Reviews (6)

Excellent early depiction of Chicano life
Very interesting to see 1942 Hollywood's depiction of Chicano life.The neighborhoods looked realistic enough, like an earlier version of Mi Familia's barrio.
Spencer Tracy was excellent as Pilon. Unfortunately, a real lack of Latino actresses and actors at the time.

Actually a decent adaptation of Steinbeck's novel
John Steinbeck's novel was adapted to the big screen in this 1942 film directed by Victor Fleming. "Tortilla Flat" is a small fishing village in which there is not much money and actually working is the last thing anybody wants to do. Danny (John Garfield) inherits two houses and tries to woo the lovely Dolores Sweets Ramirez (Hedy Lamarr). His friend Pilon (Spencer Tracy) moves in with several of his friends (Akim Tamiroff & Sheldon Leonard). Pilon plans to rob "The Pirate" (Frank Morgan) of his money, until he learns the money is being saved to buy a candlestick for St. Francis. Pilon's interest then turns to Dolores as well and the contest is on to see who will end up with the lovely lady. This is actually a decent adaptation of Steinbeck's novel, which manages to capture some of the earthy, amoral spirit of these Mexican-Americans without slipping into caricature. Morgan received an Oscar nomination for Best Supporting Actor for his performance, the best in the film. The screenplay by John Lee Mahin and Benjamin Glazer deserves special mention for actually providing some continuity to the incidents from Steinbeck's novel.

An Outstanding Translation from Book Form
It's true that it's nearly impossible to make John Steinbeck's stories into movies. I had the advantage of having read Tortilla Flat before seeing this movie version. In cinema you have the visual facet of storytelling. You cannot go verbatim into film. Some things get mis-translated. Those who had a hand in making this film knew exactly where to take it. That or it was plain old blind luck. I could tell they knew the story well. They knew how to retell it in movie form. That was their strength. Black and white is like alchemy for many nowadays, but back then it was already a refined art. For the whole movie i hadn't noticed that it was in black and white. You don't yearn for color when all the elements of lighting, composition, tonal range, everything, tricks your mind into perceiving color. All of the characters were engaging and alive. The story took me in, into Monterey. It's a story of people who have very little, but in their friendships are more well off than the very wealthy. If you watch this movie before you read the book, it is just as well. You won't miss much by not reading the book. The movie is that good.

IT HAPPENED IN MONTEREY
This simple Steinbeck story takes place in the Monterey, California of the early forties. A little slow and drawn-out, the story involves Tracy and Garfield and their paisano friends and their adventures. Garfield's inheritance of two houses bring him instant respectability yet estranges him from Tracy and his other pals. Both Tracy and Garfield vie for the affections of lovely Lamarr and become near-enemies in the process. An entertaining little picture which has Garfield unfortunately miscast as Danny (his Spanish accent was pretty unconvincing) and the part lacked the dynamism for which Garfield was famous for.

I read the book, too-- this is a movie! MGM's masterpiece
I read the book also like the critic below me but this is a film and one of MGM's finest. It is a wonder to behold. Spencer Tracy's performance as the hapless Pilon is a highlite and John Garfield as Danny is a performance to treasure. Buying this movie off of Amazon was a refreshment. It has always been one of my favorite films and will always be. The comments below mine is from an old book-crone from a person who spends time looking at the negative points of the film and cannot sit back and enjoy a real classic.

Victor Fleming's direction ("Gone With the Wind", "The Wizard of Oz") is truly fashioned in its true existential film about the life of the "paisanos" and Hedy Lammar's performance as "Sweets" Ramirez is her best. See this movie. ... Read more

Reviews (17)

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

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

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

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

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

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

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

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

Amazon.com essential video

Ingrid Bergman gives one of her memorable, haunting, and haunted performances as an amnesiac chosen by a White Russian general (Yul Brynner) in 1928 to play the part of Anastasia, the long-rumored but missing survivor of the Bolsheviks' murderous attack on the czar's family. The twist is that Bergman's mystery woman seems to know more about the lost Anastasia than she is told. Based on the play by Marcelle Maurette and Guy Bolton, this film--directed by Anatole Litvak (Out of the Fog)--really does get under one's skin, not least of all because of its intriguing story but even more because of the strong chemistry between Bergman and Brynner. --Tom Keogh ... Read more

Reviews (22)

A Romantic Love Classic
This film is really rather a classical love story will stay in my heart forever. In my opinion, no one can see this film remaining indifferent or apathetic without feeling the incomparable charm of Ingrid Bergman¡¯s and Yul Brynner¡¯s throughout the story. As I remember, the first time I saw the film, it had already been on for about 1 hour on TV. Even if I didn¡¯t see it completely, I was still fascinated by both the complicated plot of the story and the wonderful performances of the actors/actresses. Some scenes in the film were very humorous. And the music which showed the characteristic of Russia in it also leave a deep impression on me. Now I have seen this film for several times, but every time I saw it, it always moved me a lot. Having seen many other films acted by Bergman or Brynner, I still think ¡®Anastasia¡¯ is the one I like the most. Without kisses, embraces or sweet conversations, it would still be a romantic love classic forever. As a woman who roamed the streets, Anna might be the Grand Duchess of Russia or even only a poor, bewildered person. And what she only wanted was love. Since no one accepted her, no one cared about her, she even had a feeling suicidal. Then a Russian general found her and saved her. He wanted to train her to be Anastasia---the youngest daughter of Russia¡¯s last czar. What only attracted him was the ten million pounds. Bergman was weak, tender and gentle, on the opposite, Brynner was stern, hard and sharp. Is there any possibility that she would be able to change him? In the film, there were many very excellent details that showed the subtle relation between Anna and Bounine. On the one hand, Anna hated him for his only wish for money, hated his using her for his own purpose, hated his not understanding what she really longed for was. On the other hand, she had fallen in love with him. Therefore, she tried flirting with Prince Paul (her former fiance), trying to make Bounine feel jealous. Bergman¡¯s performance was so subtle, ingenious that make the story much more lively. Even if general Bounine was in love with her, too, he didn¡¯t show any concern on the surface. He wanted the money of the legacy, but he loved her more. He seemed rather fierce, but is kind at heart. How many ¡®contradictions¡¯! At the end of the story, Anna succeeded in changing him. The scene which left the deepest impression on me was their last conversation just before the ball. They tried to convey their real feelings to each other. But there were so many problems existing between them. Money or Love? The ending of he story was to be expected but unexpected as well. When Anastasia left from her grandmother again, who was so kind, was so approachable, was the person she had wanted to see for so many years. How sad she was at that moment! I was greatly touched by this scene. In the end, Anna and Bounine ran away to seek for their own happiness renouncing their claim to the money, in spite of the public. I supposed that Yul Brynner might be a most suitable actor to act the white Russian general. His looks, his expression, his posture, his performance, even his bald head were very great. The performances of the other actors/actresses (especially Helen Hayes and Martita Hunt) were also wonderful ones. Everyone must be deeply moved by Anastasia¡¯s close relation with her grandma particularly. The film was also memorable for the acting of the two main characters. The story told us that money or position doesn¡¯t mean love, happiness and freedom. In the film or in the real life, no matter what Anna was, whether she was real or just a imposter, it doesn¡¯t really matter. The most important thing is that the film showed us a history, a mystery, or even a legend. This film was written, directed, acted very well. When it was made in the 1950s, even my parents had not been born. But time doesn¡¯t mean discrepancy, either. I¡¯ll love the romantic splendid love story forever and I¡¯m quite sure that it would always be a classic in the film history forever.

