Reviews (27)

A Real Christian Movie For Once
Quo Vadis is a movie Ive seen many times and never tire watching. It has beautiful and panoramic scenes making it worthy of an epic. I loved Ustinov playing the evil demonic Nero and Laffan playing Nero's Empress wife. Truely I rarely see such great acting in our films of today.
The greatest attributes of the film are the colliseum scenes in which the Christians are slaughtered for falsley being blamed for the burning of Rome. Nero was fully responsible for this horrid act. The scenes of Nero's court are entertaining and funny to see. Watching all of Nero's men cowtowing to their emperor and at the same time showing contempt for Nero's actions.
The sets are great for 1951 standards and even by todays standards. The Roman Legion formations and custumes were excellent. Taylor's acting is medicore but sufficient and Debra Kerr is a beautiful woman who portrays the poor Christian slave convincingly. It is so so convincing, you would think she was a devout Christian in her private life to her credit as an actress. Also the costumes deserve a five star rating!
The only negative thoughts to the film are the historial accuracies which reveal how short of time the Christian persecution lasted. It didn't end with the end of Nero. Don't let this keep you from buying a great film which does show some Roman and early Christian history and how Roman society existed during Nero's rule. I can't wait for the DVD production of this film. I only wish Hollywood would show films of this quality.

The biggest of the spectacle movies!
Quo Vadis is a shining example of Hollywood at it's best, for a change! Big cast, big budget and a big plot set in Nero's Rome. Robert Taylor turns in one of his finest performances as Marcus Vinicus, an arrogant Roman commander who slowly finds his way of life and love being changed by a shy Christian girl, Deborah Kerr. Kerr is bewitching as the innocent in a debauched Rome and Peter Ustinov is chilling as the nutty but deadly Nero. All I can say is, if you buy this movie, you'll never regret it.

A musical review.......
Miklos Rozsa did a terrific job in composing the music for this movie. The great passion and emotion he can communicate is unsurpassed. In my opinion as a freelance composer it was very difficult to write the music for this tremendous film. It requiered a kind of kaleidoscopic character, each scene needed its own aura, its own color and unlike most filmscores it does not and it can not consist of short flimflams, each scene needed its own musical movement.

The most I like the `Christ is King` theme for choir wich is also sung by the matyrs in the arena. A song wich is unstoppable and will not die or fade away, it is the centerstone of the Quo Vadis' musical climax.

VERY ENTERTAINING EPIC!!!
I love this movie but I will not buy this on VHS. Why isn't it available on DVD? This movie deserves to be released on DVD - there is no excuse. What's the problem? PLEASE RELEASE THIS MOVIE ON DVD!!!

Christianity Versus The Decadence of Nero's Rome
"Quo Vadis", based on the novel by Henryk Sienkiewicz would have to be near the top of my list of favourite 1950's religious epic productions. Indeed "Epic" is the word to fittingly describe this mammoth MGM production that cost an amazing 7 million dollars to make in 1950 and was the studio's biggest money maker since "Gone With The Wind". It has everything an epic movie lover could desire, the already stated fine literary source, breathtaking sets (no computer generated effects here!), meticulously researched historical costumes, enormous crowds scenes and a stunning recreation of Pagan Rome at it's height. The film boasts an extraordinary cast but towering over all of them is the late Peter Ustinov in his unforgettable performance as the deranged Nero. His interpretation of this infamous Emperor who began the first concentrated persecution of the early Christians is still the visual image for a lot of people, myself included,that first comes to mind when Nero's name is mentioned. Already having been filmed a number of times in the silent era and once again since this 1951 film, this is still the definitive version of the story of the early Christian Church struggling to survive in Nero's Rome after the great fire.

With the advent of television in the early 1950's Hollywood fought back with splashy, lavish productions that could not be matched by the flickering black and white image of television in it's infancy. "Quo Vadis", lent itself perfectly for this purpose and an already shaky MGM put all of it's resources into the filming of this elaborate production. The story centres around cocky Roman soldier Marcus Vinicius (Robert Taylor) who after three years of successful campaigning returns to savour the delights of Nero's Rome. Detained at the villa of a retired Roman general Marcus falls for the simple charms of the general's adapted daughter Lygia (Deborah Kerr) who unbeknown to Marcus is secretly a Christian. Seeing her love for him but not understanding the families belief in the love of a single god and in loving your fellow man despite their background or race Marcus has Lygia taken to Rome and placed in Nero's "House of Women" and seeks to make her is own. Lygia escapes and is taken in by other believers but in the meanwhile Marcus finds himself the focus of the unwelcome and quite dangerous affections of the Empress Poppaea (Patricia Laffan). Meanwhile Nero's meglomania continues to grow and he develops a wild scheme to rebuild Rome to his own glory and secretly sets the city on fire. The backlash from this act however sets Nero to find a scapegoat and thus begins the persecution of the Christian sect that are, to the amazement of the Romans, the disciples of a simple young carpenter from Galilee who was executed for his beliefs. Marcus finds Lygia however both are imprisoned together as Christian believers to become the sport of Nero's festivities in the arena. The appearance of the Apostle Peter who has been called to Rome by Christ's message gives the Christians the strength to endure their ordeals and Marcus and Lygia are married by him just prior to his own matrydom on Vatican Hill. Nero however goes too far in his persecution and the mob turns on him resulting in his fall from power and suicide and the reins of power being taken over by the more level headed General Galba.

While "Quo Vadis", in some areas is not always accurate historically the faults are not glaring ones and it does give a vivid picture of the growth of the early Christian movement and the persecution it endured which of course went on long after Nero's death. First and foremost it is inspiring and dramatic viewing and is the classic example of old style movie making at its most lavish. The film is filled with unforgettable images, for example the huge crowd scenes during Marcus' triumpiant entry into Rome, and the burning of the city by Nero which incredibly was done on both full sized and miniature sets. The cold blooded destruction of the Christians in Nero's Circus of course is probably the most vivid image in the film and is riverting in it's horror and accurate depiction of people being eaten by lions or being used as human torches. These scenes in "Quo Vadis", have I believe never been bettered in depicting the insanity and brutality of Nero and his regime. Performances are uniformily fine here. As the two lovers Robert Taylor and Deborah Kerr are just perfect as the two illmatched lovers from different worlds. Finlay Currie does a most inspirational piece of work as Peter and special mention must go to Patricia Laffan who is perfect in a chilling performance as the evil Empress Poppaea. Directed by MGM veteran Mervyn LeRoy, who was responsible for such diverse MGM productions as "Waterloo Bridge", and "Blossoms in the Dust", here he is still just as at home with this super scale type of film and his directoral integrity is evident in every frame of this film. "Quo Vadis", ended up being nominated for 8 Oscars including Best Picture and Best Supporting Actor for Peter Ustinov.

I always find "Quo Vadis", a moving viewing experience generally around Easter time when my thoughts often go back to the earliest years of my religion. Liking the older style of movie making I can also appreciate the film on its superb technical achievements and massive historical recreation. This however never submerges my appreciation of its very simple message that all people need to love each other despite their differences for the world to be a happier place. Take time soon to view this epic production of "Quo Vadis", you wont regret it. ... Read more

Reviews (16)

Mirale of the White Stallions
I am a ridding instuctor and have been searching for this video to show my students. It is a wonderful way for them to see some of the greatest riding in the world in a story every horse lover should know! These precious animals are braught to such vibrant and beautiful light by Disney in this movie. A REAL MUST SEE!!!

