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A man accepts a plum job at a law firm if he stops seeing the bosschr(39)s daughter. ... Read more

Reviews (5)

Trials and tribulations in the Philadelphia social order
Soap opera is about high society and social position in Philadelphia, with lawyer Tony Lawrence overcoming many obstacles to finish law school, make a name for himself as a tax attorney, and marry his erstwhile sweetheart, Joan Dickinson. Young Lawrence has enough character to overcome a scheming preceptor who disapproves of his daughter marrying a cub lawyer, a stinging rebuke to his marriage proposal to a frustrated wife and the calm acceptance of learning who his father really is. Lawrence must also defend an old friend against murder charges in a tense courtroom face-off with a tough district attorney. The polished, urbane John Williams brings just the right touch to his role as a stern, cantankerous senior law partner. The film also has several good performances from a solid supporting cast, including Brian Keith, Alexis Smith and Barbara Rush.

The Irish make it again!
I read this book years ago. Movies tend to fall short of good novels because they are too limited in what they can cover. But this movie does quite well. In the book there were three generations of Irish. The hero's grandmother is the immigrant who got the family to America. Next Tony (the hero) gets a key block in the getting ahead game when his second generation mother finds a crack in society's door but doesn't quite get in herself. But she keeps her foot in the door in that commitment to the future that our immigrant ancesters had that has done many of us a lot of good. Her commitment put Tony in a position to belong IF he can graduate from the right school and prove himself in a Society level law firm.

Tony and his mother get behind the scenes help from Tony's real father a successful and politically connected Phila contractor who sounds an awful lot like the famous John Kelly (Grace Kelly's Grandfather). Once again the Irish immigrant class are working with a commitment to the future of their people and their family. The real father sees to it that Tony can afford Princeton and law school. And Dad keeps Tony's mother's secret. They even keep it from Tony himself.

Tony does some bad things. He gets suckered by his sweetheart's father when the lovers decide to marry before Tony has his law degree. So he loses the girl. Next he steals a a plum summer job out from under one of his college buddies to advance his own career.

Next Tony does some good things. His super influential summer employer's young wife thinks she is in love with Tony. Tony actually turns her down while making her feel good about the whole thing. He's learning to think on his back as well as his feet. And he uses his inherited Irish blarney to great effect.

Next he saves his old Princeton Buddy from a murder rap, earning the undying gratitude of a socially very important main line family. His original girl friend, good looking and also well connected, marries Tony after her husband is killed in Korea. She wanted him even though she thought he was a sell out. But when she watches him battle his way through a tough criminal rap, in a high risk situation, out of loyalty to his old pal, she stands with a look of admiration and says something like "you are the man. I'm yours for ever"

At that point I was wishing that I was Tony.

What I Want for Christmas...
...is a copy of this movie.

A fifties black and white classic, this movie is everything movies used to be, but, sadly, are not today.

Who's Paul Newman? Sure, he's devastatingly handsome and burns up the screen as Tony, but it's Robert Vaughn who steals the show. His character, Chester, is riveting and achingly fleshed. 1959 Vaughn in a white dinner jacket...and the jail cell scene takes my breath away every time.

The soul of the movie is good triumping over evil, even if it takes good a while to get there. The meandering path the two heroes take on their journey to personal salvation makes us examine our own life choices.

You'll feel better about the human condition (not to mention lawyers) after watching this movie.

Cynical and sexy
A steamy "Peyton Place" style sex story, featuring Paul Newman as Tony Lawrence, an ambitous young man whose soul is twisted by his aristocratic family's unwillingness to let him marry for love. Forced to play the power game, he plays it to the hilt, cynically using his sex appeal and ruthlessness to bring ruin to anyone standing in his path. I'm sure they must have toned the film script down quite a bit from what the book was like, but it's still pretty raw. Plus, Newman was one sexy monkey when he was young... if you wanna see him at his shirtless, hunky best, then this is the film for you.

Paul Newman cuts the mustard in Philadelphia's cream
"The Young Philadelphians" is pure 1950s Hollywood gloss, replete with well-coiffed, young social aspirants (Paul Newman, Barbara Rush), fringe-dwelling wannabes (Robert Vaughn, uncharacteristically unkempt) and rough diamonds (Brian Keith), blended together under Vincent Sherman's by-the- book direction. Hollywood in 1958-9 was gingerly trying to avoid the whiff of McCarthyist hysteria by leading with its heart rather than its head; hence, "The Young Philadelphians". In its favour this film unearthed some genuine acting talent (Robert Vaughn) while reminding us of the great character actors of older times in Billie Burke's marvellously potty characterisation.