A Romantic Love Classic Forever
This film is really rather a classical love story that will stay in my heart forever. In my opinion, no one can see this film remaining indifferent or apathetic without feeling the incomparable charm of Ingrid Bergman¡¯s and Yul Brynner¡¯s throughout the story. As I remember, the first time I saw the film, it had already been on for about 1 hour on TV. Even if I didn¡¯t see it completely, I was still fascinated by both the complicated plot of the story and the wonderful performances of the actors/actresses. Some scenes in the film were very humorous. And the music that showed the characteristic of Russia in it also left a deep impression on me. Now I have seen this film for several times, but every time I saw it, it always stirred me a lot. Having seen many other films acted by Bergman or Brynner, I still think ¡®Anastasia¡¯ is the one I like most. Without kisses, embraces or sweet conversations, it would still be a romantic love classic forever. As a woman who roamed the streets, Anna might be the Grand Duchess of Russia or even only a poor, bewildered person. She had suffered terribly for a long time and what she only wanted was being accepted. Since no one cared about her, she even had a feeling suicidal.At the begining,though acting a woman who was in dire straits, Bergman still had a unique noble disposition just like a princess wandering destitute far from home. Then a Russian general saved her and changed her life. He wanted to train her to be Anastasia---the youngest daughter of Russia¡¯s last czar. The only thing attracted him was the ten million pounds. Bergman was weak, tender and gentle, on the opposite, Brynner was stern, hard and sharp. Is there any possibility that she would be able to change him? In the film, there were many excellent details that showed the subtle relation between Anna and Bounine. On the one hand, Anna hated him for his only wish for money, hated his using her for his own purpose, hated his not understanding what she really longed for was. On the other hand, she had fallen in love with him. Therefore, she tried flirting with Prince Paul (her former fiance), trying to make Bounine feel jealous. Bergman¡¯s performance was so subtle, ingenious that make the story much more lively. Even if general Bounine was in love with her in spite of himself, too, he didn¡¯t show any concern on the surface. He wanted the money of the legacy, but he loved her more. He seemed rather fierce, but was kind at heart. How many ¡®contradictions¡¯! The scene that left the deepest impression on me was their last conversation just before the ball. They tried to convey their real feelings to each other. But there were so many problems existing between them. At the end of the story, Anna succeeded in changing him. Money or love? The ending of the story was to be expected but unexpected as well. When Anastasia left from her grandmother again, who was so kind, was so approachable, was the person she had wanted to see for so many years, how sad she was at that moment! I was greatly touched by this scene.... I supposed that Yul Brynner might be a most suitable actor to act the white Russian general. His looks, his expression, his posture, his acting, even his bald head were very great. And he had a quite different glamour that made him always attractive. The performances of the other actors/actresses (especially Helen Hayes and Martita Hunt) were also wonderful ones. Everyone must be deeply moved by Anastasia¡¯s close relation with her grandma particularly. The film was also memorable for the acting of the two main characters. It told us that money and position don¡¯t mean love, happiness and freedom. In the film or in the real life, no matter what Anna was, whether she was real or just an imposter, it doesn¡¯t really matter. The most important thing is that the film showed us a history, a mystery, or even a legend. This film was written, directed and acted very well. When it was made in the 1950s, even my parents had not been born. But time doesn¡¯t mean discrepancy, either. I¡¯ll always love this romantic splendid love story and I¡¯m quite sure that it will be a classic in the film history forever.

Anastasia
Great Movie - Horrible DVD! I'm rating this one star because the DVD quality is so bad. For the first time, I'm in the process of returning an item to Amazon. This makes me sad because I love this film and wanted to add this to my growing collection of classic films in my DVD Library. The sound is not always in synch and the volume goes up and down. The sound is absolutely terrible!

Special features
The DVD versionÕs special features of this classic film is jammed pack with historical information, not only about early 20th century Russian aristocracy, but also about the Ôbehind the scenesÕ making of this wonderful movie. For this humble DVD collector, I prefer as much expert commentary as can possibly fit into the format. Does anyone know more about the industry than Sylvia Stoddard? I donÕt think so.

Anastasia Is Finally On DVD.
I bought this DVD when it came out 2 months ago when it first came out. And I love this movie more than Any other movie that Ingrid Bergman played in. I especially liked it because they had an interview with Hellen Hayes (The Grandmother) son James MacArthur. I have been corresponding with him and i just really liked that.

Here Is A brief Description:

Anastasie (Ingird Bergman) is a woman who has no clue about who she is and where she comes from, she then meets (Yul Brynner) who thinks that if he can train her to act like the Real Annastasia he can pass her off and get the huge reward for her return. Well when they get to St. petersburg they find out that The Arch Duchess (Hellen Hayes) has lost hope of ever finding her Annastasia and refuses to see Ingrid Bergman. Well she finally visits Ingrid Bergman and realizes that she really is her grand daughter. And it ends happily.

Great Movie. 5 Star Rating. ... Read more

Reviews (5)

All for one, one for all
Gary Cooper playing Lieut. MacGregor is his strong, stoic self in the 1935 British colonial adventure set in India, "The Lives of a Bengal Lancer". The free spirited MacGregor is too random and impulsive for his straight laced, principled commanding officer Colonel "Ramrod" Stone played authoritatively by Sir Guy Standing. Cooper is compelled to nursemaid Col. Stone's son, a junior officer new to the regiment and fresh out of military school, played by the baby faced Richard Cromwell. The cocky smart aleck Franchot Tone playing Lieut. Forsythe aids Cooper and completes the trio around which the plot is based.

The Lancers are guarding the northern frontier of India and have been menaced by Oxford educated Afghan prince Mohammed Khan. Khan, leader of a large band of rebellious zealots has designs on capturing a huge supply of ammunition meant for the British.
He kidnaps the younger Lt. Stone to force his fathers hand. Cooper and Tone obviously go to his rescue against orders.

"Lives" is a noteworthy B&W period piece from the 30's but is slightly inferior in its scope and magnitude to both Gunga Din and The Four Feathers, which were both unquestioned cinema classics

41st Bengal Lancers, Form Sections Right, Walk March!
A classic 1930s B/W epic of the British empire in India. Sure you have some old fashioned colonial overtones here, but the movie itself is one of the best of its kind. Good character development, solid action, and fine sets. This film provides a really good look at pre-WW2 cavalry life. In fact many british cavalry regiments did not mechanize until 1939! So this film shows a lot of accuaracy in its period details of regimental life. The standard plot is here that we have seen before, distant outpost on the frontiers of Afghanistan, rumbling tribes, conspiracy, and betrayal. All quite well done. Even the usual heroics at the end are believeable and leave one moved with emotion. This film shows that Afghanistan has always been a problem locale. The British knew how to deal with it then. Can the US learn how today?

Classic B&W adventure film
Cary Cooper does a restrained slow burn as an independently-minded but highly capable colonial soldier, stationed in the remote, volatile edges of the far-flung and perpetually shaky British empire. The locale is the rugged, untameable mountain terrain of Kashmir and Afghanistan, where local warlords and would-be kings wreck havoc with the disciplined, top-heavy imperial armies. Sound familiar? Yeah, I thought it might. Anyway, this is a thoroughly enjoyable, good old-fashioned, black-and-white adventure flick, which includes a few interesting character studies inside the barracks walls. Franchot Tone is particularly appealing as the tart-tounged newcomer who antagonizes Cooper, but inevitably becomes his best friend and comrade in arms. Recommended!

a definite classic
I first saw this film as a boy, and it immediately struck me; then I remembered it for years as one of the best films I had ever seen in terms of plot, characters, exoticism, and historic appeal. Twenty five years later I was able to purchase a copy - and saw the magic working all over again, this time with my children. It is a story of friendship, courage, cowardice and redemption. Lieutenants Stone and Forsythe are assigned to the 41st Lancers in Bengal. The tribes under Mohammed Khan are on the verge of rebellion. A Russian spy tries to promote her country's interests in the region. Then Lieutenant Stone is captured and Mc Gregor -played by Gary Cooper, superb as usual- and Forsyth try to find him and defuse the crisis ... One scene of torture (Mohammed Khan inserts burning sticks under the nails of his prisoners one after the other) makes the film unsuitable for younger children -with a traditional education I suppose- as nightmares are likely to follow. Recommended age bracket 10-15 - and older of course ! The film (1935) is of course in black and white - good for your children's artistic education and never a hindrance to their pleasure. What makes the film a classic is that it embodies the spirit of 19th century colonization- the British are of course right, Mohammed Khan is of course cruel and wily. The film can therefore -with older children ?- be used to start a discussion on historical perspective and the use of national and cultural stereotypes. But above all, this is a well-played, attractive, breathtaking film with a superbly moving finale - and good action scenes without the special effects you would expect from much, much later years which too often prove disturbing for children.