White Stallions Dancing
I have been trying to track down this movie for a long time. It was a movie from my childhood and I loved it dearly, I simply could not remember its title. I remember the heroics of the rescuers and the beauty of the Lipizanner horses. This is a movie that would still entrance all viewers, but especially those with a passion and love of horses. I wish Disney would release this on video for the children of today and tomorrow. This movie reminds us that war is not just about people but treasures and animals as well.

Miracle of the White Stallions
"Don't give a hoot about Joe Public" seems to be the mantra these days at Disney when it excitedly releases classics on DVD.

Why don't they take a little more care and issue these films in widescreen format in the way they were supposed to be seen. Its just another way the public has been hoodwinked by a greedy mouse. I wouldn't purchase any of these "new" re-releases until they put product of an acceptable - as opposed to half-assed - quality. Shame on you!

Again, the "new" Disney shows no respect for their heritage
No wonder the company is about to be taken over and broken up -- DVD was introduced to be an alternative to video, to offer more than video: better picture, more extras, and most importantly, more picture. Letterboxing. Widescreen. The complete image. So what does Disney do? They take some of their most beloved live-action films such as this one, and dump it on DVD in full-frame editions. It's a crime against these wonderful films, films that are a credit to the "old Disney" -- the wonderful, family-friendly Disney. And what, exactly is the point of pan-and-scan? Who isn't used to widescreen DVDs yet? Why should I waste my money replacing my old Disney videos with the same crappy full screen image as before? Disney just doesn't get it, and their sales show it.

THE DVD VERSION
Several of the reviews on this site ask the Disney studio to release this film on DVD. Well, they have and this review refers to the DVD version.

I have been familiar with this movie since I worked at the Disney studio in 16mm film distribution in the 1970s (about 7 years before the VHS blockbuster years began), and am familiar with the original negatives. In what I am finding to be typical of the Disney folks, this film is presented in a 'full frame' version, rather than a WIDESCREEN version. The film was shot for a 1:85x1 projected ratio (known as Academy Flat) which presents the picture in a slight retangular format. However, a full frame, 4x3 video transfer of such a negative isn't all that bad, although it would have distinguised it from the normal VHS format.

Also, I am very surprised that the Disney people didn't make an effort to 'clean up' the original negative, which contains a great amount of negative dirt and scratches. The DVD does preserve the original look to the film (color and tint), but there has been so much technology invented to digitally reproduce an almost flawless image, that I am surprised it isn't been used. It is one of trhe major reasons that people have switched to DVD.

Also, look for a mistake in the original negative. Just after the horses board the train, there are reddish, flash frames (possibly an overexposure to the camera original negative) which could easily have been removed digitally.

A few "extras" would have been nice, such as behind-the-scenes material. This stinginess is becomming something notorious with recent Disney DVD releases. Walt Disney shot tons of background footage for every movie he made, and this is stored in the studio vaults. I've seen it in 16mm, although it was shot on 35mm.. You can ignore the lack of a WIDESCREEN image if the DVD contained these precious extras. Otherwise, it's just a transfer of the old VHS image. What's the point of that?

As far as Robert Taylor's performance, far from being 'wooden' (as one reviewer wrote) I agree with another reviewer who said that he was protraying a real man (who was also alive at the time and a hero in Europe), and the script and direction decided to present a truthful, realistic portrrait of him. Don't forget that this movie, and many others (BALLERINA, HORSE WITHOUT A HEAD, ALMOST ANGELS) were shot in Europe after World War II. They were made chiefly for a European theatrical audience and were intened for an American TV audience on THE WONDERFUL WORLD OF DISNEY. So, you'll find a different style of acting and presentation: a bit slow for us, but perfect for their intended audience. ... Read more

Description

Vivian Leigh stars as a ballerina in war-torn England who turns to prostitution when she believes her fiance has died in the war in this drama based on Robert E. Sherwood's acclaimed play. Robert Taylor co-stars. Year: 1940 Director: Mervyn LeRoy Starring:Vivien Leigh, Robert Taylor, Lucile Watson, Virginia Field, Maria Ouspenskaya ... Read more

Reviews (27)

Vivien Leigh at her very best.
Beautiful, sensitive love story told in flashback, loosely based on Robert E. Sherwood's play, of the doomed love between aristocratic british army officer Robert Taylor and frail and lovely, classic ballerina-turned-into-streetwalker, Vivien Leigh, at the peak of her natural beauty.

This movie was filmed after Miss Leigh's success in "Gone With the Wind" and she gives a great tragic performance as ballerina Myra Lester, and Robert Taylor is much better than usual as Captain Roy Cronin. Very good acting by the supporting players too: pretty Virginia Field is also great in a heart-felt performance as Leigh's very loyal & supportive friend; Madame Maria Ouspenskaya, once again gives a knowing authoritative performance as the strict ballet coach; Lucile Watson is very understanding, sweet and charming as Lady Margaret, the hero's mother; and last but not least, C. Aubrey Smith, very effective as usual, as the Duke, Taylor's Uncle.

Filmed before in 1931, at Universal Studios and directed by James Whale, much more faithfully to Robert E. Sherwood's play, with Mae Clarke and Douglass Montgomery in the leads, with newcomer Bette Davis in a small role. Then again, remade in 1956, as "Gaby" with Leslie Caron and John Kerr.

A Great Tragic Romance
When pressed to name her favorite of her own films, Vivien Leigh brushed aside both GONE WITH THE WIND and STREETCAR NAMED DESIRE in favor of this now little-known film based on a failed 1930s stage drama of the same name: WATERLOO BRIDGE, directed by Mervyn LeRoy. Leigh had good reason for her choice. Although she was dazzling as Scarlett O'Hara and elegantly depraved as Blanche DuBois, she was never as beautifully photographed as she was in this 1940 film.

WATERLOO BRIDGE is perhaps best described as one of a number of films "with an English accent" that played to American sympathies for England in the years when England largely stood alone against Nazi Germany. The story itself has a wartime setting: beautiful ballerina Myra (Vivien Leigh) meets and falls passionately in love with officer Roy Cronin (Robert Taylor), only to be parted from him when he is called to duty during World War I. Alone and increasingly destitute, she learns that he has been killed in action--and so, broken hearted and unconcerned for herself, she drifts into prostitution, plying the world's oldest profession along Waterloo Bridge... until she experiences a horrific twist of fate.

Although Robert Taylor is a bit miscast, Leigh carries the film with a truly remarkable performance. In the opening portion of the scene, she is at the height of her youthful beauty, and cinematographer Joseph Ruttenberg makes the most of it; later, when experience has hardened her, she turns the graceful charm of her earlier scenes upside down to create the bitter, brassy tart that Myra has become. The cast also features an exceptional performance by Lucile Watson as Lady Margaret and notable turns by Maria Ouspenskaya, C. Aubrey Smith, and a host of others.

Although less well known than such tragic romances as Garbo's CAMILLE, WATERLOO BRIDGE is easily the equal of such and considerably better than most. The romantic aura is powerful, the production values are meticulous, the direction, photography, and script are first rate. And at the center of it all we have perhaps the single most beautiful actress of her era, Vivien Leigh, in one of her finest performances. You'll need a box of tissues for this one; don't miss it.