The major theme of this picture is personal redemption, as Newman's character Tony Lawrence ("one of THE Philadelphia Lawrences" as we are continually reminded) seeks to recapture self-respect and lost love, victims to a voracious value system which divides the haves and have nots into neat stereotypes. Tony loses his girl (Barbara Rush) to the wiles of the old order law elites, who suck him into the vortex of old money, and older prejudices. But Tony is also young, and has his own values - as displayed when the wife of his boss makes a play for him, only to be rebuffed by Tony's insistence on commitment, not casualness; an irony lost on the precocious legal eagle!

Later, this resolve is tested when Barabara Rush comes back into his life after her husband's death. Tony must tread warily, as his inconsistencies are now well known. Finally, Tony's own value system is put to the sword by family revelations of bastardry, discovering he is not in fact a Lawrence, but the son of an Irish businessman (Brian Keith), a friend and mentor throughout Tony's life, but who is outside the inner Philadelphia circle.

Thus, Tony must now earn his stripes, not rely on the club. He does this as only a lawyer can, through the stage of the courtroom. Robert Vaughn's Chester, Tony's lifelong friend but a social (and physical) outcast, provides the medium for Tony's final resolve: he must defend Chester against a murder charge. The acquittal provides the end point for the power plays which have constructed "Tony Lawrence". Chester is admitted into the "Philadelphia set", while Tony is reunited with both his moral self (and can genuinely regard himself as a "Lawrence", but on his terms), and his ethical self, realising the complex threads that bind the personal ties of his emotional life.

While there are moments of sincerity in this film, its failure to resolve its own moral dilemma undermines its inherent value as an expose of the consequences of personal indulgence. If Tony had been truly redeemed would he have returned to the Phildalephia fold, or would he have denied its apparent claims to authority and carved his niche outside of its strictures, say by rejecting the old firms for his own practice, or starting afresh in an area of HIS choosing? This has been resolved unsatisfactorily in light of the stance taken by Tony toward the controlling elites towards the film's end.

Postscript: Robert Vaughn's performance is a revelation. His impassioned plea to Tony to defend him on the murder charge is one of the most powerful scenes in this, or any other, film. Anyone only vaguely familiar with Vaughn through "The Man From U.N.C.L.E.", should see this film to encounter an actor of great depth and believability. ... Read more

Reviews (10)

Inside the third reich - Great movie to experiment
This is the type of movie I love. I recently bought the whole collection of Winds of War and War and Remembrance and this movie fits right in this line of drama. What's special in this movie for me is I saw it on TV years ago. I just completed my engineering degree at University and this moview woke me up. I could understand where Speer offered his technical knowledges for the 3rd reich. Conflicting for an intellectual but probably brought him a lot of satisfaction in terms of achievement and exceptional designs. Everytime I see a movie with the Nazi banners, I think about Speer who brought that to the NSDAP. It's just amazing to see him when they walk in the new chancellerie. The music, the scenes and Speer's fase expressions, are just touching deeply any technical designer. I recommend this movie for anyone that is ready to put himself (herself) into the character and accept what he's doing in the movie. Yes, he was part of the nazi movement, but we are talking about exceptional design productions. It's sad to see pictures at the end that shows the buildings destroyed. These were built to last 1000 years. Imagine which building today will last 1000 years!!!

Inside The Third Reich
This has got to be the worst movie on the Third Reich. Dates were wrong, the screenplay was horrible. It was funny that in almost every scene in the movies from the 30's until 45 Himmler,Goering were always there, when in real life they were off doing there own things. Randy Quaid playing Ernst Hanfstaengl that was real bad. The uniforms had the wrong insignia and rank and everything was just a mess. Also you can tell that the whole movie was filmed in th fall and mostly winter. There are many scenes that add to this, such as when Hess flew to Scotland in the movie it was snowing in real life it was May and hot. Also when the attempt on Hitlers life on July 20th everyone is wearing winter clothing and there is snow outside. If Speer wouldn't died before 81 this movie sure would of done the job.

Best of its genre
I watched all the WWII and nazi-related movies and miniseries from the 1980s and I must say this one has stuck with me ever since. Derek Jakobi's performance of Hitler is spellbinding. The scene of him practicing his gestures before a mirror is compelling. Hauer gives a competant though understated performance as Speer. But I must tell you if you watch this movies for no other reason it is the lengthy scene, without dialogue, of Hitler walking through the rooms of the new reich chancellory. The haunting soundtrack music and Jakobi's eyes as he takes in Speer's handiwork are memorable and at the end of the scene, with tears he looks at Speer and say "Well done." When I watch that scene, ever 20 years later, it still gives me goosebumps. This two-part movie is definitely a cut above others from the era. Well worth it to watch.