Best of Victoriana Action/Adventure
The best of the lot (IMHO much better than Gunga Din). Great action scene, and a pretty good story line. None of the philosophical insight of the original novel, but hey, who watches this stuff for inner wisdom anyway? Watch out for a uncredited appearance of Myrna Loy as a native Pathan Temptress (do I get extra points since this is not in IMDB?) ... Read more

Amazon.com

"The legend of Union Pacific is the drama of a nation, young, tough, prodigal and invincible, conquering with an iron highroad the endless reaches of the West."This stemwinder of a foreword strikes the pseudo-biblical/American Empire keynote for Cecil B. DeMille's "history" of building the transcontinent railroad.Only the bombast--and Arthur Rosson's second-unit direction--rises to the film's epic mission.The mustache-twirling villainy is right out of 19th-century melodrama, and the romantic triangle of Joel McCrea's railroad troubleshooter, Barbara Stanwyck's aggressively "Oirish" postmistress-on-wheels, and their black-sheep chum played by newcomer Robert Preston is a feeble distraction.Worse, the stars do their stuff on studio sets, in sterile isolation from the locomotives, Indians, and buffalo hovering slightly out of scale on process screens behind them.There's not one but two train wrecks (always a DeMille favorite); in every other department, John Ford had C.B. beat 15 years earlier with The Iron Horse.--Richard T. Jameson ... Read more

Reviews (7)

A Better Than Average De Mille Film
If it's directed by Cecil B. de Mille, you know there's going to be plenty of spectacle, and this film is no exception. Joel McCrea stars as a man hired by the Union Pacific railroad to be a troubleshooter as the build the railroad across the country. Not everyone wants to see it built, so sabotage causes lots of delays. Things get even more complicated for McCrea because his old pal Robert Preston is partnered with Brian Donlevy, one of the men trying to delay the construction. To add to it, Preston and McCrea are both in love with the same woman, an Irish lass named Molly played by Barbara Stanwyck. Train wrecks, Indian attacks, brawls, and other De Mille touches enliven the story. The actors aren't given much to work with, as in most De Mille spectacles, but they do well enough, although Stanwyck's accent is a little hard to swallow. Akim Tamiroff and Lynne Overman, as men hired to protect McCrea, add a lot of humour to the film with their knowing performances. The story moves along at a good pace, and although I like to make fun of Cecil B. De Mille movies, I must admit that I enjoyed this one more than some of the others I have seen. I like the time period and the trains, and in De Mille's hands, it's certainly not boring.

MOLLIE MONAHAN
Cecil B. DeMille's contribution for that sterling movie year of 1939 was, of all things, a Western; but it's a brawling, two-fisted, action-packed Western. It is the story of the Union Pacific Railway, which was destined to link two oceans and open up the West. It's like a rough-and-tumble heavyweight slugfest-exciting, thrilling, gory and cumbersome. Stanwyck is excellent as the Irish Molly Monahan and as Jeff, Joel McCrea is first-rate - as Dick Allen, Robert Preston is terrific. DeMille's first choice for Molly was Jean Arthur; when she was unavailable, her turned his favourite, Barbara Stanwyck - they had worked together many times on the LUX RADIO THEATRE. The exterior shots were filmed in Iron Springs, Utah and Canoga Park, California (to double for Promontory Point). Interestingly enough, the golden spike used in the movie was the actual one used at Promontory Point. DeMille had it exhumed from the vault of Wells Fargo in San Francisco! Joel McCrea commented that Stanwyck was "Absolutely fearless and has more guts than most men". Also: "I have never worked with an actress who was more cooperative, less temperamental and a better workman, to use my term of highest compliment, than Barbara Stanwyck". - Cecil B. DeMille.

An epic huge-scale western
I hate the way people look at a black and white classic film and automatically think that the movie has to be bad. People only see the poor special effects and the absense of color but never judge a book by it's cover. " Union Pacific " is has a great western backed by a terrific director, great actors, and a large scale plot. Definently a great movie and a true classic.

Carry Your Brains in Your Holster?...
This is artful entertainment; this is Cecil B. De Mille presenting an odd blend of celebration and deconstruction in his portrayal of the burgeoning American empire. Far-sighted statesmen and greedy corporate barons; vigilante "justice," racism, ridicule and praise for the durable Irish immigrants, a bolloxed love triangle, a spunky and noble Irish lass, a dissipated lover, a grim strong and silent type, a comic Mexican thug: De Mille's scriptwriters seem inspired to throw in as many elements to the plot as their imaginations allow; and the result isn't the mess you'd suspect but fascinating fun, some gripping action sequences, and a lovely story of confused love.

Barbara Stanwyck plays a guileful innocent, a warm-hearted dame better than both her suitors in her generous and wise understanding of human nature. Joel McCrea plays a super-stolid hero whose better part is realized by his attraction for Stanwyck's character; and Robert Preston is a flim-flam man, a gambler and crook whose love for Stanwyck's "Molly Monahan" redeems his otherwise unrepentent self.

De Mille plays this beguiling troika against the "canvas of history" and so personalizes the abstraction of history. John Ford's "Stagecoach," also released the same year, 1939, is more accomplished and its story more subtle, but not so much more. De Mille obviously enjoys his broad canvases, and his "history" tends to pompous pronouncement at times, but all history is biography for him, which means that -- just as with Ford -- the individual stories are what is important.

You'll like this movie: you'll love "Missy" Stanwyck, McCrea and Preston -- you'll even forgive its somewhat more than occasional moments of silliness.

One More Reason why 1939 was "The #1 Hollywood Movie Year"
Amidst the glamour of "Gone With the Wind" and "The Wizard of Oz", this b&w Cecil B. DeMille Historical Fiction Classic received its share of eager 1939 movie theatre audiences.

Starring a wholesome Irish immigrant Barbara Stanwyck, a noble law man Joel McCrae and a dashing dare devil Robert Preston, "Union Pacific" delivers a love-triangle centered around the historic 1869 joining of rail road tracks to connect the Western and Eastern borders of the United States. The love story is "formula", but delivers several "moments" where many viewers will fumble for their Kleenex. The climactic final scene showing the pay-off for all of the material and human sacrifices is priceless!

The very last of DeMille's b&w ventures, Union Pacific is one of those gems that endured the test of time, endearing the "glorious black and white" to generations of viewers. I first saw this classic as a child; I loved it then, as I still do today. Of all of the Hollywood movies ever produced, no single year of film-making has ever stood out from the rest like 1939. "Union Pacific" helped solidify this status. A true Hollywood Classic!***** ... Read more

Reviews (4)

Gable & Harlow Take To The "Seas" With Choppy Outcome
1935 was the year Clark Gable was out to sea. The oscar winning film "Mutiny on the Bounty" was also released and boy does it make this one look pale. Though I suppose it's not fair to compare them, since, they are completely different movies.