IT WAS BOTH VIVIEN AND ROBERT`S FAVORITE FILM
Vivien Leigh proved that her success as Scarlett O`Hara was no fluke. She gives a stunning performance as the shy and innocent ballet dancer Myra Lester. MGM gives the product a lush and style and it is the definitive version of the play.

It is the PERFECT film for two people in love:-))))))))))))

Romantic classic for lovers both young and old
Vivien Leigh had what I firmly believe was her most wonderful role as the tragic Ballerina Myra Lester in MGM's classic "Waterloo Bridge". If one film was to be regarded as the epitome of what romance on screen should be like then this beautiful production would be it. With no use of bad language, no gross sex scenes, relying as it is on a simple but beautifully wrought story of genuine love between two very different people, it is perfect and should be a film enjoyed by all those over the generations who have loved or wish to be.

Adapted from the famous stage play "Waterloo Bridge", by Robert F. Sherwood it provided the ever lovely Vivien Leigh with one of her greatest roles ever. Made in the aftermath of her triumph as Scarlett O'Hara in the classic "Gone With The Wind", it provided the second of two classic roles for her within the space of two years. Despite winning an Oscar later in her career for her tragic role in "A Streetcar Named Desire", Vivien Leigh would always be most fondly remembered for her work in "Gone With The Wind", and "Waterloo Bridge". Here she has a very different role to the feisty Scarlett and Vivien proves herself to be more than up to the challenge. Never on screen has she been more lovely or convincing as the fragile dancer Myra who meets the man of her dreams Colonel Roy Cronin (Robert Taylor in his best role ever)in the middle of an air raid on London's Waterloo Bridge, falls into a whirlwind romance only to be seperated from him by the demands of the war which also sees her own life crumble into degradation after falsely believing him killed in action in France. Expertly directed by veteran Mervyn LeRoy famous for extracting heartfelt performances out of his actors, "Waterloo Bridge" is a wonderfully moving experience from start to finish. We see the young couple meet in less than ideal circumstances in the underground being used as a airraid shelter, we see (in the most romantic scene in the film) the two dancing and falling in love at the wonderful Candlelight Club just as the light is being extinguished. We join them in their attempts to get married and then to find Roy being shipped off to active duty within a few hours. We then witness Myra's tragic decline into a life of prostitution only to discover too late that Roy is still alive and still just as in love with her while life has taken her in a totally different direction leading to tragic consequences. As the heart felt lovers Vivien Leigh and Robert Taylor are perfectly matched and bring total conviction to their parts. Both stated in later years that this film was their own personal favourite and its easy to see why filled as it is by wonderful acting, beautifully staged romantic scenes and a message about what war can do to people in general. Robert Taylor has never been better and his old age rememberances of his lost love on Waterloo Bridge are some of the most tearful parts in the whole film.

"Waterloo Bridge", abounds with other beautiful performances as well. As Myra's best friend and confidant Kitty Meredith who shares the hardships of life on the streets with her , Virginia Field is wonderful in her unwavering love and loyalty to Myra. Veteran character actress Lucile Watson fresh from her triumph playing Norma Shearer's wise mother in "The Women", plays here Robert Taylor's mother Lady Margaret Cronin. Always a beautifully sensitive actress her standout scene where she meets Myra in a restauranrt just after Myra believes that Roy has been killed will leave a lump in your throat for a long time. Rounding out the superlative cast is Maria Ouspenskaya as the harsh Madame Olga Kirowa the domineering manager of the ballet company troupe who by her rigid set of rules is responsible for Myra's downward spiral to a life of degredation and C. Audrey Smith as the Duke delivering his usual sterling work as the army superior who finds himself a little in love with Myra himself when he gives she and Roy permission to marry.

First and foremost it is Vivien Leigh and Robert Taylor's film and as an ideal image of what young lovers should be they are perfect. The chemistry here is ever bit as magical as it was for Vivien with Clark Gable in "Gone With The Wind". She and Taylor had worked together a couple of years previously in England when Robert Taylor travelled over to film "A Yank In Oxford" and their familiar camaradie shows on screen. I cannot recommend "Waterloo Bridge", highly enough to you. It is one of my all time favourite romantic dramas. Being also a favourite of my dear late mother's it also has a real sentimental attachment for me. Whether you are seeing this film for the first time or revisiting it after a number of years if you love romanctic tearful dramas you can't help but fall in love yourself with this beautiful production of "Waterloo Bridge".

Roy and Myra will steal your heart!
"Waterloo Bridge" is a tender love story set in England during WWI. I really love this movie because of the beautiful development of the stars's romance. Robert Taylor is perfect as the aristocratic, dashing Capt. Roy Cronin while Vivien Leigh is captivating as the sweet ballet dancer Myra Lester.
They meet and fall in love during an air raid and share some of the most tender moments on the screen like the beautiful dance at the "Candlelite Club." But their love is put to the test when Myra,who mistakingly thinks Roy's been killed in the war, is dismissed from the ballet company and turns to prostitution as a means of survival.
If you're a romantic like me, you'll enjoy this tearjerker. Roy and Myra's story tugs at the heart and makes you believe in true love again. I HIGHLY recommend it to anyone who loves a good romance or a well developed story with substance. ... Read more

Amazon.com

Among the most exciting of MGM swashbucklers, Richard Thorpe's 1952 Ivanhoe stars Robert Taylor as the medieval hero of Sir Walter Scott's novel. Returning to England from the Third Crusades, Ivanhoe is steadfast in his determination to raise the ransom for the captured King Richard (Norman Wooland), but the effort is full of peril. First is Ivanhoe's reunion with his estranged father (Finlay Currie), a Saxon who hates the Norman king and refuses to give his son the money. Then there's Ivanhoe's unpopular rescue of a wealthy Jew, Isaac (Felix Aylmer), from anti-Semites, and the subsequent decision by Isaac's beautiful daughter, Rebecca (Elizabeth Taylor), to pay Ivanhoe's entry fee in a tournament. (The strapped knight seeks the tourney's cash prize.) Wait, it gets worse: two of Ivanhoe's closest associates (played by George Sanders and Robert Douglas) collude with Richard's evil brother, Prince John (Guy Rolfe), to discredit their friend and steal away Rebecca and another woman, Rowena (Joan Fontaine)--who also fancies Ivanhoe--for themselves. Yes, the situation looks grim, but surprise appearances by a couple of legendary hero types toward the end help level the playing field. Nonstop adventure to make one swoon, Ivanhoe is a gorgeous treat and reasonably faithful to the Age of Chivalry. Things worked out so well for this film, Thorpe and Taylor got together the next year to make Knights of the Round Table. --Tom Keogh ... Read more

Reviews (11)

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all it's feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

Very Good Rendition of the Sir Walter Scott Classic Tale!
Robert Taylor and Director Richard Thorpe team up for their first of two (Knights of the Round Table in 1953) epic tales of noble knights and beautiful damsels in this well made adaptation of the 1819 Sir Walter Scott classic, nominated in 1952 for three Academy Awards, including Best Picture. It is, of course, the classic retelling of one man's, Wilfred of Ivanhoe, quest to restore Richard The Lion-Hearted (Norman Wooland) to the throne stolen by his evil brother, Prince John (Guy Rolfe). But with all its feats of derring-do, this version is also a tender tale of love. Robert Taylor stars as the intrepid Saxon knight-errant Wilfred of Ivanhoe, who is charmed by not one fair lady, but two; the stunningly beautiful Rebecca (Elizabeth Taylor) and the stately Saxon princess Rowena (Joan Fontaine). In striking contrast to this romantic feast, there is the malevolent Sir Brian De Bois-Guilbert (George Sanders), Ivanhoe's deadly enemy and constant threat. This film features some very authentic looking and spectacular fighting sequences and is sure to become a favorite film of students of 12th-century English history. Filmed entirely on location in Great Britain, this movie is very rich in detail, including costumes and weaponry. Very representative of the Metro Goldwyn Mayer classics, this is a very good film somewhat typical of the film making of this decade, but still good enough to be enjoyed in modern day. If you somehow missed this one, give it a look; An excellent movie !!!