Nazi purists may disagree, but...
...this TV movie isn't as bad as some reviewers claim. At moments it gets quite interesting and it features a once-in-a-lifetime-never-to-be-seen-again cast that includes John Gielgud, Trevor Howard, Ian Holm, Elke Sommer, Blythe Danner, Robert Vaughn, Rugter Hauer (Albert Speer) and the great Derek Jacobi as Hitler.
Tends to be somehow an apology for Speer (couldn't be otherwise, it's based on his memoirs) and, true, it fails to inspire much emotion (except for the rage of a few reviewers, it seems). It's also rather long (a miniseries, actually) and may not be as accurate as some would like it to be. Personally ...who cares? If you're that obsessed with facts and dates read the book instead!
So, not a life-changing movie experience for sure (I hope), but interesting if you're into WWII within reason.

Good, and reasonably faithful to the book.
This movie is fairly faithful to "Inside the Third Reich" authored by Albert Speer while in prison. While it has gotten a barrage of criticism here on Amazon, I liked it. Rutger Hauer puts in a fine performance as Speer. The actors who play Hitler and the other major characters also do good jobs. This movie does a creditable job explaining who Speer was, and what he did, at least according to Speer as based upon his book.

This is very watchable historical drama. I hope it is soon available on DVD. ... Read more

Amazon.com essential video

Peter Yates's 1968 cop drama has its existentialist pretensions, but there is something seductive about its strained seriousness and Steve McQueen's intentionally stoic performance as a San Francisco police detective on the trail of a murderer. A couple of key action sequences boost the film's stature, the most memorable of which is a vertiginous car chase that Yates almost approaches as a dance. Jacqueline Bisset provides window dressing as Bullitt's girlfriend--worried about how much his job strips away his humanity--and Robert Vaughan is almost reptilian as an opportunistic politician. --Tom Keogh ... Read more

Reviews (104)

Bullitt Hits The Mark
1968's Bullitt is best known for its classic car chase scene that is still considered by many to the best of all time. The movie is worth watching for that scene alone as Steve McQueen's fastback Mustang chases down a Dodge Charger for a tense ten minutes through the streets of San Francisco. Even without that memorable scene, Bullitt is a classic 60's film. Mr. McQueen's performance as steely police detective Frank Bullitt is one of his best and the forerunner of the anti-heroes that would dominate films of the 70's. The plot revolves around a seemingly routine job for Bullitt and his men to protect a mob informant (Pat Renella) who is set to testify before a Senate subcommittee. When two hitmen break into the safe house and fatally wound the informant and injury another detective, Bullitt begins to have questions and takes up investigating the case on his own with the help of fellow detective Delgetti (Don Gordon). Fighting them at every turn is ruthless and ambitious senator Chalmers played with unctuous smarm by Robert Vaughan. Jacqueline Bissett co-stars in one of her first roles as Bullitt's girlfriend and Robert Duvall has a bit part as a cabbie. Director Peter Yates crafts a gritty look to the film and editor Frank Keller won the Academy Award for his superb work.

Steve McQueen scorches the streets of San Francisco
Arguably the best crime film of 1968, and certainly one of the most influential films of the genre...."Bullitt" established new directions in the mood and style of crime thrillers, and firmly established McQueen as one of the key anti-hero stars of the 60's. Based on the gritty novel "Mute Witness" by Robert L. Pike, this was the first, and only, time McQueen portrayed a police officer (albeit a maverick one) in his movie career. In 1968 Steve was then riding high on the success of his previous crime film, "The Thomas Crown Affair", and "Bullitt" just propelled his star even higher into the heavens !

The plot is tight, economical and well crafted....taciturn, moody Detective Frank Bullitt (McQueen) is charged with the protection of a key witness vital to an upcoming trial involving Mafia connections. Whilst hidden away in a supposed secure location, the witness and his police guard are brutally gunned down by unknown assailants. The heat is turned up on Bullitt by his tough Captain (Simon Oakland) and the manipulative, opportunistic politician Walter Chalmers (Robert Vaughn) to come up with the right answers fast ! Between the draining investigation, Bullitt struggles to maintain his relationship with his cultured, sensitive girlfriend, Cathy (Jacqueline Bisset)

Primarily coming from a TV series background, Englishman Peter Yates (directing his fourth movie) did a commendable job as director on "Bullitt"...producing a complex, intense crime thriller with a unique style that would ultimately influence many other films. Yates would later to go onto direct Robert Mitchum in the excellent "sleeper" crime film "The Friends of Eddie Coyle" !

