Amazon.com

This epic Western won the 1931 Academy Award for Best Picture. Heartthrob Richard Dix plays Yancey Cravat (yes, really, that's his name) a frontiersman, newspaper editor, and former gunslinger who's studly enough to fill in as preacher or lawyer should the situation demand. Yancey brings his young bride Sabra to the wild Oklahoma territory to taste the adventure, crusade for social justice, and leave his family for years at a time. Modern viewers will have trouble making it past one or two horrifying racist caricatures at the start, made doubly odd because of the film's intended message of tolerance. Once it gets underway, though, Cimarron can be quite a bit of fun. Most of its pleasures are of the guilty variety--Dix's performance in particular is endearingly huge--but there are a few genuine highlights. The Oklahoma Land Rush sequence is still exciting and wet blanket Sabra turns out to have far more gumption than anyone imagined. --Ali Davis ... Read more

Reviews (13)

BEST PICTURE OSCAR, 193O.
This sprawling Western family saga, which takes place in Oklahoma in the period from 1889 to 1929 dates badly, although it was a big early talkie. Some viewers are a bit too harsh on this film. The opening scenes depict the Oklahoma Land Rush which is positively awe inspiring: thousands of extras rush pell-mell on foot, horseback and wagon in a mindless dash to outwit & outride each other in order to gain free land. Much of the movie rests on the considerable talents of Irene Dunne, who goes from an innocent child-woman to a grand old lady in a span of 4O years. Believe it or not, this film was considered to be the cinema's finest Western until the likes of RED RIVER, HIGH NOON and SHANE made their marks. The film received rave reviews and this along with THE BEST YEARS OF OUR LIVES were the only two RKO films which won a AA for Best Picture. The screenplay was written by Howard Estabrook, based upon the source novel by Edna Ferber. The film cost RKO 1.5 million dollars to film: it also won Oscars for Best Set Decoration and for Best Adoptation.

An Uunfortunate Product of its Times
Rascist, Sexist, boring, pendantic, poorly acted and not particularly well made. I bought a VHS copy, watched it once and threw it in the trash. Hard to believe Cimarron is one of only 3 Westerns to win the Best Picture Oscar and the other 2 were won in the 90's. Most of the early winners of the BPO were excellent picks that have survived the test of time. Cimarron is all but forgotten and fairly so.

A profound old movie
You know, I have to agree with Mr. Erdelac - the movie is progressive for its time. For those of you who judge a movie by the degree to which it beats a political or social drum, there is much here to admire.

But there is more. There is something artistic. There is an odd balance between melodrama and something really substantial, something actually edifying to the viewer. I think a large part of why this movie doesn't descend into the sludge of cinematic slop is because the characters are all flawed, and in those flaws the viewer cannot help but recognize a touch of human frailty. Every individual in this movie is at times ridiculous and at other times supremely dignified. This, I believe, gives it a certain depth.

The characters in any great movie MUST be larger than life if the piece is to avoid being either a documentary or a soap opera. But here the larger than life characters seem firmly rooted in the earth, which brings them closer to us. I like that.

Overall, I think the sensitive viewer will find in this movie much that is both emotionally and philosophically stimulating, if he/she is willing to look past the inevitable veneer of 74 years. I personally consider it a particularly moving and thought-provoking cinematic experience.

Horrible Audio!
I could not really enjoy the film. I purchased it recently on VHS and the audio quality was horrendous. I don't think anything was ever done to remaster the audio, and it is very annoying to follow. Don't waste $19.95 on it. Watch it on TCM; even there the audio is distorted. I only got it because it is a very early Irene Dunne movie, and I was curious to watch it.

Years Ahead Of Its Time
What are some of these reviewers thinking? I just watched this movie for the first time, and considering the period, this has got to be one of the most progressive films ever to come out of the 1930's. Yes, like most, I inwardly cringed at the sight of `Isaiah' whistling and shining shoes during the opening credits, but I really felt that the character wound up being much more than a stereotypical clown (this is NOT Gone With The Wind). Consider the societal constraints under which the creators of this film worked, and I should think its obvious that they did what they could, perhaps subversively. Back then they just couldn't have a black character or a full blooded Indian character who spoke for and defended himself, but they could find a way to espouse more liberal views through the character of Cravat. In the end, by way of his actions, Isaiah certainly becomes a more heroic character than Mammy or Uncle Remus. Likewise, the treatment of womens' roles and Indian rights are amazingly far ahead of their time -even going so far as to touch on interracial marriage and the potential of women to be stronger and even more efficient than men -which at a time when the suffragists were still alive, has got to be commended. And don't forget that Dix's character is part Indian. How many films prior to `Broken Arrow' portrayed Indians in a positive light, let alone made them the hero?