MGM's Superb Version Of The Sir Walter Scott Classic
There have been many versions of Sir Walter Scott's classic 1819 swashbuckling story "Ivanhoe", over the years but few of them come near MGM's well crafted and rousing 1952 version that reteamed the two Taylors (Robert and Elizabeth), for the second time. This version benefits greatly from being filmed on location in England, taking full advantage of the nature terrain which gives this film such an authentic feel and flavour. It marked another late career triumph for veteran MGM star Robert Taylor who was fresh from appearing in the blockbuster "Quo Vadis", in Rome when MGM sent him this time to England to take the lead role of Sir Walter Scott's heroic character fighting injustice in the medieval England of Prince John. This film has everything the swashbuckler fan could ask for, daring sword play, a beautiful leading lady, wonderous recreations of 12th Century England, and stunning action sequences filmed on the largest outdoor Castle set ever constructed by MGM while it had a studio in England.

The adventure story of the dashing knight Wilfred of Ivanhoe who champions the cause of the absent King Richard the Lion Hearted while he is away with the crusades is well known to most school age children but this film version is no mere comic book characterisation. Robert Taylor found a real niche late in his career playing these hero's of early English history and in "Ivanhoe",he is perfectly cast as the dashing knight who not only fights the wrong doers trying to steal King Richard's throne, but finds time to romance two beautiful women in Saxon princess Lady Rowena (Joan Fontaine), and the lovely young Jewess Rebecca (Elizabeth Taylor). The opening of the film finds Richard's throne usurped by his younger brother the wicked Prince John (Guy Rolfe). While returning from the Crusades Ivanhoe discovers that King Richard far from being dead as his brother would have the country believe is actually being held for ransom in Austria. Returning to England Ivanhoe finds the Saxon's under siege from Prince John and on a visit where he attempts a reconciliation with his estranged father Cedric (Finlay Currie)he sees first hand the work of Prince John and his follower Sir Brian de Bois-Guilbert (George Sanders). After an attempt is made to rob one of his father' guests the elderly jew Issac of York (Felix Aylmer) Ivanhoe becomes acquainted with his beautiful daughter Rebecca who pledges her jewellery towards King Richard's ransom. Entering a jousting tournament hoping to win the prize money to free Richard, Ivanhoe comes up against his mortal enemy Sir Brian de Bois-Guilbert and is heavily wounded. He is taken to Rebecca's house to recover however Sir Brian not only seeks to destroy Ivanhoe but wants to take the lovely Rebecca as his own. In an attempt to flee Prince John's forces both lady Rowena and Rebecca are captured by Sir Brian who takes them to the Norman fortress where he imprisons both Isaac of York and Ivanhoe's father Cedric. Ivanhoe gives himself to Sir Brian in return for the other release but he is betrayed and imprisoned with the others. Sir Brian however hasn't counted on the Saxon's revenge and soon the castle is undersiege. Despite an attack which sees the castle taken by the Saxons Sir Brian manages to escape with Rebecca who is then put on trial for supposed witchcraft. When it looks like Rebecca will be burned as a witch Ivanhoe arrives to her defense and offers to settle the verdict by one to one combat with Sir Brian. During the fateful contest Sir Brian is killed and just in time King Richard arrives home to claim back his throne displace the usurper Prince John. The conclusion sees Ivanhoe reaffirm his commitment to the lady Rowena despite his obvious attraction to the younger Rebecca.

Nominated for an Academy Award in 1952 for Best Picture this was one of MGM's biggest productions for the year and no expense was spared on sets, colour photography and action sequences. Robert Taylor was so successul in this role that MGM assigned him to play Sir Lancelot in "Knights of the Round Table", the following year to be also directed by Richard Thorpe. Rarely has Elizabeth Taylor appeared more beautiful than as the young heroine Rebecca. Hers is an interesting role which thankfully presents a sympathetic jewish character into the story. Elizabeth herself never wanted to do this film and was always scathing of her own performance here passing the entire film off in interviews as "just a big medieval Western". That really doesn't do the film justice as it is first rate entertainment of the old school. George Sanders and Guy Rolfe make superb villians and Sanders indeed manages to breath extra dimension into what could have been simply a one dimensional villian with his playing opposite Elizabeth Taylor in particular. The spectacular jousting scenes and the siege of the Norman castle are sequences rarely bettered in these type of films and every effort was made to give the film the correct period feel. The costumes by Roger Furse and art direction supplied by Alfred Junge really enhance the atmosphere and authentic historical look of "Ivanhoe" making it one of the better thought out historical adventures from the 1950's decade.

First class entertainment is provided all the way by MGM's "Ivanhoe", and as an example of what the studio could produce even as it went into decline in the 1950's it is top rate. The two Taylor's would never appear together again on film but they make a most interesting screen team and "Ivanhoe", boasts the sort of supporting cast in Joan Fontaine, George Sanders , Emlyn Williams and Finlay Currie that makes me wonder where the equivalent talent is in Hollywood today. Enjoy Robert Taylor fighting evil in 12th Century England in this wonderful version of Sir Walter Scott's immortal "Ivanhoe".

Same Category as The Adventures of Robin Hood
Why is this movie not released on DVD???? Does the studio have any plans on releasing soon???

A Beautiful Movie
I saw this movie in 1952 when I was 7 years old. Years later I bought the Laser disc and am dismayed there is no DVD.There have been many swashbuckling movies but this is the best. It is a ripping good story, poignant as well. Beautifully filmed! Robert Taylor Joan Fontaine and Elizabeth Taylor are superb-as is George Sanders. I have shown this film over and over again to my children and they love it. It is romantic without being vulgar. It has plenty of action" without being gruesome. It has character. And lest I forget a wonderful musical score. ... Read more

Reviews (19)

Hot-head Taylor Pushes Women Onward
Robert Taylor is the no-nonsense wagonmaster of a big ole group of women who have signed on to be the mail-order brides of a bunch of bachelor frontiersmen in California. An interesting assortment of women, some widows and some prostitutes as well as other women who for whatever reason have no prospects back east. Not so keen on Taylor, though, as to me he always seems like he's acting--I don't find him believable or immersed in his role. This movie could've been a lot better if someone else were in this role. Lots of drama for the women, as they must put up with Indian fights, deserting menfolk, floods, thirst and hunger, deaths, births, and having to move their wagons up and down harsh terrain by their own (wo)manpower. Some reviewers find it a good feminist movie, but I take exception to Taylor's rough treatment of his reformed prostitute love interest as anti-woman.