"China Seas" was directed by Tay Garnett (director of many TV shows and the 1946 film version of "The Postman Always Rings Twice")and has an incrediable cast consisting of Gable, Jean Harlow, Wallace Berry, Rosalind Russell (at first I didn't even recognize her), and one of my favorites Robert Benchley. But despite the presence of a talented cast "China Seas" never quite takes sail. The movie has Gable playing Capt. Alan Gaskell and a voyage being made from Hong Kong to Singapore, aboard the ship is 100 pounds of bullion, but, unknown to Gable, someone on the ship plans to steal it. Wallace Berry plans a friend Jamesy MacRdie who has a crush on Gable's girl (?) Dolly Portland (AKA "China Doll) played by Jean Harlow. To further complicate things we have an old flame of Gable's, Sybill Barclay (Rosalind Russell) and a writer looking for material for his new book, but never has time to write a word, since he's constantly seeking inspiration from the old bottle (Robert Benchley).

On paper "China Seas" seems like a good movie. And if your a fan of classic films from Hollywood's "Golden Era" you would think the cast might pull it off, but, the screenplay has too many problems, which was based on a novel written by Crosbie Garstin. The movie never clearly identifies the relationship between Gable and Harlow or the past relationship between Gable and Russell. We are never quite sure where everyone stands. Also, as much as I enjoy watching Benchley, to be honest he serve no purpose in this movie. His scenes make a few comedis attempts but seem out of place in this movie. His character was just not needed. And if it appears in the novel, I'm guessing it was written differently.

Despite the all-star cast, it's Lewis Stone (probably best known for appearing in the Andy Hardy series and films such as "Grand Hotel") who comes out looking best. He just seems to blend in with the scenery. Granted most people will keep their eyes on Gable and Harlow, but Stone's performance is far more subtle. It's a co-starring role but there were times I had sympathy for his character and other times I hated him. It was a very good role for him.

Most people who watch this movie will enjoy it. Since it's not exactly a popular film, only those who appreciate older films will be watching. Fun light movie, but not what it could have been.

Bottom-line: Entertaining adventure on the high seas with some good performances, Stone's being the best. Has a weak script but older fans will look past it and have fun watching it.

A nice romance-adventure flick
MY RATING- 7.1

A fairly entertaining romantic adventure with Gable having to deal with the dumb blonde Jean Harlow. She's very sexy here, and this mov helped to create the myth. Also starring Wallace Beery as the bad guy, Rosalind Russel as the old Gable's sweetheart, and a nice little performance by Lewis Stone.
The mov contains some crude and unecessary violence like in the scene some colossal machines crush poor chinese fellows.

Clark Gable sails the "China Seas" and fights Malay Pirates
Clark Gable turns in a solid performance as Captain Alan Gaskell, an English skipper bound for Hong Kong with a valuable cargo in "China Seas," a 1935 M-G-M film directed by Tay Garnett ("The Postman Always Rings Twice." Gaskell is a bit peeved because he finds his mistress, China Doll (Jean Harlow) on board, especially since his fiance Sybil Barclay (Rosalind Russell) is also on the ship. A heartbroken China Doll becomes involved with shifty trader James MacArdle (Wallace Beery) and thinks he is going to try to steal the gold the Kin Lung is carrying. But when Gaskell spurns her, China Doll throws in her lot with MacArdle and his Malay pirate friends. Suddenly "China Seas" is a pirate story, and a pretty good one at that. Gable might be just the captain of a tramp steamer, but you know full well he is not going to let a bunch of scurvy pirates steal his cargo, even when he is tortured with the fiendish "Malay Boot." Lewis Stone and C. Aubrey Smith stand out in the supporting cast, which also features Robert Benchley, Donald Meek and Akim Tamiroff. "China Seas" is an above average action flick, even with the rather standard romantic triangle thrown into the mix. I have a bit of trouble thinking of platinum blonde Jean Harlow as someone named "China Doll," but this is Gable's film and he delivers.

A dream cast in a film paced like a rocket.
One of the most entertaining films ever made, with MGM throwing in everything but the kitchen sink and all the elements working beautifully. God Almighty couldn't have concocted a more exquisitely perfect cast. Wallace Beery, the most forceful and fascinating actor of his day, plays a villain who covets Jean Harlow and tortures hero Clark Gable, who is at his absolute peak as a roguish sea captain and even more fun to watch than he was later in "Gone With the Wind," if that's possible. Sensational humorist Robert Benchley, grandfather of the author of "Jaws," is present for comic relief and his character is reeling drunk throughout the movie, which is refreshing to see when viewed from the standpoint of today's comparatively repressive attitude toward alcohol. Rosalind Russell and Hattie McDaniel are also aboard the storm-tossed ship. This one gallops, with a literate and amusing script and lustrous, shimmering photography, and performances to savor from the strongest screen actors ever. A severely underrated classic and not to be missed. Be sure to watch it only in its original glowing black-and-white and avoid the aesthetically inferior colorized version. For whatever reasons, we no longer have actors as entertaining as Beery and Gable. This movie is a phenomenal treat. ... Read more

Amazon.com essential video

Arguably Greta Garbo's best MGM movie--depending how you feel about Camille and Ninotchka--this tale of the 17th-century Swedish monarch who preferred men's togs to gowns plays the most provocative games with the great star's ambisexual personality. At her request, Rouben Mamoulian directed (all three Garbo's-best-movie candidates were done by the best directors she worked with: Mamoulian, George Cukor, and Ernst Lubitsch). Two sequences are legendary: Christina memorizing the room at a snowbound inn where she has first experienced love; and the long, concluding closeup of a queen become ship's-figurehead--as blank as a tabula rasa, and filled with all the meaning and emotion seven decades of audiences have chosen to see there. Those scenes are anthology pieces, but unlike most Garbo pictures, the whole movie is intelligently scripted and sustained. With Lewis Stone, C. Aubrey Smith, and John Gilbert--Garbo's premier silent-era costar--making a tentative comeback as her love interest.--Richard T. Jameson ... Read more

Reviews (12)

Garbo in the greatest final close-up in cinema history
"Queen Christina" is famous for its final shot, a slow close up on Greta Garbo as she follows director Rouben Mamoulian's suggestion that she think of "nothing." Garbo plays the queen of Sweden in this 1933 film, who is supposed to marry Prince Charles Gustavus (Reginald Owen), the military hero. Even her former lover, Count Magnus (Ian Keith), approves of the wedding, knowing the Queen does not love Charles. However, Christina declines, insisting she is not ready for marriage. When she learns that a new ambassador from Spain, Don Antonio de la Prada (John Gilbert) is arriving, she dons men's clothing and goes to the inn where he is to stop. Learning there is not enough room at the inn, the two spend the night, but it is not until the next morning that the Don discovers his companion is a woman. They fall in love over the next few days and she wants to marry him and run away to Spain. But then he discovers she is the Queen and he reveals his mission: to arrange a marriage between Christina and the King of Spain. The film then deals with the conflict between the Queen's heart and the demands upon her as a ruler, leading to a tragic conclusion and the famous final close-up.

"Queen Christina" was Garbo's fourth and final film with John Gilbert, and the only one with sound and the only serious flaw with this film is his performance, which is almost laughable at times. Garbo is regal, in her own exotic sort of way, and one of the treats of the film is the opening scene where Cora Sue Collins impersonates Garbo as the young Christina. Standing out in the supporting cast are Lewis Stone as Lord Chancellor Axel Oxenstierna (his 7th film with Garbo), Elizabeth Young as Countess Ebba, and C. Aubrey Smith as Aage, the simple countryman who loves his queen. Although I think of "Queen Christina" as being a shade short of a classic because of Gilbert, it does have that unforgettable final shot, so I will round up the 4.5 for this one.

WHAT I DID FOR LOVE...
This is a vastly entertaining film about the enigmatic, cross dressing, 17th Century Queen of Sweden, who abdicated her throne for love of a Spaniard, the Spanish Envoy to the Swedish Court, Don Antonio De La Prada. The film follows their romance from their first chance meeting through their full blown love affair to its final tragic conclusion. Real life is often stranger than fiction.