There is a lot of talk of Dix's overracting and praise for Dunne. I thought Dix captured the blustery over the top persona of Yancey Cravat (who was based on a real-life gunslinging attorney who was a son of Sam Houston -the courtroom soliloquy to save the prostitute is culled directly from historic record) perfectly. I particularly liked the scene where he `crows' at the bad guy in challenge. Yes, Dunne did a fine job as well portraying a character who represents all the economic and social intolerance of the period. Moreso because with the help of her firebrand husband she manages to evolve and change (and even become a Congresswoman!) beyond these small views. But I don't think Dix deserves all the criticism, nor Dunne all the credit. Yancy Cravat doesn't seem true to life because he is BIGGER than life. Nobody complains about George C. Scott's rendering of Patton, because we know Patton really was that way. Is it incomprehensible to think that such giant characters, dandily dressed and sporting pistols and purple words ever walked the land before 1930? All this talk of dating (at the risk of sounding dated) is a lot of hooey. When you watch a movie like this you've got to put yourself in the mindset of the audience of the period, or of course you're always going to think its `aged badly.'

The film is shot well. The Land Rush is great, as is that scene where Dunne runs through the spattered men of the oil field at the end (it reminded me of Claudia Cardinale walking through the slew of rail workers at the end of Once Upon A Time In The West). There are shots during the emigration of the Cravats from Kansaas which also stay in the mind. The lantern hanging from the rear axle of the wagon, only illuminating the turning wheels on either side, while Cravat lowly sings his signature tune was a stroke of genius, and the Kid and his gang riding out of the dark and empty land into their campsite is well done. The sound on the VHS is a little bad, with a lot of background hiss occassionally overwhelming the dialogue. I hope if this ever gets to DVD they can fix this.

I think this is an important film that has been sorely overlooked because of the decline of the western in popular culture and the finger pointing of the PC crowd. You've got to look deeper than the veneer, but I really believe this to be an astounding achievement historically, cinematically, and in the portrayal and ultimate breaking of racial stereotypes. Best Picture of 1930. I would've given it four stars, but the VHS copy isn't great. O mighty masters of DVD transfer, except Cimarron into thy trust! Amen! ... Read more

Description

The movies came alive with the sound of music the day that RichardRodgers and Oscar Hammerstein II teamed up to pen a spectacular string of musical hits. Their legendary collaboration produced seven motion picture masterpieces in all StateFair, Oklahoma!, Carousel, The King and I, South Pacific, Flower Drum Song and, ofcourse, The Sound of Music.Join host Shirley Jones and leading ladies Julie Andrews,Rita Moreno and Nancy Kwan for the ultimate behind-the-scenes tour of these enduringclassics.Here are, without a doubt, the greatest song and dance numbers ever seen on thesilver screen, featuring stars like Deborah Kerr, Yul Brynner, Mitzi Gaynor andChristopher Plummer.With spectacular film footage and never-before-seen outtakes,screen tests and home movies, RODGERS & HAMMERSTEIN: THE SOUND OFMOVIES shows us why these are the songs we'll be singing for a thousand years. ... Read more

Reviews (3)

charming insight
This documentary is a charming insight into the collaboration of Richard Rodgers and Oscar Hammerstein, featuring lush widescreen clips from all of their filmed musicals, and photos from stage plays.

Shirley Jones, Nancy Kwan, Charmian Carr, Rita Moreno and Julie Andrews share their memories about starring in some of the greatest musicals ever filmed, while the commentary is engrossing, and never boring.

It's great to see such moments as Nancy in FLOWER DRUM SONG, performing the famous "I Enjoy Being A Girl" with the three-way mirror. We also find out that Charmian Carr (Liesl from THE SOUND OF MUSIC) performed most of "Sixteen Going On Seventeen" with a twisted ankle! Now that IS a trouper!

The intergrated overture comprising tunes from all the shows at the beginning, is ingenious, as is the whole enterprise. This is a must for fans of R&H and classic movie buffs alike.

RODGERS AND HAMMERSTEIN LIVES ON
For my final critic,i've made a nice pick with this excellent documentary, that has excerps of all of the duo's screen adaptations ,along with some footage of DICK AND OSCAR on GROUCHO MARX SHOW(he makes fun of their names)and some scenes never seen before ,like FRANK SINATRA singing a song from CAROUSEL.To present this, they choose actors who were in these movies:SHIRLEY JONES,JULIE ANDREWS,RITA MORENO ,and even the girl who dubbed DEBORAH KERR for THE KING AND I.A documentary well worth seeing ,that can certainly be the start for future fans to be.You'll have fun seeing screen adaptations in different countries.There is no doubt today that RODGERS AND HAMMERSTEIN are part of the AMERICAN culture heritage, it's no wonder that TIME made them entertainer of the century.

Fall in Love with Rodgers & Hammerstein
I was browsing through the DVD section when I came across this gem. I'm not a big musical lover myself but I found myself humming along by the end of the DVD. "Rodgers & Hammerstein - The Sound of Movies" is a well done A & E television production. The various sections of the DVD are hosted by Shirley Jones, Rita Moreno,Charmian Carr, and Nancy Kwan. The documentary covers classic movie productions of State Fair, Oklahoma!, Carousel, The King and I, The Sound of Music, etc. With interesting tidbits about casting, production, missing scenes and/or songs, this documentary has something both people who love the musicals and those who have never seen them before. By the end of the documentary, you actually will want to see the movies themselves. There are no special features to the DVDs except the ability to do chapter searches so there probabily is no advantage to buying this on DVD versus VHS or laserdisc. ... Read more

Reviews (2)