A True-to-life Adventure
"Westward the Women" is the story of a group of women who have been recruited as wives for a settlement of men in a California valley. Their hopes and dreams, hardships and struggles, laughter and tears are all a part of their trek to the west. Soon after leaving for California, nearly all of the men who signed on to work with the wagon train left during the night. The train boss (Robert Taylor) decided that he would "make men out of the women" so they could be tough enough to make it on their own. This film gives you a feeling of actually being there. It is a true-to-life adventure--one that you will want to come back to and relive.

Next time, take the train
An all-girl wagon train? That's the idea, and somebody must have caught the great director William Wellman in a genial mood when he agreed to direct this. It's a measure of his tremendous talent that Wellman actually made something enjoyable out of an utterly absurd script. A motley assemblage of mail-order brides heading to California are abandoned by their hired male teamsters thanks to trail boss Robert Taylor's poor people skills. Instead of high-tailing it back to St. Joe the fiances push on by themselves, with mixed results. Several dozen make it across, however, and face the far greater perils of marrying complete strangers. Taylor, one of Hollywood's most under-rated talents, is absolutely great, and the large female ensemble acquit themselves very well. As usual with a Wellman picture, phenomenal photography.

Not the usual journey West for Robert Taylor.
This film depicts a classic westward journey. Not the usual family voyage, but single women yearning for home and family in a California valley. Their journey begins with the women, the train boss (Robert Taylor), and the men whose work it is to help get the wagon train and the women to their destination. One night, however, all but 4 of the men desert the train. The next morning, the boss decides to "make men out of the women", so they can complete the trip. The struggles, heartaches, and accomplishments of these women are lived out in their quest. The realism of this story is compelling. You, the viewer, will want to revisit this movie often and share it with your family and friends who admire bravery and strength when it shows up in ordinary people.

My wish
I would like to see this movie in DVD format. I recently saw a colorized version and wonder if it is available. ... Read more

Reviews (4)

Meeting of the Queens of MGM
"When Ladies Meet" is a unique viewing experience on a number of different levels. The first being that it has preserved on film the passing of the MGM mantle from 1930's movie queen Joan Crawford to that of rising 1940's successor Greer Garson and secondly shows one of the few times in this period of film making where two top female stars are teamed together. The combination of Joan Crawford and Greer Garson is an arresting one and the real chemistry between them makes for great viewing in this remake of the 1933 film of the same title which starred Myrna Loy and Anne Harding.

Despite this film coming near the end of Joan Crawford's celebrated career at MGM she does very well in her performance and hold her own against the new sensation of Greer Garson with her very different acting style. Based on a play by Rachel Crothers and boasting a screenplay partly written by Anita Loos, "When Ladies Meet" is often too easily dismissed as a "woman's magazine type story' when in actual fact that is an unfair judgement for a film put together with great care and integrity. Certainly the screen play is on the wordy side but what it talks about in regard to personal pride and believing in one's own personal worth is just a valid today as it was back in 1941.

The story tells of Mary Howard (Crawford) who is a successful novelist with very advanced views (for 1941), on love, marriage and personal relationships. She has found herself in the dilemma of loving her publisher Rogers Woodruff (Herbert Marshall in another stiff performance)who of course is married already to Clare (Greer Garson) Joan herself is being pursued by Jimmy Lee (Robert Taylor in a standout comedy performance) who she puts up with because of his comic easygoing manner. Jimmy decides to throw the two women, who are unknown to each other, together in the hope that Mary will see the situation is a hopeless one with a man who will always remain married, hence the title , "When Ladies Meet". What develops when the two do meet at the home of Bridget (Spring Byington in another delightfully scatty performance) is that both like and admire the other for the qualities they possess and begine to realise that Rogers is someone who will never change.. a situation Mary in particular could never gracefully accept as Clare has over the years. Realising this Mary finally sees the real value in Jimmy and decides that that is where a future for herself does exist.

What makes "When Ladies Meet' special viewing are the standout performances by the leads. Joan Crawford, although never pleased with this film in her memoirs, I feel is believably straitforward and endearing as the sophisticated Mary. Greer Garson, playing against the more experienced Crawford brings a lovely innocently confident quality to her playing of Clare, the understanding wife who learns to not settle for second best. Crawford and Garson work really well in their scenes together and are offset beautifully by Robert Taylor in what I believe is one of his finest performances as the comic Jimmy who is prepared to do anything to win Mary's love. Taylor played many insipid roles in his early career but here he reveals a new maturity to his performing no doubt spurred on by his triumph in the classic "Waterloo Bridge" the year before. Herbert Marshall, an actor I always find uninteresting and wooden is confidently assured in his playing of Rogers, the man in the middle of these two very different women but how either could want him over the attractive JImmy is a mystery to me. Spring Byington rounds out the cast in an hilarious performance as mutual friend Bridget at who's weekend home all the action unfolds. Played by Alice Brady in the origianl 1933 film, Byington is a delight here with her foolish prattle and scatterbrain interfering. She was a most capable actress who knew her range and excelled in what she did best in film after film, moving into television in the 1950's for a whole new career of stardom.

Directed with a sure if unspectacular hand by veteran MGM man Robert Z. Leonard who guided Joan Crawford through a number of films in the 30's, the film benefits from the MGM gloss and attention to detail. Adrian's creations for both of the female leads are stunning and it was a vechicle definately well timed for both ladies, Joan Crawford on her way out of her long term contract with MGM having a last stab at a meaty part, and Greer Garson the new sensation having the opportunity to work beside a MGM legend to great effect with her greatest triumph in
"Mrs. Miniver" less than 12 months off in the future.

"When Ladies Meet' is an entertaining film to watch and if you like MGM starpower of the old school this is a film not to be missed. The sexual politics of the script may appear dated by today's standards but as a reflection of the times the story is a most enjoyable one. Crawford and Garson fans like myself wont want to miss this encounter of two of MGM's biggest female stars and the sparks will fly when these two ladies meet! Enjoy

AN M-G-M TREAT FROM 1941
An enjoyable drawing-room comedy coupled with an interesting cast and a typically glossy grade "A" M-G-M production make for a fun 105 minutes. Crawford plays a novelist who's also involved in a women's liberation movement (this is back in 1941!) who takes a shine to her publisher (Herbert Marshall). Taylor, who truly loves her is caught in the middle. When Joan finally meets Marshall's wife, she's quite impressed & is confidentially informed by the gracious Garson that Marshall is indeed a notorious philanderer (to put it politely): Crawford finds true love with Mr. Robert Taylor...The witty exchanges & interaction between Garson - who was soon to replace Joan as M-G-M's First Lady - and Crawford are fascinating, and Taylor surprisingly shows a fine flair for comedy. Although this 1941 re-make somewhat pales in areas when compared to the 1933 original version (I caught it on late night TV) - which starred Ann Harding, Myrna Loy and Robert Montgomery & Alice Brady (the latter stole the show) - it's got enough going for it, artificial though it may be.

"IT'S OLDER THAN THE HILLS, BUT I LOVE IT.....JIMMY-DIMMY! "
While "WHEN LADIES MEET" gave top biling to Joan Crawford and Robert Taylor, I was captured mostly by third-billed Greer Garson's performance. Robert Taylor gives a good, but mild comedic performance in the Melvyn Douglas mold. Joan Crawford's last great MGM role, "A Woman's Face," was made just prior to this film, and "When Ladies Meet" marked the beginning of her decline at MGM, the first of three "oh, Joan can make it work" films in which anyone could have starred. That's why Louis B. Mayer's new protege, Greer Garson, walked away with this film, which contributed to her becoming the top box-office draw of the 1940's. Greer Garson was a wonderful dramatic actress from the theatre, and after the continental works of "Goodbye Mr. Chips" and "Pride And Prejudice," this film gave audiences a good chance to see the lighter side of Garson's talents. This comedy gave balance to her list of films, and she would win the Academy award for Best Actress the next year for the WWII drama, "MRS. MINIVER," which also won for Best Picture.

