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 (1)

Enjoyable Louis L'Amour based Western
This is a well made 1960's Western based on the earlier 1953 John Wayne film. Ralph Taeger does very well as the laconic scout entrusted as peace emissary to the Apaches by General Crook. The film is compiled from episodes of the short lived TV series but the continuity is fine apart the odd piece of abrupt editing. In some ways this version of the Louis L'Amour novel is more enjoyable than the earlier classic film in that the Native Americans are more sympathetically treated, and there is a good supporting cast including Noah Beery jr and Kathie Browne, with guest appearances from Robert Taylor and Michael Rennie.The action moves along nicely to a rousing climatic battle with renegade Apaches and a satisfyingly upbeat ending.For animal lovers Hondo's dog Sam survives in this version! Recommended. ... Read more

Reviews (1)

Would work a lot better if it was not about Billy the Kid
Robert Taylor was only 30 years old when he played the title role in the 1941 film "Billy the Kid," but he still seems too old for the role. However, this actually works in favor of the story being told in this film, not that it has much to do with the historical facts regarding Billy the Kid, even though the script is based on Walter Noble Burns's book "The Saga of Billy the Kid" (although Taylor gets props for learning how to shoot with his left hand for the film).

The story is set in 1880 when the Kid breaks his friend Pedro (Frank Puglia) out of jail and gets involved in some outlaw activity. But then the embittered outlaw ends up working for a pacifist farmer, Eric Keating (Ian Hunter), who tries to reform Jesse and insists that if you do not wear a gun the code of the West will stop anyone from shooting an unarmed man and keeps proclaiming that law and order is coming to the wild West. Billy also takes a shine to Keating's sister Edith (Mary Howard), who presents another reason for going straight. Meanwhile it turns out that Billy's old friend Jim "Holy" Sherwood (Brian Donlevy in the Pat Garrett role), is now the foreman for Keating's ranch. When Keating becomes a marshal he makes Jim a deputy and give Billy his parole, Billy gives Edith a colt, and it looks like Billy might be able to live happily ever after. But then Keating gets shot in the back and all bets are off.

At that point this 1941 film basically combines your standard western revenge story with the established legend of Billy the Kid's death. Since the law, represented at this point by Sherwood, is unable to bring Keating's killer to justice, it is left to Billy to go kill the killer before being gunned down himself. If the question is whether Billy is still trying to do good or has gone back to his bad ways, then the answer would come when Billy guns down Dan Hickey (Gene Lockhart) by shooting him in the back.

Ironically, the biggest problem with this tale of "Billy the Kid" is that it told about Billy the Kid. If you changed the name and made Robert Taylor's character anybody else then the film works a lot better. Taylor just has too much gravity to be anybody "the Kid" let alone the most famous one of them all. Besides, all they are really using from the life of William H. Bonney is the idea that he was an outlaw. This is especially true because at the end of the film you get the sense that he is relieved to be able to go back to what he does best. ... Read more

Description

A professor's daughter marries an industrialist and is frightened by the mystery surrounding his brother. Based on the novel "You Were There" by Thelma Strabel. ... Read more

Reviews (5)

Three outstanding stars in a different and dramatic story.
Robert Taylor is the one who stole the show. Katharine was at her lovely and believable best while Robert Mitchum gave such a fine performance that I thought it had been Spencer Tracy who played his part.

Taylor, to me, exceeded my expectations in his role of mean husband and cruel master to one of the most beautiful, big, black horses I have ever seen.

Director Minnelli used shadows and effects in a professional manner. It must have been his direction that carried this movie to the height I think I remember from so many years ago.

I may decide to purchase the video so that I may view the movie on a rainy day. I am happy to have the opportunity to review this great film.

Atmospheric film noir with superstars
Shy country-girl Katharine Hepburn, impressed by famous scientist Robert Taylor hardly believes her luck when he asks her to marry him. But soon her paradise turns into hell: her husband has fits of madness, especially when reminded of his vanished younger brother. Taylor's strange behavior soon gives rise to doubts: is she married to a - KILLER?

Film noir with a strong cast, but not in the same league as "Double indemnity" and "Laura". The filmmakers plundered Hitchcock too freely: They start with "Rebecca", Taylor raves worse than Gregory Peck in "Spellbound" and the murderous-husband-climbs-a-staircase-scene is stolen from "Suspicion". And so is the car-chase on a craggy coast - only here they do it on horseback.