Another Must-Have Classic!
Besides having two popular stars like John Barrymore and Mary Astor in a lavishly-costumed, entertaining and exciting adventure, this film also features this first 'perfectly matched orchestral accompaniment' recorded on Vitaphone. This was one of the first steps in 1926 towards synchronized sound with moving pictures which led to 'talkies' a few years later. The picture quality on ths tape is excellent and is in clear black & white, but at first hearing the original Vitaphone recording sounds a bit muffled; exactly like our parents' old phonograph records - which it is, after all. After a short while, however, I was too engrossed in the film to pay attention to the sound quality and only noticed how well the music and sounds matched the scenes and mood of the pictures.
John Barrymore suits and plays the part of Don Juan perfectly, showing a range of emotions as he moves from playboy to serious lover and hero, as well as engaging in a breath-taking sword fight that would rival the popular Fairbanks Swashbuckler films. "Don Juan" has the perfect balance of humor, drama, excitement and suspense to make it a video well worth while and one that will hopefully appear on DVD before too long as well!

Two words: John Barrymore. Isn't that enough?
John Barrymore is perfect in the role of Don Juan de Marana, the notorious lover of all women who made a pact with his dying father that he would never let a woman into his heart. He matures into a clever and handsome young man who, with the help of his faithful sidekick Pedrillo, romances and seduces many women simultaneously- even to the point of having three women in his home who each have no clue that they are not alone with the great lover!

His reputation intrigues the fatally beautiful Lucrezia, a member of the villainous Borgia clan, and he accepts her invite to their upcoming gala. Between dodging Lucrezia and instantly seducing an attractive young maid, Don Juan's cold heart is melted by the mere sight of the pure Adriana della Varnese, portrayed by the gorgeous Mary Astor (roughly 20 years before her famous role in "The Maltese Falcon"). Adriana's father, Duke della Varnese, is an enemy of the Borgia and also a guest at the party. When Don Juan realizes that the Duke is about to drink a poisoned glass sent by Lucrezia, he gallantly saves the Duke's life as a gesture of ardour to Adriana. Lucrezia sees that Adriana is a threat and tries to rip away her rival's innocence by trying to marry her to the evil Count Donati, and by giving her to the even more evil alchemist Neri as a guinea pig for his fiendish experiments. Don Juan fights his feelings as long as he can, but ultimately stands up to each challenge with courage and intelligence. There is an excellent fight scene between Don Juan and Count Donati which ranges from swordplay to fists to exhaustion between the two men, and the scenes where Don Juan is imprisoned by the Borgia (and his escape) are amazing. Don Juan does save the girl and escape from the enemy, and the happy couple ride off into the sunset as of olden times...wait a minute, this was made during the olden times!

John Barrymore also plays Don Juan's father, Don Jose de Marana- a bitter man who had her wife's lover trapped behind a wall of their castle and swore off love forever. He also did all of his own stunts in the film. This will surprise those who don't like older movies with its timeless romance and unforgettable characters. A must-have for silent movie fans everywhere! ... Read more

Reviews (7)

give it five
a charming, moving, funny, excellent movie. a masterful piece of film making featuring a wonderful performance by marion davies. watch her here and it is impossible to believe the myth that the only reason she was a movie star was the super-heated sponsorship of william randolph hearst. this movie is almost like a funny version of a star is born, with a happy ending. william haines shows why he was one of the great stars of the late silent era. a good, happy evening of old movie watching.

Total delight that gets better with time
"Show People" is an experience not to be missed. Even if you are not a fan of silent cinema you could not help but be won over by this production. It has the unique distinction of being one of the very rare examples of both Marion Davies and William Haines work on video. I have never seen any of the other films of either artist but I'm sold on them after purchasing my copy of "Show People"

Marion Davies is a revelation in the lead role of Georgia born Peggy Pepper who arrives with her pushy father to "crash Hollywood" and become a "great dramatic actress" only to find herself dumped into slapstick comedies where she spends her days being sprayed with water and throwing custard pies!!

For too long Marion was kept a prisoner of William Randolph Hearst's effort to turn her into a dramatic queen of the movies when in reality she was a superb commedianne. "Show People" showcases her in a superb role ideally suited to her comic talents and she runs away with the film. The classic "audition" scene is absolutely priceless where she is asked to display different "emotions" like sadness, anger etc while raising a hankerchief up and down from her face .It still convulses me every time I see it. For that scene alone the film is worth seeing.

The great William Haines, while taking a back seat quite rightly to Marion in this instance, is also wonderful in his role of the slap stick star who firstly helps Marion and then finds her "going Hollywood" and looking down on him and his craft. He displays a great cheeky quality as well as a pensive other side to his nature which is just perfect for the role.

The film gives us as modern viewers a unique look into the Hollywood of the 1920's. I love the scenes showing how the director led the acting of the principals while filming was going on and the wonderful comic bits that are similiar to Keystone Cops really make you feel a sentimental pang for those far off days of filmmaking.The film has many scenes displaying remarkable Hollywood landmarks and its wonderful to see how MGM looked in the late 20's. Many distinguished actors and actresses make cameo appearances including John Gilbert, Douglas Fairbanks and in a very funny little scene Charlie Chaplin asks for Marion's autograph with her not knowing who this little man is!!