And of course "Bullitt" is reknowned for it's now legendary car chase between Frank Bullitt's 390 GT Mustang and the two hitmen in their black, Dodge Charger 440 Magnum barrelling through the city streets and highways of San Francisco....just don't pay too much attention to how many times they pass that slow-moving, green VW Beetle !!

The DVD transfer is excellent in both sound and picture quality, and the Limited Edition Set with the extra goodies (Single sheet poster, shooting draft, lobby cards etc.) is a real bonus for keen film fans !!

One of my favourite cop thrillers....McQueen sizzles on screen !!

Put on a Sweater
This detective drama aimed to be the essence of cool, and succeeded, in fact it's a little too cool, can somebody turn up the thermostat? Barely anybody in the picture is allowed to show any genuine emotion, although one of the hoods looks a little upset before he's shotgunned. Director Peter Yates apparently planned to tell the whole story with action and came up with a near-classic. In fact his spectacular staging of McQueen's car pursuit of two Mob assassins is usually blamed for the countless imitation car chases that have blighted American movies ever since. It's certainly one of McQueen's signature roles, but why give him a hokey name like Bullitt?

McQUEEN COOL!
Ignore the paisley pajamas, Steve McQueen was an icon of cool and BULLITT is the proof. Peter Yates has a smart thinking man's cop drama, bolstered by (yes) the best chase scene on film. Great locations in San Francisco. Superior acting by McQueen, Robert Vaughn as a sinister U.S. Senator and Don Gordon, as McQueen's partner. Why didn't Don Gordon become a bigger star?

The good, the bad, and the pretty
"Bullitt" is highly regarded by many for either "the chase", or the drama.

The good and the bad: True, there is a high-speed car chase in part through the hilly streets of San Francisco. Is it "the best ever" chase? Depends on how you look at it. Plus - It was very high speed. Plus - It had a cool-looking Mustang fastback vs a big GTO. Negative - They pass the same VW 4 times, and another car 2 times (why? if not intentional, then very poor continuity) Negative - double-shifting or not, there are about 97 too many gear changes, and some of those are at top speed on the flat stretch near the end. Neg - the bad guys lose too many hubcaps. Still, it's fairly exciting. However, though not car vs car, I think the chase in "The French Connection" is as good if not better.

As for the drama, some of it seemed a bit drawn out. Lt. Frank Bullitt is supposed to protect the state's witness "Ross" against the Chicago "Organization". Ross and one cop are shot, and Ross is later killed in the hospital, where Bullitt is hanging out. Bullitt does not want the prosecutor who gave him the assignment (Robert Vaughan) to know Ross died, so he will have time to find the killers. Turns out Ross may not be who the cops think he is, and this leads to a good foot-chase across the airport runways and the airport itself.

Some of the police procedure as portrayed in the movie is rather shoddy - such as handling a lot of evidence, then asking for it to be fingerprinted, etc.

The pretty: Bullitt has a girlfriend played by Jaqueline Bisset, who gives him grief for his callous attitude. This sets up the final scene of the movie where Bullitt ambiguously questions his existence. Otherwise, her appearance in the movie is useless.

Good acting by McQueen and Vaughan. Look for Robert Duval, Georg Sanford Brown, Norman fell, Simon Oakland and a few other names.

The jazzy score by Lalo Schifrin sounds like a bad TV movie. Wide-screen movie has decent picture and sound quality. DVD extras include a short behind the scenes documentary, text-based cast/crew/location info, list of awards, and a trailer.

In short - Not the best cop movie, not the best McQueen movie, and not the best chase. Watchable but not a stand out. ... Read more

Amazon.com essential video

Akira Kurosawa's rousing Seven Samurai was a natural for an American remake--after all, the codes and conventions of ancient Japan and the Wild West (at least the mythical movie West) are not so very far apart. Thus The Magnificent Seven effortlessly turns samurai into cowboys (the same trick worked more than once: Kurosawa's Yojimbo became Sergio Leone's A Fistful of Dollars). The beleaguered denizens of a Mexican village, weary of attacks by banditos, hire seven gunslingers to repel the invaders once and for all. The gunmen are cool and capable, with most of the actors playing them just on the cusp of '60s stardom: Steve McQueen, James Coburn, Charles Bronson, Robert Vaughn. The man who brings these warriors together is Yul Brynner, the baddest bald man in the West. There's nothing especially stylish about the approach of veteran director John Sturges (The Great Escape), but the storytelling is clear and strong, and the charisma of the young guns fairly flies off the screen. If that isn't enough to awaken the 12-year-old kid inside anyone, the unforgettable Elmer Bernstein music will do it: bum-bum-ba-bum, bum-ba-bum-ba-bum.... Followed by three inferior sequels, Return of the Seven, Guns of the Magnificent Seven, and The Magnificent Seven Ride! --Robert Horton ... Read more