Hepburn looks lovely at first, but after marrying Taylor, he drags her to a stylist: From then on she has to wear a handbag that dangles from her belt, a gigantic mink-stole, and all this is crowned by a Tom-Saywer straw-hat. Other costumes include a coat that looks like a striped bathing-gown with a children's bib and a boy-scout-hat. It didn't help her: no leading lady has ever won a beauty-contest against Robert Taylor. How could director Vincente Minnelli, a man of style & taste give his O.K. to such costumes? "Undercurrent" is, after all, a posh film with expensive settings (Cedric Gibbons)& great scenery. It is also atmospheric: wind blows, leaves fall...

Of course, one would not pay so much attention to Hepburn's wardrobe if the middle part of this film weren't so boring: Hepburn runs from here to there to find out what's what for a seemingly endless time. Finally we are rewarded for our patience: we get to meet the very young Robert Mitchum, and the dalmatian dog that used to hide before Taylor wags its tail at last. There is also a shy horse that always balks at Taylor..."Undercurrent" is an entertaining film, but it could have been much better, especially with this cast.

UNDERWHELMING
What a cast! What a premise! What a letdown! I was very excited to find this film, but was massively disappointed upon viewing it. I am a big Mitchum fan, but big Bob was wasted in this snorefest. Usually, I think Hepburn is pretty great, but I found her tiresome in this role. Playing against type, Robert Taylor was outstanding in his portrayal of the slick entrepreneur slowly coming unglued to reveal a psychopathic core. I'm no Bob Taylor fan but he was the only thing worth watching (that and a traumatized stable hand who rattles off the goods about Taylor's horse-abusing past). Mitchum plays this with even more than his usual laconic stoicism--he probably knew what an egg this one was going to lay. The film takes WAY TOO LONG to get to an all-too-obvious confrontation, and becomes very tedious indeed. There are plenty of Freudian overtones here--a daughter overly-attached to her father, two brothers vying to be mommy's favorite, and a kinky kinda-incestuous fantasy (later real) relationship between a wife and her phantasmic brother-in-law. However, it all turns to pablum in Minnelli's hands (sorry Liza). Another Amazon reviewer likens this film to Gaslight--this film does not even deserve to be put in the same VCR as Gaslight!!! BTW--how come Gaslight--and Out of the Past--are not on DVD? Someone in the INDUSTRY is no doubt asleep at the wheel on that one--probably after seeing Undercurrent.

Underwhelming!!!
What a cast! What a premise! What a letdown! I had never heard of this film and was thrilled to find it, especially as a Mitchum fan. Well, big Bob was wasted in this bland and tedious flick. The plot was totally obvious from the start, and Jeez but it took a million years to get going to the all-too-obvious. Lots of Freudian overtones, but rendered in a very trite and heavy-handed manner. Daughters with a a Daddy-complex; sibling rivalry for Mommy's love; kinky incestuous attraction to the brother in-law -- while all this tawdry stuff could be a real kick, it is pure pablum in Minnelli's hands. I thought Hepburn was tiresome in this role, when she is usually great. Robert Taylor did a fine job playing against type, slowly coming unglued from his fake persona as the confident entrepreneur. His performance was the only saving grace here, and I'm no big Rob Taylor fan. Mitchum came on the scene way too late and with more than the usual dose of his stoic detachment--he probably knew just how big an egg this one was going to lay. I'll salve myself with reviewings of Out of the Past, Night of the Hunter, and Cape Fear just so I can get some sleep again!...

Similar To Cukor's ''Gaslight'' Only More Fascinating
For his first melodrama,Minnelli sure picked a dandy. Similar to George Cukor's much more celebrated 1944 film, Minnelli displays his magic touch with an effortless feeling throughout.Beautifully menacing cinematography from Freund is to blame for the shameless cinematographic orgy that this became, unlike anything Kate Hepburn EVER made.She has a perfect blend of naivite and self consciousness and sweetness that makes us her and her us,accompanying one another hand in hand on our journet to THE END. Roberts Taylor and Mitchum are used spectacularly as brothers, two sides of the same coin, leaving an unwashed ambiguity over the exactness of the completed product.At no time does Minnelli lose his grip on us. ... Read more

Reviews (1)