Marion gets to run the gamut of emotions in this production and has a marvellous time spoofing everthing from the Hollywood pecking order to vamping it up and doing a beautiful send up of class "A" drama queen Gloria Swanson. The scenes after Marion becomes a great dramatic actress are really interesting when she is teamed with a "Latin Lover" type popular in this era in Hollywood. The actor in question is a dead ringer for another of my favorite performers Ramon Novarro and he is terrific as the stuck up Ladies man who very much believes his own publicity!

All in all "Show People" is a memorable viewing experience that I would recommend to anyone. I believe, from what I know of her as an individual, that this role really showed the fun person that Marion was in real life. No wonder then that she was loved by practically everyone in Hollywood for all her great qualities, her warmth and her great capacity for friendship. Enjoy!

Marion Davies' Best!
Out of the entire film legacy that Marion Davies left this is the best one out of all her films and it's also her best performance. Directed by the great King Vidor who directed other classics like THE CROWD (1928) and DUEL IN THE SUN (1946) this brilliant comedy is about a southern girl (Marion Davies) who travels with her father to Hollywood to make it in the film business and the scene in which she auditions to make it into the studio is a riot! She makes it in and eventually makes it big and she also finds a love interest. But for the sake of her career she has to give him up for a big but egotistical hollywood leading man in order to further her career. Then she has to decide which is more important, her career or the man she loves. And while she is deciding mayham insues. Mayham also insues when she is trying to make it to the top. It includes plenty of slapstick humor and it also pokes fun at the way Hollywood was back then with it's big shot stars and pompous studio boses but it's all in good fun and is never truely offensive. This movie is tenderley and comically directed and Marion Davies gets to show what a brilliant comedian she was. It's a shame she is so underrated nowadays. I recommend this movie so that you may see what a talent Marion Davies was. This movie is one of the greatest comedies and of the greatest silent movies ever. Also look for fun cameos of silent movie stars like Dougals Fairbanks Sr. and many others and also look for the director, King Vidor in the last part of the movie. He is the one playing the director.

A great comedy
Marion Davies plays a Lucille Ball like character and William Haines plays her goodhearted boyfriend in this wonderful little gem. I have seen this fim about a dozen times and have always enjoyed it. The print is excellent - no scratches or graininess.

Times may change, but the silents never do
If you are a fan of silent movies, or just interested in one, I highly recommend "Show People" as a great example of the finest in that genre. Starring the beautiful Marion Davies, and the equally loveable and handsome William Haines, these two charmers set out to weave a tale of love, hijinks, and a gentle ribbing of the business that made them both great.

Much has bene written about Marion Davies' inability to climb to the heavens as a star, but one can seriously debate that after watching her acting excellence and comedic timing in "Show People". The innocent-girl-turned-big-star may not be very originial, but her portrayal of that girl is timeless.

Not to mention the both endearing and funny William Haines playing his usual character. As the biggest star at MGM the previous year, he gladly let Marion take center stage in this piece, but turns in a bravo performance none-the-less.

Silent movies have been almost forgotten, and I daresay, an appreciation of them is quite lacking. But just watch "Show People" and try not to laugh, and feel empathy for all of these grand characters. I doubt many of our top movie stars today could pull off such a feat! ... Read more

Reviews (3)

Great Epic
This is a great movie. Though it strays a lot from the Old Testament story, it is still a great movie. Superb performances by Charleton Heston, Yul Brenner, & Edward G. Robinson. ABC still broadcasts it every year in prime-time because it is that good!

SILENT "COMMANDMENTS" MOVIE MELODRAMA AT IT'S PEAK
"The Ten Commandments" (1923) is grand scale entertainment which, in its time, served as a moral caveat against the excesses of the Jazz Age. DeMille, in my opinion, had more in common with P.T. Barnum than the Pope, and the film ends up being campy, solemn and riddled with eye-popping special effects. The parting of the Red Sea, done with Jello and water is definitely more effective than in the over-blown 1950's remake with Heston and Brynner. DeMille was always an entertainer first and not a theologian or historian, yet he sometimes wore the latters' hats just to give some authority to his films. DeMille always was most comfortable with highly theatrical and melodramatic plots, evidenced by his early associations with colleagues such as Jesse Lasky and David Belasco. The silent "Commandments" is an antique of another era, but is a great example of early movie magic and over the top melodrama. THAT'S ENTERTAINMENT!

Its Smart! Its BRILLIANT! ITS A MASTERPIECE!
Well I've always been a fan of Bible films. And this will have to be named one of THE BEST! Its not really a Bible film. It cuts into two differn't storys. The 2nd story is Just as Brilliant as the first of moses.

Sure I think there could have been more added to the story of moses, but it ain't really about moses. Its about teaching What the world has turned into after The Ten Commandments.

All in All, It is just Brilliant.

The Story starts out as you see the story of Moses, and your going along the lines of when Moses coming back after meeting god. We don't get to see many of the stuff we see in the Remake. We don't see the firstborn of every child, we don't see the snake coming out of the rode. We only hear about it. But when Moses is leading his people out of Egypt, I can kinda put that Scene right to the remake. They then take it to the Ten COmmandments.