Reviews (92)

One of The Last Great Westerns
Before the advent of the Spaghetti Western and the few good films that followed came The Magnificent Seven. The Wild Bunch, The Long Riders and several others owe their creative souls to this movie. I like Yul Brenner, if you have seen Westworld, well this is where Mr. Brenner began the character he later used in that film. Charles Bronson , Steve McQueen, Eli Wallach, what a cast! And the heroic notion of helping a village of peasants fight tyranny....what more can you ask for!? The special features, well maybe not like in some more modern videos, but it is nice to hear Eli, and James Coburn and the directors and producers wax nostalgic about said movie...I admire their acting capabilities and their knowledge of film in general, so I enjoyed this a lot. If you are a lover of the Western genre, then by all means you have to have this for your collection! And the music too. What a score!

An Epic American Western
"The Magnificent Seven" combines the great elements of a successful western...exciting story, stellar cast, scenic locations, and a legendary soundtrack. A Mexican village plagued by a gang of bandits led by Eli Wallach solicits the aid of mercenary gunfighters. Yul Brynner, with his commanding presence and black attire, recruits a band of diverse characters, including a wry-witted drifter seeking excitement; a brash young man seeking respect; a skilled craftsman seeking challenge; an opportunist seeking wealth; a tough sentimentalist seeking redemption; and a man on-the-run tormented by fear. Together they assume heroic proportions in an altruistic fight against near-impossible odds.

Elmer Bernstein's memorable musical score has achieved a lasting stature. From his rousing signature title to the haunting Spanish-flavored themes, the music teems with scope, drive, and energy. After 40 years, "The Magnificent Seven" remains vibrant, robust, and enduring...a hallmark for American westerns.

Wanted to Give it 5 Stars, BUT...
This movie was excellent, from the brassy music to the awesome cast and storyline (from The Seven Samurai. It is just too bad that there are at least three scenes that require the viewers to leave the room until they are over. All three of these feature a certain person, played by Horst Buchholz. They say that his character's name is Chico, but I prefer to call him the "Stupid Kid." He is the only damper on an otherwise perfect movie. It is a terrible shame, from his lovely appearance, as he stupidly follows the hearse, to his speech to the farmers about how cowardly they are, to his love affair with the stupid girl, to his ....oh I can't go on.....

A review of the DVD in specific
This is a superbly remastered and restored film, It comes with some brilliant extras including original trailers and more interestingly a documentary on the film named "Guns For Hire".
If you are a fan of the actors in this classic you'll love the doco which shows what they went on to do and includes some interviews showing the actors today and telling how Yul Brynner brought this tale to life.
For Steve McQueen fans you get a little insight into how he tries to steal every scene he appears in.
The film is a great telling of an adventurous story based on the Toho studios film "The Seven Samurai".
The commentary features actors James Coburn, Eli Wallach, producer Walter Mirisch & Ass Director Rob Reylea. It covers many interesting stories from a set which saw several stars of the time and even the wedding of Yul Brynner.
Worth a viewing.

A cultural transplant that wasn't rejected
A small village in Mexico is repeatedly harassed by outlaws, and decides to hire seven gunfighters as protection. A simple idea, transplanted out of Akira Kirasawa's "Seven Samurai", but when the cast is right, the film is right. Steve McQueen, James Coburn, Charles Bronson, and Robert Vaughn were all up-and-coming stars, and Yul Brynner was perfect as the essence of cold, efficient, authoritative leadership. Add an unforgettable musical score, and you have a winner. ... Read more

Reviews (35)

Don't miss this comedy!
Jennifer and Mr. Templeton meet when he gets her mermaid-suit on the hook while fishing (she's working as a mermaid in the weekends, hired to swim under her father's glass bottom boat for tourists). Later he, a famous scientist, hires her as his biographer and seduces her. After a while she's mistaken for a Russian spy.

Does it sound silly? Yes, it is. And very funny too. Almost all scenes, except for some in the middle of the movie, are very funny. Some examples: The kitchen scene, the scene with the remote-controlled boat and the scenes on the party towards the end of the movie. You should see for yourself! Doris sings "Soft as the Starlight", "Que Sera, Sera" and the title song.

If you like good comedies, this movie is for you. The cast is very good, especially Doris Day, and the screenplay is clever, and silly at the same time. This movie will make you laugh a lot.

Smooth Sailing "Boat"
"The Glass Bottom Boat" sailed into the nation's movie theatres in the summer of 1966 and quickly became one of the summer's top grossing comedy hits. Perennial favorite Doris Day showed a gift for slapstick comedy under the direction of Frank Tashlin who had honed his skill directing Jerry Lewis, Jayne Mansfield and others. Aided by a comedy dream cast including Dom DeLuise, Paul Lynde, Dick Martin, Edward Andrews and others, "Boat" is a fast paced, nutty, often side-splitting laugh fest whose plot is difficult to describe.