The plot is a twist on the drawing-room love-triangle premise, only with 4 people instead of 3. Robert Taylor has a thing for author Joan Crawford. Crawford has a thing for publisher Herbert Marshall. Marshall has a thing for both Crawford and wife Greer Garson. When invited to Crawford's country house to work on business, Marshall is torn. Meanwhile, Garson gets tangled up platonically with suave Taylor. She agrees to help make his "girl" jealous, and she rides with him to Crawford's house. Unaware husband Marshall was around and will return, Garson is charmingly and ridiculously hilarious in full British accent, cooing, "Come on, Jimmy-dimmy," into Taylor's ear for Crawford's benefit. Garson not only resembles, but also sounds like Stefanie Powers in the TV series "Hart To Hart," cooing to Robert Wagner. Eventually Marshall returns, a storm brews, the lights go out, and, yes, you guessed it, by morning everything is resolved for all. To find out who winds up with whom, watch the video! This is what happens "WHEN LADIES MEET."

another unfair review
once again, matlin's review is being unfair to this movie, it's a very nice movie to watch, it's funny at times, it's moving and it's got Greer Garson and Joan Crawford. I've seen it, it's part of my collection because i'm an admirer of both actresses but i think everyone would enjoy this one. ... Read more

Reviews (19)

Hot-head Taylor Pushes Women Onward
Robert Taylor is the no-nonsense wagonmaster of a big ole group of women who have signed on to be the mail-order brides of a bunch of bachelor frontiersmen in California. An interesting assortment of women, some widows and some prostitutes as well as other women who for whatever reason have no prospects back east. Not so keen on Taylor, though, as to me he always seems like he's acting--I don't find him believable or immersed in his role. This movie could've been a lot better if someone else were in this role. Lots of drama for the women, as they must put up with Indian fights, deserting menfolk, floods, thirst and hunger, deaths, births, and having to move their wagons up and down harsh terrain by their own (wo)manpower. Some reviewers find it a good feminist movie, but I take exception to Taylor's rough treatment of his reformed prostitute love interest as anti-woman.

A True-to-life Adventure
"Westward the Women" is the story of a group of women who have been recruited as wives for a settlement of men in a California valley. Their hopes and dreams, hardships and struggles, laughter and tears are all a part of their trek to the west. Soon after leaving for California, nearly all of the men who signed on to work with the wagon train left during the night. The train boss (Robert Taylor) decided that he would "make men out of the women" so they could be tough enough to make it on their own. This film gives you a feeling of actually being there. It is a true-to-life adventure--one that you will want to come back to and relive.

Next time, take the train
An all-girl wagon train? That's the idea, and somebody must have caught the great director William Wellman in a genial mood when he agreed to direct this. It's a measure of his tremendous talent that Wellman actually made something enjoyable out of an utterly absurd script. A motley assemblage of mail-order brides heading to California are abandoned by their hired male teamsters thanks to trail boss Robert Taylor's poor people skills. Instead of high-tailing it back to St. Joe the fiances push on by themselves, with mixed results. Several dozen make it across, however, and face the far greater perils of marrying complete strangers. Taylor, one of Hollywood's most under-rated talents, is absolutely great, and the large female ensemble acquit themselves very well. As usual with a Wellman picture, phenomenal photography.

Not the usual journey West for Robert Taylor.
This film depicts a classic westward journey. Not the usual family voyage, but single women yearning for home and family in a California valley. Their journey begins with the women, the train boss (Robert Taylor), and the men whose work it is to help get the wagon train and the women to their destination. One night, however, all but 4 of the men desert the train. The next morning, the boss decides to "make men out of the women", so they can complete the trip. The struggles, heartaches, and accomplishments of these women are lived out in their quest. The realism of this story is compelling. You, the viewer, will want to revisit this movie often and share it with your family and friends who admire bravery and strength when it shows up in ordinary people.

My wish
I would like to see this movie in DVD format. I recently saw a colorized version and wonder if it is available. ... Read more

Amazon.com essential video

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

Reviews (17)

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

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

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

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

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

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

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

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

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

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

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

Reviews (23)

Where Angels Go, Boredom Follows
Although this sequel to THE TROUBLE WITH ANGELS offers Rosalind Russell reprising her role as the Mother Superior of St. Francis and head of the convent's girls school, WHERE ANGELS GO TROUBLE FOLLOWS is a dismal sequel in which the girls make a cross-country outting--and in addition to playing pranks and flirting with boys also find themselves threatened by various unsavory characters they encounter along the way; meanwhile, the conservative Rosalind Russell strives to check the excesses of the ultra-liberal Sister George (played very stridently by Stella Stevens), whose determination to modernize the Holy Orders seems less progressive than just down right obnoxious.

Unlike its predecessor, the movie never strikes a good balance between comic and dramatic elements and the production values seem more akin to a television movie-of-the-week effort than a big-screen production. Russell is the saving grace of the film, a very young Susan St. James proves very attractive, and several supporting performances (including Binnie Barnes) are quite engaging--but they cannot overcome this film's many inadequacies. Miss it.

Pan and scan attrocity
This is one of my favorite movies of all time, and I anxiously awaited its release on DVD. It looks like I will have to wait a while longer until they decide to give us the movie the way it was meant to be seen....in widescreen.

Come on Columbia Home Video, do justice to this and its sister movie "The Trouble With Angels" and release them in "widescreen"!!!! These are such great, vastly underrated movies, it appears even Columbia doesn't think enough of them that they would give them this shabby treatment.

If you get a chance to see them (on Turner Classics), they are WONDERFUL movies....but wait to buy the DVD. Don't buy into these pan and scan attrocities that the movie companies seem determined to thrust upon us.

Sequel lacks the charm of the first movie
I recently acquired a copy of "Where Angels Go, Trouble Follows." Being a fan of "The Trouble with Angels," I was intrigued by the notion that someone had made a thitherto-unknown-to-me sequel to it; however, watching it was a disappointing experience to say the least. Rosalind Russell reprises her role as Mother Superior, and--in contrast with the first movie--is easily the most sympathetic character in the film. The activist nun, Sister George (played by Stella Stevens), comes off as a caustic, spoiled little brat, as does Susan St. James's Rosabelle character. Marvel Ann (again played by Barbara Hunter) inspires less antipathy this time around, but only because she was such a curmudgeon in the first movie. Finally, the bit players brought in to lend the film more star power (e.g., Arthur Godfrey, Van Johnson, and Milton Berle) are given painfully stupid roles.

Thus there are no memorable characters, and the basic premise of the movie--the St. Francis girls' hitting the road to participate in a youth rally of some kind--is eminently forgettable. Even the theme song, penned by Boyce and Hart and sung poorly by other people, is extremely annoying.

I will say, however, that it's interesting to see what Hollywood thought was "hip" or "with it" in 1968. The film definitely has historical intrigue from that standpoint.