Greta Garbo, a native of Sweden, is positively glorious as this most unusual of Queens, giving a performance that is intelligent, complex, and passionate, with a touch of whimsy interjected. John Gilbert, Garbo's real life, handsome ex-lover, is excellent in the part of Don Antonio, a man conflicted by his mission on behalf of his king and his passion for Christina.

Queen Christina, too, is conflicted, as she does not wish to enter into a political marriage of convenience with Swedish war hero, Prince Charles Gustavus (Reginald Owen). This is the marriage that the people of Sweden seem to want and one that is being fostered by both her Chancellor, Axel Oxenstierna (Lewis Stone), and her former lover, Count Magnus (Ian Keith). Nor does she wish to marry the Spanish King. Instead, she wishes to marry for love. So, she does the unthinkable. She abdicates for love, creating shock waves that reverberate throughout the courts of Europe, and arranges to leave her native Sweden with Don Antonio and head for Spain.

The best-laid plans, however, often go awry. Jealousy rears its ugly head, when Count Magnus realizes that his affair with Christina is over and that Don Antonio now has her affection. It is he who throws the final monkey wrench into their plans to live happily ever after. Who, having seen this film, can forget Garbo's last scene as Christina, the Queen who lost everything in the final analysis: her throne, her lover, and her future. Her last close-up in this film is unforgettable and one that will long linger in the memory of the viewer. Never was Garbo more luminous or soulful.

This is a movie classic that will be enjoyed and appreciated by those who love vintage films, as well as historical dramas.

Garbo & Gilbert - best team ever - timeless
I loved this film, the only talking picture of the great Gilbert/Garbo team. (You note I put his name first, because it appears like that in their three silent films!)
Contrary to the first review in this section, which states that Mr. Gilbert is almost "laughable" (?) in his role, I think his performance is excellent, like Ms. Garbo's, certainly better than Ian Keith's. You can actually see on screen the great love that once existed between the two during all their classic, great silent films, and the chemistry is still there. Makes one wish she had accepted one of his several (real) marriage proposals!
I am sick and tired of seeing Mr. Gilbert being maligned; he was one of the silent screen's best actors; his teaming with Ms. Garbo is timeless; and due to the machinations of a "person" named Louis B. Mayer, his career was deliberately ruined for several reasons, e.g. personal animosity between the two men (which twice led to blows), highest salaried contract, relationship w/Ms. Garbo, etc. Once and for all, let us finally put an end to the "voice" myth and realize the truth!
In summary, Ms. Garbo is perfect and she is here reunited with her perfect leading man. Just as in the three silent films they made together, this one is a classic which will be remembered forever. Never again did she have a co-star so "perfect" with her.
P.S. To the person who wrote "laughable": Ever hear about "The Big Parade" - maybe you should take a look at it to see how excellent an actor Mr. Gilbert was, and definitely view all of the Gilbert/Garbo silents. You'll learn a lot.

Glorious Garbo
The gloriously beautiful and gifted Greta Garbo gives an alternately commanding and comedic performance as Sweden's cross-dressing monarch, Queen Christina. Christina falls in love with a Spanish ambassador, played by Garbo's real-life ex-beau, John Gilbert, and in doing so, changes the course of history.

This film has a dated artificial look to it. The sets LOOK LIKE SETS, and the action often feels stagy and claustrophobic, as if it were conducted on one of MGM's cumbersome sound stages (which it was).

However, "Queen Christina" is worth seeing because of the sheer pleasure that the ever effervescent Garbo generates through her skillful portrayal of the eccentric monarch. Garbo on screen never fails to captivate. She is often better than the movies she appears in.

See "Queen Christina" for the joy and artistry of Garbo's performance. You won't be disappointed.

a masterpiece
After watching this classic once again last night after several years, I have to say that this is a masterpiece. Rouben Mamoulian was one of the most stylish directors of the classic Hollywood era, and he has imbued this film with many unforgettable moments. Of course, his efforts are greatly complemented by some screen goddess called Greta Garbo! I did not watch any of his famous silent films which actually developed her screen persona, but her famous '30s talkie performances in this film, together with those in Anna Karenina and Camille are more than enough for me to land her in my top 10 favourite performers of all time. Her screen allure is something which cannot be properly described in words. So sensual, touching and strangely contemporary and not a bit dated after all these years. Her famous scenes in this film, all classics in their own rights, shows us an actor in strict command of her art, mastered by effortlessly opening her inner self to the camera and letting her radiant charisma take over the audience. Whether scrolling the inn room she spent her happiest days with her lover to memorize its details, addressing an angry crowd of citizens with a firm stance or in that undescribably moving final shot, staring enigmatically at a future of loneliness and hard-earned freedom, she is pure movie magic destined to enchant many generations long after she has left these mortal shores. Immensely aided by Herbert Stothart's original score and William Daniels's lush photography, Queen Christina is a true delight. Enjoy. ... Read more

Amazon.com

Director Jules Dassin (Night and the City, The Naked City) fashioned this breezy and intricate 1964 thriller with a sly comic bent, and it enjoyed international popularity and became an influence for other high-toned European caper films. Peter Ustinov (Spartacus, Death on the Nile) won an Academy Award for his performance as a hapless driver, clueless to the plans of his cohorts, two jewel thieves who plan to steal a priceless dagger from the Topkapi museum in Istanbul, Turkey. Maximilian Schell (Deep Impact, Judgment at Nuremburg) and Melina Mercouri (The Victors, The Gypsy and the Gentleman) play the jet-setting thieves, who choose a motley band of amateurs instead of pros in order to throw off the authorities. But when Ustinov is apprehended by the cops, he agrees to act as a spy in order to thwart the robbery.Eventually, Ustinov must choose between saving his own hide and remaining loyal to the seductive Mercouri as the machinations of the robbery become ever more complex. Sleek and entertaining, Topkapi is filled with intrigue and thrills at every turn. --Robert Lane ... Read more

Reviews (12)

Great movie, but truly lousy MGM DVD transfer
This '60s heist movie sparkles, dazzles, and charms with its strong international cast, story adapted from an Eric Ambler mystery novel, and typically great direction from Jules (Rafifi) Dassin. Dassin gets a truly captivating performance from his wife Melina Mercouri as a thief obsessed with stealing the Topkapi emeralds, and an Academy Award-winning comic turn from Peter Ustinov. This was my favorite movie of all time when watching it on tv as a child. I waited a while to see it on DVD. Sadly, MGM seems to have transferred the movie through a vat of mud. The source print is faded and looks lousy. The movie is great, as is the theme song.

Wonderfully entertaining, with great Ustinov performance
One of my favorite films, and quite possibly the most entertaining caper movie of all time. A jewell thief (Melina Mercouri) has her heart set on a fabulous emerald-encrusted dagger. The priceless object is being kept at the high-security Topkapi Museum in Istanbul. Mercouri enlists the aid of sometime lover (and professional thief) Maximilian Schell to devise and execute an intricate plan of stealing the dagger. Schell assembles a team that includes Robert Morley as an inventor and electronics expert, and Peter Ustinov as a small-time con man who doesn't realize that he's part of the scheme. Ustinov is persuaded to spy on Mercouri's group by Turkish authorities who think the gang members are terrorists, but he is eventually made aware of the actual intentions of the thieves. The first few minutes of TOPKAPI may lead you to believe that you're in store for one of those hopelessly fluffy "comedies" of the 60's. But don't be fooled. From the moment the jovially frantic music score is played over the opening credits, rest assured that you're about to be treated to a light-hearted, fast-paced movie that expertly combines humor, suspense, and thrills. The international cast is great, but Peter Ustinov is especially delightful to watch in the role that won him the 1964 Oscar for best supporting actor. As Arthur Simpson, a shifty yet sympathetic character who gets used by just about everyone in the film, Ustinov easily steals the movie (although Akim Tamiroff also has his share of funny moments as a drunken cook). This film has all the elements for a first-rate piece of entertainment: an engaging cast, exotic locales, good dialogue, and artful direction by Jules Dassin whose earlier work in RIFIFI partly inspired this movie. TOPKAPI is a wonderfully entertaining motion picture that should appeal to everyone.