Day plays a tour guide at a space plant, who phones her dog Vladimir regularly. She's mistaken for a spy after being "caught" off Catalina Island by Rod Taylor, where she impersonates a mermaid for her father, Arthur Godfrey's glass bottom boat tours. Mix in some banana creme cake, some eye popping clothes designed by Ray Aghayan and his partner Bob Mackie, including a "Cher-like" Mata Hata outfit, some nosy neighbors played by "Bewitched" cast members George Tobias and Alice Pearce, and you've got the recipe for comedy highjinks.

Doris sings a couple of tunes including her signature hit, "Que Sera Sera" in a charming sequence with Godfrey, in his film debut. The mix is perfect throughout and this is one boat worth taking a cruise on.

Is Doris a secret spy or just a woman in love?
Doris Day is a mermaid that is until Rod Taylor (THE TIME MACHINE [1960]) catches her suit on a fishing hook in Catalina. She lost the bottom of her costume. She does it all. She is also a tour guide for the company Rod Taylor works for. She calls her dog at home from time to time. We've got Paul Lynde as a snoopy Security Guard. After the mermaid incident, clumsy Doris and Rod become friends and he invites Doris to his home to see the space-age kitchen. No need for a woman in this kitchen as you will see. Not quite "The Jetsons".
Also in the cast is several other character actors you have seen in Doris day films. Arthur Godfrey, John mcGiver, Edward Andrews, Dom DeLuise, Elizabeth Fraser, Dick Martin and Ellen Corby. Florence Halop and Robert Vaughn in cameos.
There is also Alice Pearce and George Tobias who at that time played the snoopy married neighbors in the Bewitched tv series. Alice Pearce was the first "Gladys Kravitz" from 1964-1972. George Tobias was the realistic "Mr. Kravitz".
Doris day and Arthur Godfrey ham "Que Sara Sara".
Some scenes filmed in Avalon, Catalina Island.
Paul Lynde has a scene in "drag".

All aboard All abaord on the Glass Bottom Boat
This is a movie that I watch all of the time. Jennifer Nelson (Doris Day) is a worker at the NASA center in Florida. The day before she starts work she is swimming in the ocean and Bruce Templeton (Rod Taylor) gets hold of her mermaids tail with his fishing pole and pulls it off! Well when Jennifer finds out who he really is and that he is her boss she gets really nice to him. She is then put in as his private secratery to write a book about his life! Well the head honchos find out that she is doing some funny things and they think she is a Russian Spy because she calls her dog Vladimir but they think that is her Russion CounterPart! Well the movie ends funnily! Great family movie I highly suggest it to ya'll!

Please bring this out on DVD!
I've been waiting for this (along with some Jerry Lewis movies) to be produced on DVD. People are eager to see these older movies! I just love Doris Day! Please bring it out on DVD! ... Read more

Reviews (9)

OUTSTANDING AND WELL DONE
I thoroughly enjoyed this movie and highly recommend it to anyone who has yet to see it. It has all the elements for a great epic.....a storyline with action/adventure, romance, and well developed characters. It's perfect for Civil War buffs as well as teachers/parents who are looking to encourage interest in the Civil War. I do however confess that as much as I enjoyed the Blue and the Gray, the miniseries North and South is a notch better and I highly, highly recommend this movie as well.

The Blue and the Gray Stretches the Truth
Although this movie has OK acting, some scenes are unrealistic. I doubt that soldiers would be "marching" down the road not in line and using their rifle slings. This didn't happen. Rifle slings were only used back then to handle a hot rifle. Soldiers marching throughout the movie were out of step. One obvious mistake to me was their 1970's hairstyles. Women had long hair hanging down, which was not how it was worn in the 1860's. In one scene, a cannon on a hilltop is firing at advancing federals. The cannon is pointed upwards, way over the federal's heads and yet it is ripping giant holes in their lines. The movie kind of switches around Grant's famous saying at the end of the war "The war is over. The rebels are our countrymen again." However, the movie was correct in the fact that Grant ordered his men not to celebrate, but probably not in the manner that was shown in the movie. In short, this movie was good entertainment with good acting, but not one that your should rely on for historical accuracy. Instead, try Gettysburg, which I found to be quite accurate. The new movie Gods and Generals has Jackson wearing obvious shoulder pads in his jackets throughout the movie. I thought it kind of ruined the journey back into time.

