all wished we could have but never dared), gets out, hears about (Japanese) attack on Pearl Harbor, sees old outfit marching to the troop ship, decides right there and then to re-enlist. Only during the War would a movie like this have been made. I loved it and so will any Marine. ... Read more

Reviews (7)

The Raiders were trained to operate as a guerrilla outfit
I'll agree with some of the reviews about the movie being a little cornball.

Col. Carlson was sent to China by our government as an observer. He was not a Communist as implied. The Chinese term "Gung Ho" is still used by people in our military today. Remember, China and Russia were allies of ours in World War II. My high school coach was an observer with the Russian Army and he was no Communist.

President Roosevelt's son James was executive officer of Carlson's Raiders and a good Marine. The Raiders were no more blood thirsty than any other Marine with a rifle in combat in WWII.

I would have liked to seen more of the training the Raiders went through.

Gung Ho!
Some movies really don't age well.

GUNG HO! is a creaky old warhorse. It tells the story of the Second Marine Raider Battalion from its formation shortly after the Pearl Harbor to its first mission, a raid on Makin Island. The battalion is a volunteer outfit, so the first question the movie asks of its young stars is "Why do you want to kill Japs?" The Kentucky hick and the Brooklyn toughie and the ordained minister all pretty much say the same thing - because I don't like them.

The film follows the recruits through training and graduation to deployment and finally battle, with a short detour for a sloppy little romantic subplot. GUNG HO!, released in 1943, is based on actual events. The Marines' successful raid was big news back in those bleak days.
This is more a curiosity, a study of the value of propaganda on public morale, than a historically accurate document. Some of its inconsistencies are pretty jarring, though. For instance, Colonel Thorwald (Randolph Scott), the commander of the battalion, gives an inspirational speech at the beginning of training. He exhorts his men to "Cast out all prejudices, racial and religious," and learn to act as a, well, band of brothers. The men may have taken it to heart, but you can't help but notice there are NO people of color, save for a Filipino volunteer, in the unit. The only African-American in the whole movie is a cook on the transport submarine. It probably wasn't noticed when the movie was released, but it does seem a little ironic now.
Col. Thorwald delivers a few more "Some of us are going to die for democracy and freedom and equality" speeches, which are set in stark contrast with the behavior of the Japanese defenders. Fighter pilots laugh as they strafe ground troops. A badly wounded GI, begging for water, is brutally bayoneted by a Japanese soldier.
If you like standard issue war movies, I guess you'll like GUNG HO! Be warned, though. On the cover of the dvd case it looks like Robert Mitchum is pictured next to Randolph Scott, and it seems like they're co-starring. Mitchum has a relatively minor role in this one, much smaller than those played by the likes of Alan Curtis and Noah Beery, Jr.
And the dvd appears to have been transfers from a handy print. There are splotches and splashes and scratches throughout the whole thing. A bargain bin purchase at best.

Bad but Interesting
I'm a high school history and American studies teacher, and I sometimes show this film to my classes as an example of Hollywood's role in WW II. As a piece o