And then they switch to the time, and You meet to Men named John and Dan. One Will Follow to Ten Commandments, One will break all 10. And when I first thought of the idea, I knew it was a good idea, but frankly I was hoping it would just be about Moses. and thats what I wanted. But this story is just as Brilliant as Moses story, and Just as thrilling.

Its a Rewatchable film! ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (13)

BEST PICTURE OSCAR, 193O.
This sprawling Western family saga, which takes place in Oklahoma in the period from 1889 to 1929 dates badly, although it was a big early talkie. Some viewers are a bit too harsh on this film. The opening scenes depict the Oklahoma Land Rush which is positively awe inspiring: thousands of extras rush pell-mell on foot, horseback and wagon in a mindless dash to outwit & outride each other in order to gain free land. Much of the movie rests on the considerable talents of Irene Dunne, who goes from an innocent child-woman to a grand old lady in a span of 4O years. Believe it or not, this film was considered to be the cinema's finest Western until the likes of RED RIVER, HIGH NOON and SHANE made their marks. The film received rave reviews and this along with THE BEST YEARS OF OUR LIVES were the only two RKO films which won a AA for Best Picture. The screenplay was written by Howard Estabrook, based upon the source novel by Edna Ferber. The film cost RKO 1.5 million dollars to film: it also won Oscars for Best Set Decoration and for Best Adoptation.

An Uunfortunate Product of its Times
Rascist, Sexist, boring, pendantic, poorly acted and not particularly well made. I bought a VHS copy, watched it once and threw it in the trash. Hard to believe Cimarron is one of only 3 Westerns to win the Best Picture Oscar and the other 2 were won in the 90's. Most of the early winners of the BPO were excellent picks that have survived the test of time. Cimarron is all but forgotten and fairly so.

A profound old movie
You know, I have to agree with Mr. Erdelac - the movie is progressive for its time. For those of you who judge a movie by the degree to which it beats a political or social drum, there is much here to admire.

But there is more. There is something artistic. There is an odd balance between melodrama and something really substantial, something actually edifying to the viewer. I think a large part of why this movie doesn't descend into the sludge of cinematic slop is because the characters are all flawed, and in those flaws the viewer cannot help but recognize a touch of human frailty. Every individual in this movie is at times ridiculous and at other times supremely dignified. This, I believe, gives it a certain depth.

The characters in any great movie MUST be larger than life if the piece is to avoid being either a documentary or a soap opera. But here the larger than life characters seem firmly rooted in the earth, which brings them closer to us. I like that.

Overall, I think the sensitive viewer will find in this movie much that is both emotionally and philosophically stimulating, if he/she is willing to look past the inevitable veneer of 74 years. I personally consider it a particularly moving and thought-provoking cinematic experience.

Horrible Audio!
I could not really enjoy the film. I purchased it recently on VHS and the audio quality was horrendous. I don't think anything was ever done to remaster the audio, and it is very annoying to follow. Don't waste $19.95 on it. Watch it on TCM; even there the audio is distorted. I only got it because it is a very early Irene Dunne movie, and I was curious to watch it.

Years Ahead Of Its Time
What are some of these reviewers thinking? I just watched this movie for the first time, and considering the period, this has got to be one of the most progressive films ever to come out of the 1930's. Yes, like most, I inwardly cringed at the sight of `Isaiah' whistling and shining shoes during the opening credits, but I really felt that the character wound up being much more than a stereotypical clown (this is NOT Gone With The Wind). Consider the societal constraints under which the creators of this film worked, and I should think its obvious that they did what they could, perhaps subversively. Back then they just couldn't have a black character or a full blooded Indian character who spoke for and defended himself, but they could find a way to espouse more liberal views through the character of Cravat. In the end, by way of his actions, Isaiah certainly becomes a more heroic character than Mammy or Uncle Remus. Likewise, the treatment of womens' roles and Indian rights are amazingly far ahead of their time -even going so far as to touch on interracial marriage and the potential of women to be stronger and even more efficient than men -which at a time when the suffragists were still alive, has got to be commended. And don't forget that Dix's character is part Indian. How many films prior to `Broken Arrow' portrayed Indians in a positive light, let alone made them the hero?

There is a lot of talk of Dix's overracting and praise for Dunne. I thought Dix captured the blustery over the top persona of Yancey Cravat (who was based on a real-life gunslinging attorney who was a son of Sam Houston -the courtroom soliloquy to save the prostitute is culled directly from historic record) perfectly. I particularly liked the scene where he `crows' at the bad guy in challenge. Yes, Dunne did a fine job as well portraying a character who represents all the economic and social intolerance of the period. Moreso because with the help of her firebrand husband she manages to evolve and change (and even become a Congresswoman!) beyond these small views. But I don't think Dix deserves all the criticism, nor Dunne all the credit. Yancy Cravat doesn't seem true to life because he is BIGGER than life. Nobody complains about George C. Scott's rendering of Patton, because we know Patton really was that way. Is it incomprehensible to think that such giant characters, dandily dressed and sporting pistols and purple words ever walked the land before 1930? All this talk of dating (at the risk of sounding dated) is a lot of hooey. When you watch a movie like this you've got to put yourself in the mindset of the audience of the period, or of course you're always going to think its `aged badly.'