The Blue and the Gray
It's a great show movie to watch in school for Social Studies. I watched it in class and it's extremely interesting and really good. It's quite accurate and shows fantical abolitionist John Brown and his case. The whole particular movie is about a young Virginia reporter, John Geyser, trying to stay neutral while his brothers are fighting for the south and his cousins for the North. It has some funny scenes too like when Malicar encounters a Rebel and they get to talking.

The Blue And The Gray
We watched this movie in school when we were studying the Civil War. My whole class agreed that it was the coolest movie we had to watch in school. It's about a dude named John who is a war reporter. He tries to stay neutral when his brothers are fighting for the south and his cousins for the north. He has a best friend named Jonas and a girlfriend named Cathy. Jonas kissed Cathy and the whole class laughed our heads off. A lot of the movie was sad though. But really cool.

A Teaching tool for the Civil War
The series Blue and Gray is a great tour de force of the American Civil War. This series is a great teaching tool for middle school teachers who want to capture the passion and reality of America's greatest struggle for their students. The movie neither sugar coats nor overplays the tragedy of the war on soldiers or civilians. A longer complete version of this mini-series is available on video, and if Amazon could add it to their list, it would fill the small voids left by this shorter version. Overall, my favorite CW movie. ... Read more

Reviews (27)

A well acted, realistic portrayal of a true WWII event
This is a well directed and well acted depiction of the events that happen around and on the last remaining bridge on the river Rhine - the Ludendorf bridge, in Remagen, Germany. Historically, this was the first allied crossing point on the Rhine in March, 1945. In the Spring of 1945 to quell the Western Allies advance on a broad front inside Germany, Hitler orders all bridges on the Rhine to be blown. However, one bridge at Remagen remains intact, being kept open by a handful of Germans to allow their 15th Army to retreat from the Western side. Demolition charges are installed and the order is given to blow the bridge as American infantrymen are ordered to cross and take it. It is one of the better war films, realistic in its portrayal of men trying to go beyond the call of duty, on both sides. To make the film, a nearly identical bridge to the Ludendorf was located in Czeckoslovakia. The occupying Russian troops in 1968 forced the film crew to leave, and the film was finished elsewhere on location in Italy.

Factual Account with Fictional Characters
David L. Wolper's 1969 THE BRIDGE AT REMAGEN closely follows Ken Hechler's best selling acount of the American capture of the railbridge over the Rhine River. The facts and events occuring in the movie are largely factual with actors George Segal, Robert Vaughn and Ben Gazzara adding some fictional depth to the original participants. In fact, the actual names of the real-life combat participants were changed for this film. The latter part of the 1960's and very early 1970's were the golden years for war movies. In those years films like PATTON, TORA,TORA,TORA, M*A*S*H, CATCH 22, THE BATTLE OF BRITAIN and KELLY'S HEROES (To name a few) made names for themselves at box offices. Producer David Wolper, known for the historical accuracy constraints of his productions, undertook THE BRIDGE AT REMAGEN. The Rhine crossing operations were the next logical big screen production. THE LONGEST DAY took care of D-Day. Ken Annakin's 1965 production of THE BATTLE OF THE BULGE had taken on the Ardennes Offensive. The breaching of the Reich's last natural obstacle to the western allies was a logical choice. Teams searched throughout Europe for a site that closely resembled the Remagen area. In the end they found a river in (what was then) Czechoslovakia with a bridge, with set modifications, that resembled the former Ludendorf Bridge in Germany. Additionally, the REMAGEN production team was fortunate in that they were able to film in an evacuated Czech village that was slated for destruction (in order to accomodate strip mining of soft coal). Czech arsenals were full of German weapons and uniforms -- most carefully preserved in the event of a "next" war. Indeed the Czechs still had at their disposal their own version of the German Hanomag half-track. Everything seemed to be going the right way for the film makers. Serious filming began in 1968, but wasn't quite complete before the the Warsaw Pact's 1968 invasion of Czechoslovakia. Before filming was completed the film crew was forced to into a convoy out of Czechoslovakia leaving the majority of their props, weapons, uniforms and extras behind. Fortunately the production team was able to complete filming in Italy with the result that there is hardly any noticeable continuity break in the film. Look for some other familiar faces in THE BRIDGE AT REMAGEN such as war film veterans Peter van Ecke (THE LONGEST DAY, ATTACK), Hans Christian Blech (THE LONGEST DAY, THE BATTLE OF THE BULGE), and E.G. Marshall (CHRISTMAS VACATION). The soundtrack was composed by Elmer Bernstein (THE MAGNIFICENT SEVEN, THE GREAT ESCAPE)and is superbly music for the movie. As war films go, this is one of the better movies about the last months of World War II in Europe.