Now How About a Widescreen DVD?
Wear Angels Go Trouble Follows may not as good as The Trouble with Angels but I do think it's a good movie and I enjoyed it and thought Rosalind Russell and Stella Stevens were really good though I wish Hayley Mills and the actress who played her friend were in this too reprising their rolls from the first movie. I would like to own this and also The Trouble with Angels on DVD but I don't want to buy edited pan and scan DVDs, I will just wait until widescreen DVDs are released and until than I will just tape the movies from that classic movie network that shows them in widescreen.

Pan & Scan DVD - how disappointing!
Rosalind Russell is without doubt my favourite actress. What a versatile performer and genuinely good person she was. Roz appeared in many great films (she made 51 films in total), of which only a handful is available on DVD. These include "Auntie Mame", "His Girl Friday" and "Picnic". So, when the release of this delightful film and the film of which this is the sequel, "The Trouble With Angels", was announced as coming soon on DVD I was ecstatic. Coming from Columbia Home Video (who released both "Picnic" and "His Girl Friday") I expected the very best in preparation and presentation.
What a disappointment to learn that both films are to be released in pan and scan versions only. My question is...WHY??? In this day and age where widescreen televisions are so popular and where we have come to expect fully restored versions with plenty of bonus features on DVD Columbia offers what is essentially only part of each film. And, at full price! Additionally, "The Trouble With Angels" is regularly shown on cable TV in a widescreen print so one is available! Roz deserves much better!
I for one will not be purchasing this release. My advice: don't buy only part of this film. Columbia Home Video, if you read this review, do right by Roz and release both these films in their entirety! ... Read more

Reviews (13)

...Did you ever see a dream walking?
"Together again!" blurted the ads for this William Castle thriller. The ads meant, of course,former husband and wife Robert Taylor and Barbara Stanwyck, who had a rather acrimonious divorce in the early 1950s. "Everyone probably thought we were going to beat each other up", said "Missy" Stanwyck, when asked about how their screen reunion went. Well, they didn't beat each other up, but gave good performances in this Robert "Psycho" Bloch-scripted film, one of William Castle's best. "The Night Walker" is the tale of attractive Irene Trent (Stanwyck), who is married to blind, jealous and abusive scientist Howard Trent, played by Hayden Rourke (He was "Captain Bellows" on TV's "I Dream of Jeannie"!). Marriage to Howard, in Irene's words, "Is like a nightmare!" In her frustration, she dreams of a young, handsome and attentive lover, and talks in her sleep. Howard accuses her of having an affair with their attorney, Barry Morland (Taylor). They quarrel,(Stanwyck's tirade is a masterpiece of vitriol!), she runs out of their gloomy old mansion, and Howard is incinerated in a mysterious explosion in his laboratory. Irene, feeling uncomfortable living in the house, moves into the small apartment behind the beauty parlor she owns. Her dreams of a dream lover continue, (Are they dreams? Are they real?) and then they become terrifying nightmares. She sees Howard, his face hideously burned, and her "dream lover" (Lloyd Bochner) marries her in a positively frightening ceremony in an abandoned chapel. Irene begins to doubt her own sanity...Surprisingly, "The Night Walker" was a box-office dud. It is a very entertaining film, with a great cast, which includes familiar old faces such as Rochelle Hudson, Marjorie Bennett, Jess Barker, and Tetsu Komai (he was one of the manimals in "Island of Lost Souls"). "Missy" Stanwyck looks great, though she possessed one of the most unmelodious screams ever heard on screen (it sounds like a foghorn!), but she gives, as always, a believable performance. She was great. Robert Taylor is good, though he was never one of my favorites, and his once-handsome face had not aged well, and his bad facelift did not help matters. The musical score is rather noteworthy. It was composed by Vic Mizzy, who has, to his credit, "The Addams Family", "Green Acres", "The Pruitts of Southhampton", and a quartet of Don Knotts comedies, including "The Ghost and Mr. Chicken". It is a very entertaining, catchy score, praised by Bernard Herrmann! The picture quality on this tape is excellent, and the original teaser trailer is loads of fun ("Do you dream of SEX?") So, for an enjoyable 85 minutes, curl up with a bowl of popcorn and "The Night Walker"! Pleasant dreams....

Yes, even Robert Bloch can write a bad movie script
The best part of "The Night Walker" is the opening sequence, which consists of an expressionistic montage all about dreams and nightmares. The story offers Barbara Stanwyck in her last theatrical role as Irene Trent, who blind husband (Hayden Roarke) is killed in an explosion. Irene starts to have lots and lots of nightmares haunted by both a mysterious handsome guy (Lloyd Bochner) and her husband, who appears to be alive. Of course, as the nightmares progress it becomes more difficult to tell the difference between the dreams and the real world (YOU THINK?). Next thing we know, Irene is screaming "I CAN'T WAKE UP! I CAN'T WAKE UP!"

Now, a movie starring Barbara Stanwyck and written by Robert Bloch ("Psycho") certainly seems promising enough, but then "The Night Walker" was directed by William Castle. As you can tell from the "revised" title of the film, when William Castle does a film there is nobody bigger involved in the production than William Castle. After all, this is the guy who brought us "The Tingler" and a host of other campy horror films. Every once in a while as director Castle tries some "arty" stuff involving angles as such, most of which do not work. The production values are pretty good for a Castle film, but that works against what is essentially his usual brand of camp. The dream sequences are the best part of the film, but Bloch's simply (and surprisingly) script falls apart at the end. Stanwyck's performance is okay, but in this film she utters some of the worst screams in movie history. Paul Frees is the distinctive voice providing the narration and the music by Vic Mizzy is above average. "The Night Walker" is going to lose most viewers before it gets to the end, which I do not think works, but it has some pretentions at evincing ambition which warrants a look.

The one and only William Castle
I absolutely love William Castle. The man was an original and made the most fun and unique films. So what if they weren't considered classics, they were the perfect late-night-slumber party movies: lots of cheap thrills, but nothing to damage your psyche. I just hope this gem, along with other great Castle films, like "Macabre" and Let's Kill Uncle," make it to DVD soon!!!

Howard, is that you?
I saw this movie when I was a kid and it scared the s*** out of me! This is a great horror classic. It's a shame it's not on DVD in widescreen format. The first ten minutes or so are a bit hokey but once the story kicks in the suspense builds. It's in black and white but it is great cause they utilize shadows and fog to create suspense; and the music totally fits the genre. I can hear the music in my head as I write this; da da da da dum. My nephew once bragged how he could watch any horror movie. I put Night Walker in for him to watch. By the end of the movie he was watching it with his baseball hat tilted over his head and his hands over his face. He couldnt sleep that night, he was so scared. We wound up spending the night playing Nitendo. Yeah, it's definitely a B-movie but one of the greatest B-movies I've ever seen. It's a tradition in our home to watch it at least once a year. I've seen the other Castle films but to me this one is the true classic.

Barbara Stanwyck's last theatrical release
"The Night Walker", following on the heels of her 1964 collaboration with Elvis Presley in "Roustabout" marked rather sadly the last cinema release in Barbara Stanwyck's long and very acclaimed film career. After this film she moved full time into television and scored herself a triumph (and an Emmy Award into the bargain),as the firm but fair lead in the classic western series "The Big Valley". It was a shame she didn't continue in leading film roles because here Barbara has never been better in her later years than as the widow tortured by recurring dreams so alarmingly vivid that that seem frighteningly real.