The film is shot well. The Land Rush is great, as is that scene where Dunne runs through the spattered men of the oil field at the end (it reminded me of Claudia Cardinale walking through the slew of rail workers at the end of Once Upon A Time In The West). There are shots during the emigration of the Cravats from Kansaas which also stay in the mind. The lantern hanging from the rear axle of the wagon, only illuminating the turning wheels on either side, while Cravat lowly sings his signature tune was a stroke of genius, and the Kid and his gang riding out of the dark and empty land into their campsite is well done. The sound on the VHS is a little bad, with a lot of background hiss occassionally overwhelming the dialogue. I hope if this ever gets to DVD they can fix this.

I think this is an important film that has been sorely overlooked because of the decline of the western in popular culture and the finger pointing of the PC crowd. You've got to look deeper than the veneer, but I really believe this to be an astounding achievement historically, cinematically, and in the portrayal and ultimate breaking of racial stereotypes. Best Picture of 1930. I would've given it four stars, but the VHS copy isn't great. O mighty masters of DVD transfer, except Cimarron into thy trust! Amen! ... Read more

Description

Jean Renoir's (Grand Illusion, Rules of the Game) most critically acclaimed American film, The Southerner is a moving, naturalistic portrayal of one family's struggle to start a farm in the South.Tied to the land for better or worse ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (3)

charming insight
This documentary is a charming insight into the collaboration of Richard Rodgers and Oscar Hammerstein, featuring lush widescreen clips from all of their filmed musicals, and photos from stage plays.

Shirley Jones, Nancy Kwan, Charmian Carr, Rita Moreno and Julie Andrews share their memories about starring in some of the greatest musicals ever filmed, while the commentary is engrossing, and never boring.

It's great to see such moments as Nancy in FLOWER DRUM SONG, performing the famous "I Enjoy Being A Girl" with the three-way mirror. We also find out that Charmian Carr (Liesl from THE SOUND OF MUSIC) performed most of "Sixteen Going On Seventeen" with a twisted ankle! Now that IS a trouper!

The intergrated overture comprising tunes from all the shows at the beginning, is ingenious, as is the whole enterprise. This is a must for fans of R&H and classic movie buffs alike.

RODGERS AND HAMMERSTEIN LIVES ON
For my final critic,i've made a nice pick with this excellent documentary, that has excerps of all of the duo's screen adaptations ,along with some footage of DICK AND OSCAR on GROUCHO MARX SHOW(he makes fun of their names)and some scenes never seen before ,like FRANK SINATRA singing a song from CAROUSEL.To present this, they choose actors who were in these movies:SHIRLEY JONES,JULIE ANDREWS,RITA MORENO ,and even the girl who dubbed DEBORAH KERR for THE KING AND I.A documentary well worth seeing ,that can certainly be the start for future fans to be.You'll have fun seeing screen adaptations in different countries.There is no doubt today that RODGERS AND HAMMERSTEIN are part of the AMERICAN culture heritage, it's no wonder that TIME made them entertainer of the century.

Fall in Love with Rodgers & Hammerstein
I was browsing through the DVD section when I came across this gem. I'm not a big musical lover myself but I found myself humming along by the end of the DVD. "Rodgers & Hammerstein - The Sound of Movies" is a well done A & E television production. The various sections of the DVD are hosted by Shirley Jones, Rita Moreno,Charmian Carr, and Nancy Kwan. The documentary covers classic movie productions of State Fair, Oklahoma!, Carousel, The King and I, The Sound of Music, etc. With interesting tidbits about casting, production, missing scenes and/or songs, this documentary has something both people who love the musicals and those who have never seen them before. By the end of the documentary, you actually will want to see the movies themselves. There are no special features to the DVDs except the ability to do chapter searches so there probabily is no advantage to buying this on DVD versus VHS or laserdisc. ... Read more

Description

As the mid-July sun sets on one of the summer's hottest days, little groups of people gather to discuss the newest neighborhood scandal. Standing in front of a rusty brownstone in Manhattan's West Sixties, they gossip about all the tenants of the building, but especially Mrs. Marrant, who has been seeing the local milkman behind her husband's back.When Mr. Marrant takes a trip out of town, the two lovers have a tragic meeting when her husband doubles back, catching them together. The confrontation will change everyone's lives forever, especially the Marrant's beautiful young daughter Rose (Sylvia Sidney, in one of her first starring roles), who is left to pick up the pieces of their shattered lives. Presented by Samuel Goldwyn and based on the Pulitzer Prize-winning drama by Elmer Rice, who also wrote the screenplay, director King Vidor (Duel In the Sun, Our Daily Bread) has fashioned a raw, harrowing and powerful film with striking camera work by Academy Award-winning cinematographer George Barnes (Rebecca) and musical direction by nine-time Oscar winner Alfred Newman (Camelot, The King and I). ... Read more

Reviews (4)