DVD Widescreen Transfer Is Perfect
I must elaborate more on the reviewer who said that the transfer to DVD looked like it had been dragged through a vat of mud. I had the movie on VHS tape and knew what to expect of it. The reviewer may have only noted the first 6-7 minutes of the movie which I would call a dream sequence with shades of different colors around the screen. Once this sequence is over, the movie is normal and the transfer to DVD which I rented was perfect. The movie was just as it is on my VHS tape but of better quality, of course.

Topkapi
This is in the end a good caper movie and maybe worth watching because its possible a lot its elements have been emulated in other films like the Pink Panther, Mission:Impossible and Entrapment.
It is a jewel theft caper involving a hypersensitive floor security system, where you drop in from the roof. I am not giving anything away that isn't in the trailer. But it is stuff you have now seen many times before. The gymnastics and plotting of how that is carried out is the variance. There is some pretty good tension in pulling off the crime.
As in any movie like this, whether you like it depends a lot more on whether you like the characters. And this is the point where the film gets a little iffy for me. This is the first Melina Mercouri I have seen. So I don't have the perspective of years prior knowing what a great beauty she was. I am going to get in trouble for calling it as I see it her. Melina Mercouri is an attractive enough older woman but well past her prime and trying and failing to hide it behind hair died from silver gray to blonde and heavy mascara and eyeshadow. But perhaps she is merely past her prime and just unapologetic and sassy about it.
The effect is the same. She is a little grotesque.Maximillian Schell on the other hand is a truly handsome and suave as the organizer of the plot.
Peter Ustinov is cute. As a fairly early role you see him here developing a lot of his most popular affectations that will serve him well in future roles. This production seems a little low budget and doesn't show off his distinctive voice and mannerisms as well as a film with more deft camera direction and better sound can. The stalwart British character actor Robert Morely as the inventor is very good. Also on the team is a brutish strong man who seems to have little purpose in the film who is partnered with an acrobat who cleverly mimes most of his part because he is a mute.
Ordinarily I don't have much trouble making allowances for the style of films of the various decades but Topkapi has a style that to me seems particularly dated and tips the hand of its minimal budget badly. There are many filler shots of the marketplace and locals of Istanbul that aren't particularly interesting and slow the pace of the film down. Also the image and sound is of marginal quality and frequently dubbed though it is an english speaking film.Its not out of synch but it has that odd unnatural feel to it. If you mind has the mental alacrity to make allowances for this its a clever enough film to keep you entertained. But I can't imagine anyone under 25 raised on modern production values not being a little antsy and impatient deciphering some of the slightly muffled heavy accents of the international cast.

Certainly a better film than Entrapment. I think overall the film is merely OK. Either of the Ocean's Eleven films does has a more entertaining ensemble cast and are more fun to watch in this genre.

rififi....
A band of thieves, assembled by a deliciously intent Mercouri, attempts to steal a fabulous emerald-encrusted dagger from the Topkapi Palace Museum in Istanbul. The utimate theft is depicted in a long sequence reminiscent of his earlier heist scene-but this time with considerably more levity. Dassin assembled a flawless cast of charming rogues and charlatans, including Peter Ustinov in an especially humorous performance that earned him the Oscar for Best Supporting Actor. If you are not a WT, then it is a very nice movie for you.... ... Read more

Reviews (5)

A classic work of the times
This is one movie I recommend to everyone. It captures a period of WWII and simplifies good and bad. It's about the ordinary citizen making a small effort that will make a difference. My first exposure to Franchot Tone, whose intriguing character opposite Anne Baxter and Von Stroheim keeps you glued to the screen.

Billy Wilder's best of Action/Thriller/Suspense WWII
Here's one of Billy Wilder's earlier works which has his magic touch - by far the best director Hollywood ever produced; an action-packed WWII thriller.
With a complete story, actors, scenery, photography, and drama and his intangible ability to draw you into the story without knowing it - and ring's every emotional nerve you have. A genuine genius at storytelling and beautiful workmanship to look at.
Franchot Tone, one of the cruelly underrated finest actors and the breathtaking Ann Baxter will tear you apart.
Superb supporting cast of Eric Von Stroheim (sp), and Akhim Tamiroff (sp) et al, all make this thriller spin together seemlessly. A genuine suspense mystery with the threat of action everywhere. One of my favorites.
The stunning and exceptionally talented very young Ann Baxter is delicious and excellent, as also in the Fighting Sullivans and The Razors Edge (an oscar). Gawd she was lovely.
Don't miss this. You'll also get a taste of Billy Wilder's unique artist's hand which are in all his works.

Billy Wilder spy story about the defeat of Rommel in Africa
I had always thought that the British army under the leadership of Field Marshall Bernard Montgomery had defeated Erwin Rommel's Afrika Corps at the Battle of El Alamein, but "Five Graves to Cairo" comes up with a more entertaining explanation. Franchot Tone plays Corporal John J. Bramble, a British soldier posing as a German agent, who is aided and abetted by a young French girl, Mouche (Anne Baxter), and gets his hands on secret information that enables the British to win the crucial battle. Of course, as soon as you see Erich von Stroheim strutting his Teutonic stuff as Rommel ("five graves" is the code name for his secret battle plan), you know we are in for entertainment rather than current events. It really seems like von Stroheim is acting in a completely different film from Tone and the rest of the cast, but that is just von Stroheim. Akim Tamiroff provides local flavor as Farid, while Peter van Eyck gets to play the fanatical Nazi Lieutenant Schwegler. Lajos Bior's play "Hotel Imperial" is turned by the script written by producer Charles Brackett and director Billy Wilder into this melodrama, replete with a fatal encounter for one of the cast with a German firing squad. "Five Graves to Cairo" was a technically proficient film as evidence by its three Oscar nominations for black and white art direction (interior), cinematography and film editing. However, it is also somewhat noteworthy that this 1943 film was one of the first produced during the war that had no pretentions towards propaganda. There is no notion of what the Nazis believe, just that they are the bad guys and need to be defeated.

A classic Wilder
I treasure this film as one of the best films in my library. A classic Wilder, with witty script, terrific performances, but also a heart pounding and heart moving film. What more can we ask?

Witty World War II spy thriller that pleases
I actually give this film 3 1/2 stars. Fine direction by Billy Wilder and a witty script make this a most entertaining World War II spy film. Fine performances from Franchot Tone,Anne Baxter et al, and a marvelous one from Erich von Stroheim as a strutting, arrogant Rommel. Classic line: Rommel: "We'll take that fat cigar out of his (Churchill's) mouth and make him say HEIL". ... Read more

Reviews (104)

a film noir masterpiece
While not as highly regarded as Citizen Kane, Touch of Evil is arguably Welles' second greatest film and now it is being presented as the filmmaker had originally intended it to be. Included on the DVD is his 58-page memo to Universal Studios detailing all the changes he wanted to be made to their compromised version of the film.

As it stands now, this is an amazing film with some of the most impressive deep focus photography ever put to screen. The depth of field that Welles creates is astounding.

Touch of Evil is also probably one of the last of classic film noirs produced by Hollywood and was a great way to end this period of the genre.

A lot of people poo-poo the casting of Charlton Heston as a Mexican (?!) government muckty-muck and to be sure that was some really odd bit of casting but he's perfectly cast as the straight-arrow good guy of the film. But he's totally blown off the screen by Welles' corrupt sheriff who simply steals every scene he is in. Janet Leigh, stunning as ever, is also really good as Heston's beleaguered wife.