Enjoyable Louis L'Amour based Western
This is a well made 1960's Western based on the earlier 1953 John Wayne film. Ralph Taeger does very well as the laconic scout entrusted as peace emissary to the Apaches by General Crook. The film is compiled from episodes of the short lived TV series but the continuity is fine apart the odd piece of abrupt editing. In some ways this version of the Louis L'Amour novel is more enjoyable than the earlier classic film in that the Native Americans are more sympathetically treated, and there is a good supporting cast including Noah Beery jr and Kathie Browne, with guest appearances from Robert Taylor and Michael Rennie.The action moves along nicely to a rousing climatic battle with renegade Apaches and a satisfyingly upbeat ending.For animal lovers Hondo's dog Sam survives in this version! Recommended. ... 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 (2)

The Life of a Legend
I was really excited to see this after I bought it because I am a huge Mary Pickford fan and because many of her movies only partially survive. I had a seen a preview on another Milestone release and was happy to hear that Buddy Rogers and Douglas Fairbanks Jr. were commenting on her. The story was told and not a whole lot of new information was given that could not be found in books, but clips from rare movies were shown like Kiki and Secrets. However, some information seems to contradict some things that I have read, so I am not sure how completely accurate this film is.

A WELL MADE BIOGRAPHY
IF YOU LOVE MARY PICKFORD AND WANT TO KNOW MORE ABOUT HER LIFE, THIS IS A VERRY WELL MADE BIOGRAPHY. IT`S HOSTED BY WHOOPIE GOLDBERG ??? AND IT TAKES YOU THROUGH HER BIRTH IN 1893 TO HER DEATH IN 1979. YOU SEE PEOPLE LIKE DOUGLAS FAIRBANKS JR AND HER LAST HUSBAND CHARLES "BUDDY" ROGERS TALKING ABOUT THEIR FIRST ENCOUNTER WITH HER AND OTHER ACTORS AND FRIENDS TALKING ABOUT WHO SHE WAS AND WHAT SHE DID. YOU ALSO SEE A CHRONOLOGY OF THE FILMS SHE MADE FROM HER FIRSTS SHORTS TO HER FEW TALKIES, THIS WAS INTERESTING TO ME BECAUSE THERE`S A LOT OF STUFF I NEVER SAW BEFORE. SO,IF YOU LOVE MARY PICKFORD LIKE ME AND DON`T HAVE TIME TO READ A BOOK ABOUT HER YOU`LL PROBABLY LIKE THIS. IT ALSO HAD A NICE RUNNING TIME OF 96 MIN. ... Read more

Reviews (1)

Teen Angels
I watched the movie for the first time when I was about 15 years old. I really enjoyed the comedy of the movie. It's just a great movie for any girl at heart. ... Read more

Reviews (1)

Enjoyable Louis L'Amour based Western
This is a well made 1960's Western based on the earlier 1953 John Wayne film. Ralph Taeger does very well as the laconic scout entrusted as peace emissary to the Apaches by General Crook. The film is compiled from episodes of the short lived TV series but the continuity is fine apart the odd piece of abrupt editing. In some ways this version of the Louis L'Amour novel is more enjoyable than the earlier classic film in that the Native Americans are more sympathetically treated, and there is a good supporting cast including Noah Beery jr and Kathie Browne, with guest appearances from Robert Taylor and Michael Rennie.The action moves along nicely to a rousing climatic battle with renegade Apaches and a satisfyingly upbeat ending.For animal lovers Hondo's dog Sam survives in this version! Recommended. ... Read more

Reviews (2)

Strange little flick
The vistas of New Mexico are just awesome in this movie--seeing NM in rather unspoiled times was enough to keep me entranced! The story line and acting is a little hokey however, but it is just 'so sixties' that I couldn't resist purchasing it. Gen Xers will probably just hate it, though!

lover of comedies
Both these films were great, especially The Trouble With Angels, but it's about time they were put on widescreen DVD, and I ain't buyin them until they are! ... Read more

Reviews (3)

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 and sung by Boyce and Hart, is extremely annoying, and I'm a Boyce and Hart fan.

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.

hijinx at a catholic girls' boarding school
for those who "survived" parochial school, a light hearted comedy about a catholic girls' boarding school. despite the anthology of frustrated nun jokes, as teachers they pushed you to be the best you could be.

this movie tells several examples with which i can relate, of nuns who go beyond what is required to what is needed for the student's advancement. be it swimming, academics or the band, the resident students and nuns create a community filled with a few laughs and several lessons.

LOVE THESE MOVIES!
I already own these movies but they are so well worn that I am ordering another set from Amazon. The characters are warm,funny and very believable. I have watched these movies about 100 times and still crack up over Marvel Ann's antics and I still root for Reverend Mother because under the cold habit, she is such a sweetheart. A treasure worth watching and rewinding and watching again. ... Read more