STREET SCENE: Sylvia Sidney Heats Up the Screen
Every so often heat becomes more than just a stifling rise in temperature designed to raise both a sweat and the tempers of the cast. Sometimes, heat acts as a metaphor to suggest the turmoil that often accompanies that heat rise. In STREET SCENE, director King Vidor took the Pulitzer Prize play by Elmer Rice and used Rice's own adaption to present a steamy day in a New York City tenement. A youthful Sylvia Sidney in one of her first starring roles shows the sloe-eyed sadness that came to mark her future screen persona. Sidney is Rose, a young girl who faces the double trauma of knowing that her mother has been carrying on an affair because her brute of a father radiates all the familial and paternal warmth of a vicious rat. Further complicating her life is her growing attraction for Sam (William Collier), a neighboring boy who suffers ostracism because of his Jewishness. The affair, the prejudice, the heat interact to produce an explosive climax that even today is remarkable in its jarring intensity. The technology of sound was in its infancy in 1931. Much of the dialogue and background auditory effects grate joltingly on the senses, which considering the frayed tempers exacerbated by the heat, is not necessarily a bad thing. STREET SCENE is the kind of unsettling film that makes you forget that film and sound technology need not be advanced for a superior script, fine acting, and first-rate directing to make you realize that you have just seen a gem of a film.

GREAT EARLY SYLVIA SIDNEY PERFORMANCE.
In a New York slum street on a hot, sweltering summer night, an adulterous woman is shot by her husband. Based upon Edgar Rice's Pulitzer-Prize-winning play about the lives of people who live on one West Side Manhattan street proved to have national appeal to movie audiences back in 1931. King Vidor wisely kept eight members of the original cast to insure realism. As Rose, Sylvia Sidney is outstanding. Originally, Nancy Carroll was to have played her (Erin O'Brien-Moore did the part on Broadway), but she was committed to Paramount. Vidor, never afraid of realism, insisted on the magnificently steamy, gritty street scene sets. Alfred Newman's evocative score is timeless piece of motion picture compositon: it's esteemed to this day. Beulah Bondi made her film debut here, and went on to become one of the finest and most respected character actresses in films. In her eighties, she won an Emmy for her performance in an episode of THE WALTONS.

A fine early Sylvia Sydney film
I bought this DVD as I'm a big fan of Sylvia Sidney and King Vidor. She looks wonderful, with a slightly different look from her more familiar late thirties incarnations. Vidor, on the other hand, is somewhat hampered by the constraints that were necessary in the early talkie period. When there is movement in the film it appears to have been shot silent (with added sound), otherwise the film is often rather static. Thus, although this film is similar in some respects to The Crowd, focussing on the lives of ordinary city dwellers, it cannot be said to be an advance in directoral terms. The story of the film is mature and adult, dealing with issues such as infidelity, prejudice and the damage of interfering gossip. There is not much glamour in this film and this makes it unusual for the period and certainly more serious. As with most early talkies, one of the problems with this film is the sound. At times one has to strain to hear the dialogue. The picture quality on the whole is fine, there are however some occassional jumps where a few frames have been lost. On the whole, this is a good example of an early talkie film and is well worth seeing. For Sylvia Sydney fans it is a must, even if she doesn't show up for nearly half an hour. Also for those obsessed with It's a Wonderful Life, it is worth noting the appearance of Belula Bondi (Jimmy Stewart's mother) in Street Scene. She looks much the same.

The BEST Movie Ever!!
This is just like the opera, only they don't sing which was a dissapointment. I played Willie Maurrant in Boston. I'm glad I watched this video because I didn't know they even HAD one!

It is just like the opera, (If you've seen it you might know what it is about) but if you don't Frank Maurrant goes away on some buissness when Mrs. Maurrant calls her secret lover the milkman Mr. Sankey. When Mr. Maurrant comes home he finds trhe two and Sankey and Mrs. Maurrant die. Their daughter Rose Maurrant is sad and can't bare it any more and leaves New York with her brother Willie. ... Read more

Reviews (8)

Jean Renoir's film about a Southern family living on a farm
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. This film is one of those films honoring the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky scene-stealing granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

A Southern family sets up a farm in this Jean Renoir film
"The Southerner," directed by Jean Renoir in 1945 from George Sessions Perry's novel "Hold Autumn in Your Hand," is an interesting example of the pastoral films of post-War Hollywood. The film is one of those films honorable the indomitable spirit of man as it follows the Tucker family in their efforts to set up a self-sufficient farm in the South. San (Zachary Scott), Nona (Betty Field), their children and their spunky granny (Beluah Bondi) have to put up with poverty, weather, disease and even the hostility of their neighbors as everything goes wrong. If a storm is not wrecking their crops, then one of their neighbors sends a cow to eat their vegetable patch. Renoir was one of the first directors to do location shooting for non-Western films, having first gone to the Deep South for 1941's "Swamp Water." But whereas the locale of "The Southerner" is certainly realistic, the same came not be said for the actors. There is an inherent urban sophistication to Scott, so that it just does not seem right that he is out there catching a fish with his bare hands or offering up a hillbilly prayer to God. Renoir needed the same sort of earnest characterization of the great unwashed you find in John Ford's "The Grapes of Wrath." However, certainly this is an earnest effort from Renoir and he comes out slightly ahead on the overall balance sheet. Besides, Bunny Sunshine is in this film.

TOUCHING
A sincere film, real, poignant, believable, and excellently acted all around. It tells the story of the hardships lived by a poor family in the country. For sure in my top ten list! Unforgettable!