What I like best about this film is the moody atmosphere that permeates every scene -- even the daylight ones. It draws you into this corrupt, cynical world and never lets go. Essential viewing.

100-Proof Noir
Seedy border town is the setting for this noir classic--justifiably called by a New York Post film critic "The Baroque Cathedral of Film Noir." Orson Welles' entrance as the crass, venal Capt. Quinlan is just one example why this film is a must-see on the big screen--not that this DVD widescreen version is so bad (it's a gem). Quinlan's massive, bloated bulk fills the screen as he climbs out of his car to begin the murder investigation that will soon envelop and taint the film's principal characters--immediately establishing Quinlan as the embodiment of corruption. The breathtaking opening sequence (shot in one take) incorporating the ambient music and sounds of the town's lurid nightlife is a key part of this reedit DVD version, setting right the studio-maimed opening of the original release, which ran opening credits and Henry Mancini's score over this sequence to Welles' fruitless objections, diluting its effectiveness. Respected Mexican police official Miguel "Mike" Vargas (Heston) and his American bride Susan's (Janet Leigh) ("She doesn't look Mexican either," Quinlan sneers) honeymoon is derailed when they become targets first of local crime family boss "Uncle Joe" Grandi (Akim Tamiroff), whose brother is about to be sent to prison because of Vargas, and Grandi's impulsive nephews, and then Quinlan, when Vargas accidentally uncovers the latter's penchant for tampering with crime scenes to ensure a death sentence for the accused--whether guilty or actually innocent. Leigh drips sex and is the perfect pawn for those scheming to wreck her husband's career and their marriage. Joseph Calleia stands out as Pete Menzies, who idolizes Quinlan and painfully must come to terms with his betrayal. Dietricht is enigmatic gypsy Tana (memorable line as she looks over the considerably changed Quinlan and bluntly says: "You're a mess honey.") Mancini score, especially "Tana's Theme" ("Pianola"), is exceptional. One valid complaint about this otherwise beautiful DVD is that the standard version should have been included in addition to the widescreen version for those who have not yet overcome the perception problem of "those black bars." Now for me, widescreen is the best. It is how we see the movie on the big screen. This is how the film was shot, and we see camera angles that are lost when the film has been "reformatted to fit your television screen." Those who put together this DVD should have known better and provided BOTH options--usually standard practice with many DVDs.

Pulp Fiction
Orson Welles may have made the supposed greatest film in history with "Citizen Kane", but the experience virtually ruined him. Ostracised by Hollywood and the press after his insulting portrayal of William Randolph Hearst, he was relegated to making low budget films.

Touch of Evil was made in 1958; the last film to be directed by Orson Welles. Unexpectedly given the reins of the film, Welles threw away the script for the planned film, and in just two weeks scratched out a script based on a cheapo pulp fiction novel called "Badge of Evil".

The result, as presented now in a restored version (the movie was, like Magnificent Ambersons, butchered by the studio) is quite remarkable.

On the one hand, it is definitely pulp, with an extremely rough-and-ready style, gritty elements (this is the only "pot party" you're likely to see in a "great film" from the studio era!) and a very, very low budget.

On the other hand, it is a masterpiece. I was extremely impressed by the scene in which (*spoiler!*) Hank Quinlan strangles the Hispanic fellow. I have never seen a movie scene shot like this, especially with the surreal effect of the flashing neon, and the slanting camera.
And who can forget the end of the film, where (spoiler!) Hank Quinlan sits in a pile of garbage in a stream, and tries to cleam blood off his hands? Look at Orson's acting in this scene - truly magnificent.

Someone called this the best B film ever made. If you want to see a pulp masterpiece made on the cheap, see Touch of Evil!

You don't have any future , just only past!
This cynical answer given by Tanya (Marlene Dietrich) is obviouslly a clear a reference's pattern shakesperian.
Any other fim noir before or future has been able t tarnish Welles's vivid creatin of a mexican nightmare, or his realization of a set of characters who are so well depicted , resonant , cruel and colrful. This shakesperian giant utilizes his accustomed approach so efficiently that it makes hard for any viewer t be capable to disecrn which moment create the dramatic thrust of the story and the others laded of outrage and fuRY.
A film is really good when the camera becmes an eye in the mind of a poet. Welles made movies as an orchestra conductor.
The opening shot , lasting ver four minutes , show us once more the personal style of Welles in what concerns to the moving camera and the longtake, establishing the premise around whixh the narrative is built. Like the genius he was; he knows to emphasize the dramatical effects without losing his goal.The camera begins with a close up of a time bomb ; then the camera travels up and back , and fllows the car as a constant witeness . This opening shot is widely in all and every masterful of cinema in the world. Notice fr instance, the cinematic fluidity works out as a visual device .
Once more , we must recall the huge influence about the expressionism german permeated the visual style nt only of Welles , but Hitchcock and a a crowd of talented directors alng these three decades of glorious films noir.
If you need any other proof, think in Fritz Lang , wh came from Germany and (coincidentially?) fllowed the road of the film noir.
In these puzzle of corruption and shame Quinlan is shocked due he failed to bring his wife's murderer to justice ,and retaliates by enlisting the help of the racketeer Uncle Joe Grandi .
Once more the film noir works out as an extrardinary expressive device to express the hopelessness, the existential anguish , the shadows of the fate, the shame and distrusts that shapes the behavior of the human being. All this puzzle runs with the timeless tragic atmosphere ; you face the cruelty in Vargas's wife in the motel where she is kidnapped where visual scenes suggests us all the horror , told in theatrical language where the words are useless.
When Quinlan (as Macbeth)decides to visit Tanya about his future , he listen these bitter words wh wrk out as headline in the review.
From all the stanpoints , this is the one of top movies entitled as film noir , because Welles enriched the bitter insights so typical of this genre with shakesperian moods.
Notice for instance that Grandi reminds us to Yago ; obviusly Grandi has a minor stature since he is much vulgar and obscene . and Tanya is linked with Macbeth's witches ; and the nightmares and the demons who live in the cavern - mind of Quinlan reminds us to the decadent power.
A unforgettable masterpiece all the way.!

Restored to Orson Welles wishes. Great nighttime mood film.
Great black & white film noir film with Orson Welles. The opening sequence has the feeling that you are moving with through the night time streets of the California/Mexico border. You might be astonished by the weight of Orson welles as he does not look like himself from the time of Citizen Kane. The film starts with a bride and groom Janet Leigh and Charlton Heston as they walk into the Mexico border town. Orson Welles plays a wrong-doing police chief who wants to follow the couple. Heston is a well-known Narcotics Investigator and his wife trys to inquisitivly get involved in her husband's professional business. Well, when she sticks her nose in too far, she has got a mexican boy and his boss on her trail. While Heston separates from his wife for official business, he advises her to go on to a hotel for sleep. She ends up in this out of the way hotel taken care of by Dennis Weaver. (Janet Leigh would end up in another hotel two years later in PSYCHO [1960]). Heston must square off with Orson Welles. There are two different versions of this film. When Welles was fired as director, Universal Pictures recut the film. After Welles saw the film in 1958, he wrote a 58-page letter to the studio about the way the film should be re-edited and scenes added. In 1998, Universal obliged. This letter was found and a new version of "Touch Of Evil" was made from the original negetive and the film was reconstructed the way Orson Welles had wishes. This new version is longer at 111 minutes. This DVD version is the 111 minute version. The 1958 print is 108 minutes and shorter prints are 95 minutes. Cast also includes: Joseph Calleia, Akim Tamiroff, Valentin De Vargas, Ray Collins, Mort Mills, Victor Millan, Lalo Rios, Michael Sargent, Phil harvey, Joi Lansing, Harry Shannon, Dan White, with special guests Marlene Dietrich and Zsa Zsa Gabor. ... Read more

Reviews (56)

It's All About the Swagger, Baby!
People argue about "cool." Some say John Coltrane is cool. Other say Clapton, Dylan, or Lennon are "cool." Lenny Bruce is "cool" to some, and Miles Davis epitomizes "cool" for others. For me, there isn't a man who has EVER lived who personified "cool" more that Mr. Sinatra. You can see what I mean here in the first motion picture that casts the infamous "Rat Pack" in major roles, "Oceans 11." Playing an ex-WWII soldier, Sinatra's Danny Oceans plans the greatest heist in history: Rob five Las Vegas casinos at once on New Year's Eve. It's a bold plot for a bold cast. There's Frank with his "I own the world" charisma. There's Sammy Davis Jr. with his usual flair for the song and dance routine. "Deano" Dean Martin also croons in the picture, and Peter Lawford, the only non-singer of the four main Rat Packers, still holds the audience with his charm and wit.