Produced by the infamous William Castle who's speciality was having skeletons fly across cinemas on wires during performances, it would seem at first glance that the material here which has a slightly incredible premise was not very promising. But in reality it is actually one of the better of the "shock cinema" offerings of the 1960's which found veteran actresses of the 1930's and 40's appearing as deranged or menaced mature women in low budget offerings that still drew audiences on their weight of their names. "The Night Walker", has an involved plot that finds Barbara Stanwyck playing Irene Trent who finds herself a widow after her insanely jealous husband (Hayden Rorke in a very non traditional role)is killed in an explosion in his lab. She finds herself tormented by frightening dreams where her husband is actually still alive and where she is also pursued by a mysterious handsome stranger who in a bizzare wedding ceremony in a mysterious chapel marries her and then disappears. Is Irene only dreaming or is she being driven out of her mind? These are the big questions left unanswered until the thrilling conclusion of this film which I wont reveal for the benefit of those who haven't seen this film yet. For once William Castle has an intelligent screenplay by the talented Robert Bloch to utilise and he is greatly aided through the convoluted story and the very surprising twist at the end by the seasoned performing of former husband and wife team Barbara Stanwyck and Robert Taylor. Much was made of their reteaming in this film at the time of the release of this film. They had worked together on two films in the 1930's "This Is My Affair", and "His Brother's Wife" and both bring their years of experience to their parts and make a fascinating pair on screen aside from the poignantcy of seeing them together again after all these years. While Robert Taylor's appearance in the film is a surprise (he was already suffering from the cancer that eventually killed him in 1969), he is wonderful playing Barry Moreland, Irene's husband's financial advisor who supposedly is helping Irene understand just who is tormenting her before revealing a nasty side to his character. Hayden Rorke still best remembered for his work in the hit series "I Dream of Jeannie", has the small but memorable role of Howard Trent the dead husband of Irene, or is he really dead? His insanely jealous character is certainly a dramatic departure for him and his scenes early in the film with Barbara Stanwyck really lay the ground for the tension created later in the story.

William Castle really plays up the visual images here and this is what gives "The Night Walker", it's eerie dramatic power. In Irene's dreams we see Howard supposedly rising from the dead with his face all burnt from the explosion we are led to "believe" that he survived. In another instance we witness the totally macabre wedding ceremony populated by frighteningly distorted dummy figures that seem to glare right through you and take on a life of their own. It's these scenes that make us share this slightly off centre panic that Barbara Stanwyck's character experiences . The gloomy mansion, the clocks all going off at once on the grand staircase and the play of shadows in the apartment at the boutique where Irene has retreated to supposedly find some peace also encourage that feeling of there being no rest from this unknown presence haunting Irene.

"The Night Walker", is a very engrossing pyschological thriller. Barbara Stanwyck insisted at the time of the picture's release that "The Night Walker" was not a horror movie in the Baby Jane model and while there are some familiar elements it is a story which stands on its own merits. It certainly is very watchable and indeed keeps you guessing right up to the surprise ending which willl really leave you gasping. Being a huge Barbara Stanwyck fan I was prepared to enjoy this film anyway but it displays a mature Stanwyck in full throttle delivering a grand performance as she did throughout her career. Her chemistry with Robert Taylor is great and both give this thought provoking story their all. If you like mystery thrillers with plenty of red herrings thrown in along the way to supposedly "put you off the scent" then you are guaranteed to enjoy William Castle's "The Night Walker" starring former husband and wife team Barbara Stanwyck and Robert Taylor. ... Read more

Reviews (4)

Wonderful films with adventure and romance
Archeologist Robert Taylor and the lovely Elanor Parker, find adventure and romance in Egypt while on a quest to find evidence of Joseph from biblical times. They fall in love an dhav elot sof adventure on their quest. A lot of great scenary of pyramids and scenes from Egypt, a very excting and scenic film. It makes one want to travel to Egypt.

"Remembrance of Things Past..."
A true rating of this film, for me, would be 4 and 1/2
stars...a film for one's youth...to be inspired by...
to sense the wonder and mystery and power of the Past...
its dreams, hopes, ambitions, achievements...all entombed
in dust...awaiting release...by some heroic adventurer...
some intelligent, questing, skeptical -- yet earnest,
inquiring, disciplined seeker who will not be denied...
who wills "to strive, to seek, to find...and not to yield"...
until he has penetrated into the sanctum of wisdom
and discovered the Knowledge of life and himself...
*********
The opening credits establish the "mise en scene"...
the story is based on materials from C.W. Ceram's *Gods,
Graves, and Scholars*... it concerns a married lady,
daughter of elderly archaeologist who has died...her
father had spent his entire life of seeking to find some
evidence in Egypt that verified the stay of Joseph,
the patriarch, told about in *Genesis* 37-50 in the
Old Testament...
This married daughter seeks to venerate and validate
her father's past life by carrying on the quest which had
meant so much to him...she has in her possession a golden
statuette of the Pharaoh Ra-ho-tep (whom her father had
believed was the Pharaoh who had elevated Joseph to
the position as his vizier, after Joseph had interpreted
his dreams)...the daughter seeks the help of an American
archaeologist, who also happens to be reasonably handsome
(if a bit weathered...) -- played by Robert Taylor, but
after "Quo Vadis?" and after "Ivanhoe"...the archaeologist
is skeptical, but attracted to the woman...even after he
finds out she is married, he is still intrigued enough to
continue to help her in her quest...here in Egypt...
around the year 1900...
The path is long...covers much sand...visits many
interesting, wondrous sites...there is a rope climb
down the face of the colossal temple of Ramses II
at Abu Simbel...into a hole in the temple face...
wondrous, entrancing things to a youthful mind
enchanted and inspired with archaeology...and Egypt...
mystery...and glory...and discovery...and secret
knowledge...
The path also leads to a Greek Orthodox monastery at
the base of Mount Sinai...and a basket ride up into the
monastery...discoveries in the dark interior of the
monastery...and finally there is the exciting discovery
which leads to the Valley of the Kings...and the possible
discovery of the tomb of the Pharaoh Ra-ho-tep...and

confirmation of the story of Joseph...and validation of
her father's commitment, and seeking, and belief...
The archaeologist discovers things about himself
as well...what it means to be be committed to a belief
in something more than just oneself...more than just
skeptical cynicism or libertine living...to seek answers
to questions that trouble the mind and the spirit with
restlessness and dissatisfaction because one is not
headed in the direction of psychic fulfillment which
one's intelligence, and desire for knowing, and earnest
spirit find fulfilling...
There is wisdom here...in the sands...certainly
wisdom that Thoth or Hermes could well affirm...but
it takes the seeking... Horus meets Elektra...conquers
Set...discovers Joseph...myth and meaning...and
"Remembrance of Things Past"...
* * * * * * * * *

Egyptology
This is a terrific movie, a bit slow in parts, but none the less well worth watching. I have lost count of the number of times I have watched it since it was first released. This is the movie that first gave me a taste of the subject and I have been enthralled by it ever since I was a boy (I am now 56)

More adventures in Egypt
In this unknown film, Taylor was an arqueologist searching the tomb of a ancient jewish leader. The movie was shooting in Egypt and that is the more remarcable thing about the picture. The story is not very solid but is pleasant to see during a long weekend.Eleanor Parker looks to beatiful in the desert, but it's only a movie. ... Read more