5 stars for movie, 3 for DVD quality
Renoir's "The Southerner" captures the gripping poverty of southern share croppers. It has a good story line, beautiful black and white cinematography, and fine acting. In fact my only objection is that the actors did not have much of a southern accent and looked "too pretty" at times for their environment.

This is a film that cries out for restoration, as has been done with the wonderful Criterion Collection DVD of "Grand Illusion". As it is, I rated this 4 stars because of the 2 to 3 star poor condition of the print used...black lines, jumping images at times and poor soundtrack. Well, you can't have everything and would still recommend seeing this movie. Together with "Grapes of Wrath" and "Salt of the Earth", it draws a powerful portrait of the power of a family and human kindness in a struggle against grinding poverty.

The American South As Seen by a French Director
If you loved Grand Illusion and Rules of the Game, this movie is probably not for you. Directing in a language and culture not his own, Jean Renoir drifts toward the corny and stereotypical in this melodrama about a desperate Southern farmer and his beautiful wife. The dialog is especially artificial, spoken by handsome, well-groomed actors out of central casting. If you're interested in the authentic southern or Appalachian poor, see Walker Evans's 1930s photographs. Stick with the Renoir movies shot in France. ... Read more

Reviews (4)

STREET SCENE: Sylvia Sidney Heats Up the Screen
Every so often heat becomes more than just a stifling rise in temperature designed to raise both a sweat and the tempers of the cast. Sometimes, heat acts as a metaphor to suggest the turmoil that often accompanies that heat rise. In STREET SCENE, director King Vidor took the Pulitzer Prize play by Elmer Rice and used Rice's own adaption to present a steamy day in a New York City tenement. A youthful Sylvia Sidney in one of her first starring roles shows the sloe-eyed sadness that came to mark her future screen persona. Sidney is Rose, a young girl who faces the double trauma of knowing that her mother has been carrying on an affair because her brute of a father radiates all the familial and paternal warmth of a vicious rat. Further complicating her life is her growing attraction for Sam (William Collier), a neighboring boy who suffers ostracism because of his Jewishness. The affair, the prejudice, the heat interact to produce an explosive climax that even today is remarkable in its jarring intensity. The technology of sound was in its infancy in 1931. Much of the dialogue and background auditory effects grate joltingly on the senses, which considering the frayed tempers exacerbated by the heat, is not necessarily a bad thing. STREET SCENE is the kind of unsettling film that makes you forget that film and sound technology need not be advanced for a superior script, fine acting, and first-rate directing to make you realize that you have just seen a gem of a film.

GREAT EARLY SYLVIA SIDNEY PERFORMANCE.
In a New York slum street on a hot, sweltering summer night, an adulterous woman is shot by her husband. Based upon Edgar Rice's Pulitzer-Prize-winning play about the lives of people who live on one West Side Manhattan street proved to have national appeal to movie audiences back in 1931. King Vidor wisely kept eight members of the original cast to insure realism. As Rose, Sylvia Sidney is outstanding. Originally, Nancy Carroll was to have played her (Erin O'Brien-Moore did the part on Broadway), but she was committed to Paramount. Vidor, never afraid of realism, insisted on the magnificently steamy, gritty street scene sets. Alfred Newman's evocative score is timeless piece of motion picture compositon: it's esteemed to this day. Beulah Bondi made her film debut here, and went on to become one of the finest and most respected character actresses in films. In her eighties, she won an Emmy for her performance in an episode of THE WALTONS.

A fine early Sylvia Sydney film
I bought this DVD as I'm a big fan of Sylvia Sidney and King Vidor. She looks wonderful, with a slightly different look from her more familiar late thirties incarnations. Vidor, on the other hand, is somewhat hampered by the constraints that were necessary in the early talkie period. When there is movement in the film it appears to have been shot silent (with added sound), otherwise the film is often rather static. Thus, although this film is similar in some respects to The Crowd, focussing on the lives of ordinary city dwellers, it cannot be said to be an advance in directoral terms. The story of the film is mature and adult, dealing with issues such as infidelity, prejudice and the damage of interfering gossip. There is not much glamour in this film and this makes it unusual for the period and certainly more serious. As with most early talkies, one of the problems with this film is the sound. At times one has to strain to hear the dialogue. The picture quality on the whole is fine, there are however some occassional jumps where a few frames have been lost. On the whole, this is a good example of an early talkie film and is well worth seeing. For Sylvia Sydney fans it is a must, even if she doesn't show up for nearly half an hour. Also for those obsessed with It's a Wonderful Life, it is worth noting the appearance of Belula Bondi (Jimmy Stewart's mother) in Street Scene. She looks much the same.

The BEST Movie Ever!!
This is just like the opera, only they don't sing which was a dissapointment. I played Willie Maurrant in Boston. I'm glad I watched this video because I didn't know they even HAD one!

It is just like the opera, (If you've seen it you might know what it is about) but if you don't Frank Maurrant goes away on some buissness when Mrs. Maurrant calls her secret lover the milkman Mr. Sankey. When Mr. Maurrant comes home he finds trhe two and Sankey and Mrs. Maurrant die. Their daughter Rose Maurrant is sad and can't bare it any more and leaves New York with her brother Willie. ... Read more