This film shows what Las Vegas was like when it was an "adults only" city. This was when Sinatra and his boys ruled Vegas, and we should be thankful that they had the foresight to put some of the flavor of the times on film.

Now, where's my martini? I'm late for my craps game.

Nostalgic Fun
OCEAN'S 11 is a real time-capsule classic. The ultimate "heist" movie, starring The Chairman of The Board, Dino, Sammy, Joey, Peter, and the rest of The Rat Pack, this one is worth seeing just to watch "the boys" hanging out together and getting into trouble.

The late Fifties All-Adult ambience of Vegas is priceless, as is the hep cat cool which just oozes off the screen. Let's face it: How many men could get away with calling the President of the United States "Chickee Baby"? Well, Frank called JFK precisely that. Even Bill Clinton was never that swingin'!

The storyline is a standard potboiler involving a group of old Army buddies setting up the biggest theft in American history, five Vegas casinos. Frankie ain't doin' no singin', and the film's a bit slow moving in spots. They're playing it a little too straight and serious,and there are less laughs than chuckles, and no sex, but the film was a product of it's times (1960) and still had to get past the censors in those days. Peter Lawford is over the line as a forty year old Mama's Boy trying for the Big Score.

No matter how good the Clooney remake is, he won't touch this one at all...There's only one Rat Pack!

great
an excellent movie that has action and a little bit of comedy also great stars such as sammy davis jr. dean martin and of course frank sinatra

A Very Cool Movie!
Ocean's 11 is a cool movie with a topnotch cast that includes Frank Sinatra, Dean Martin, Peter Lawford, Sammy Davis JR, Cesar Romero, etc.

It's a very cool movie that I watched long before the remake!

The remake is alright but not anywhere near as good as the original 1960 version which is an awesome movie and that twist ending is great!

Two stars is a gift
The GOOD:
- Some nice historical shots of Las Vegas during its golden age
- Sammy's musical / dance number

The BAD:
- Comes across as just a pure star ego project (which apparently it was)
- Silly dialog
- Lots of non-value added characters (remember this was a full employment project for Frank's buddies)

BOTTOM LINE:

The folks giving this movie 4-5 stars have definitely drunk the nostalgic Rat Pack cool aid. I honestly think they are reviewing the idea of this movie, rather than the film itself. If you not one of these fans, then I would recommend

- Wait for the original to appear on late night TV
- Get the "remake" - much better ... Read more

Amazon.com essential video

During World War II, Hollywood's patriotic duty was to shoot stirring dramas and good-hearted comedies that celebrated America's brave soldiers and honored their loyal, virtuous wives and girlfriends. Which goes a long way toward explaining why this delirious Preston Sturges farce, filmed in 1943 at the height of the war effort (and of its director's powers), was delayed for a year while Paramount executives wrestled with Sturges's irreverence: in Morgan's Creek, the writer-director tweaked those stereotypes with his tale of Trudy Kockenlocker, a small-town girl who only wants to send our boys off with a smile. That she does, but she wakes up after an all-night party with vague memories of a dubious wedding and soon finds herself pregnant.

Trudy, played by the ebullient Betty Hutton, is wholesome, sexy, and something of a ditz, in contrast to Sturges's usual savvy heroines (represented instead by Trudy's teenaged younger sister, played by Diana Lynn). Trudy's savior is would-be boyfriend Norval, played to apoplectic perfection by the rubber-faced Eddie Bracken, who was never better than in this wide-eyed, pratfall-happy performance as the weary but loyal draft reject who stands by his girl. As Trudy's father, Sturges regular William Demarest likewise achieves a series of comic peaks as the exasperated and increasingly desperate Officer Kockenlocker.

Like Sturges's other Bracken-Demarest vehicle, the equally fine Hail, the Conquering Hero, The Miracle of Morgan's Creek was unique among wartime movies for its satirical sting and unblinking eye for hypocrisy on the home front. It's also enormous fun, a comedic romp that epitomizes Sturges's kinetic, high-speed style. --Sam Sutherland ... Read more

Reviews (26)

The most hilarious film of all time
To me, "The Miracle of Morgan's Creek" is the "Citizen Kane" of comedy -- the greatest film comedy of all time. Eddie Bracken, Preston Sturges and William Demarest all should have gotten Oscars -- what the heck, even Betty Hutton should have gotten an Oscar for this! All the character actors are wonderful, but I especially like Al Bridge's portrayal of a sympathetic lawyer (Al Bridge usually was consigned to playing villains in B-westerns). This is also a great Christmas movie -- a sort of unsentimental "It's a Wonderful Life" (surely Capra made his masterpiece somewhat under the influence of this film). The lines of dialogue sparkle like diamonds. Is there any line of this film you could cut? No! Can I say the same for Shakespeare's "Hamlet"? No!!! Therefore, I proclaim Sturges to be a greater writer than Shakespeare.

One of the funniest films of All Time!
This is arguably Preston Sturges best film, 'The Lady Eve' and 'Sullivans Travels' are his other masterpieces. This film is pure delight, a lot of fun and very daring for its times. Eddie Bracken is hilarious as the innocent Norval, and so are Betty Hutton and Diana Lynn. Great war-time comedy that is pure fun. Highly recommended, a guaranteed good time and great fun. If you're looking for a very funny comedy, look no further. Preston Sturges shows us he has the 'magic' touch. From a scale of 1-10 I give this movie a 9!

Pretty Miraculous
Here is a case of censorship making a great comedy even greater by forcing the writer/director to replace explicitness with suggestion. And no one was better up to the task than Preston Sturges. Sturges was a veteran of WWI, and when the second one broke out he told an acquaintance that he wasn't going to fall for the same line twice. His cynicism about the war may have been misplaced but the country needed an occasional break from the homefront propaganda. This wild and lascivious tale about a never-was wartime marriage and the resulting pregnancy makes mincemeat of a lot of 40's sacred cows. Especially great are Brian Donleavy and Akim Tamiroff in an uncredited reprise of their Sturges roles in "The Great McGinty."

No, Trudy wasn't drunk ...
Had the undiluted pleasure of watching "Morgan's Creek" twice in one night on Turner Classic Movies ... talk about OD!! Wonderful!! The same frenetic pacing as my all-time favorite comedy, Billy Wilder's "One, Two, Three"; funny, funny lines and characterizations; and (listen to it) a near-perfect musical score. This is one of the comedy greats.
BUT ... I see where a number of reviewers claim that Trudy gets drunk, and so does not remember the evening. No, no, a thousand times NO! She says repeatedly that she has never drunk a drop. Watch what actually happens: (1) Trudy hates the "Victory Punch" (no sugar!) so does NOT drink it ... (2) then during a swing boogie dance she is thrown up in the air ... and (3) hits her head on the mirror-ball and is knocked senseless.
Sturges may have been playing with the morals of the time, but he was nonetheless a traditionalist himself.