Good film, but little realism
The film is not bad, for it's as spectacular as one might expect and the budget is not low: but since "Saving Private Ryan" on, genuine military buffs have understood what is that subtle sense of disappointment they feel when watching movies like this: lack of realism, that is portraying war the way it IS and not the way some movie-makers think it COULD or it SHOULD be! Uniforms should look like UNIFORMS and not just COSTUMES, and combat should look like COMBAT and not just ACTING combat. And the same could be said for most war movies of the '50's to the '80's.

The Allies Race to Cross the Rhine
Famous movie producer David L. Wolper has created a fine film about the last days of the war in Germany. The Germans were destroying all of their bridges across the Rhine in the hopes of stopping the Allies from crossing into the heart of Germany. However, one bridge still remained; the bridge at Remagen. The Germans wanted to keep this bridge open as long as possible before destroying it so that 75,000 German soldiers on the other side would be able to escape back into Germany. The allies wanted the bridge as a springboard to move troops and vehicles accross the Rhine and attack the heart of Germany. This movie portrays the struggle of the Germans and Americans over the bridge.

George Segal stars as Lieutenant Hartman, a hard-nosed GI who is given the job of securing the bridge for the Americans. Ben Gazzara stars as Sergeant Angelo, Hartman's right hand man. Together, these two Americans rally their troops against the Germans. On the German side, veteran actor Robert Vaughn stars as Major Kruger. He's given the job of holding the bridge open as long as possible to allow the trapped Germans time to retreat back into Germany, then he is to destroy the bridge before it falls into American hands.

The battle scenes are excellent. The scenes of the two sides firing at each other across the river are perhaps the best scenes in the movie. The battle on the bridge is well-done as well, with the scenes of the German soldiers hanging upside down under the bridge placing explosives especially good.

I enjoyed this movie very much. The battle and action scenes are excellent and the acting is very good, too. History and World War II movie fans should enjoy this action packed movie.

not have engish closed captioned!
what you think that only spanish and french closed captioned in america? that so absurd. i am not spanish or french guy. you got that! i am engish. i am live in america. what if you are america deaf guy and what you will say about yourself? huh mmm let me kow. thanks! here is my e=mail is crs1935@yahoo.com ... Read more

Reviews (6)

hahaaaaaaaaaaaaaaaa
with a title name like CHUD2: BUD THE CHUD, this is a classic, horrible sequel that makes the first one seem like a classic horrible orignal. for fans who think both of the movies are super and cool. why would anyone think that anyway and I agree with Leonard Maltin

Hey y'all- listen up!
Okay. Bare in mind this movie has nothing to do with the first chud. No characters, genre (This is comedy) and no tone. Still, for a callback to the late eighties, this rocks. Fans of the video game 'zombies' will notice similarties. This movie is like "encino man" crossed with ""Return of the living dead 3" Also, if this is the same as the tv version, look out for robert englund, with freddy makeup, as a soldier! Muchos laffterr. sincerely the goremeister...

They should shoot the original reel to the moon!
I saw C.H.U.D. many years ago, and I liked it a lot as a horror film. It was scary and had neat effects. Then I saw C.H.U.D. II at a video store, I quickly picked it up and rented it. I could barely finish watching it. It's horrible, and not even a sequel to the first one. It's more of a stupid sequel to Return Of The Living Dead 3! The second C.H.U.D. is a dud and should not be viewed by people who have seen the first film. As a matter of fact, it shouldn't be viewed by people who haven't seen the first film because it will turn them away from the scary first C.H.U.D. Man is this bad!

Bad movie, but in a good way!
I saw this movie on USA Up All Night, and thought it was great. The original was a horror movie, but this one is more like a parody of zombie moives. Three of my favorite actors are in it: Robert Vaughn, Jack Riley, and Gerrit Graham as Bud The CHUD. Not as bad as Leonard Maltin says, with an ending you don't really expect. Full name: C.H.U.D. II: Bud The CHUD.

funny in a sick way
It has a good plot which is kinda unusual for a comedy horror film. This movie is funny for those with a sick humor but in a silly way. It is about a C.H.U.D. falling in love, it just chills the heart. ... Read more

Reviews (19)

One of the few good movie versions of a Shakespeare play.
Much better than the earlier Julius Caesar, which starred Marlon Brando as Mark Antony and James Mason as Brutus. In this version, Jason Robards as Brutus is admittedly an embarrassment, but the rest of the cast is quite strong. The delivery of Antony's funeral oration by Charlton Heston is brilliant, powerful, well-paced, the dramatic high point of the movie. Richard Johnson as Cassius, John Gielgud as Caesar, Robert Vaughn as Casca and Diana Rigg as Portia are fine actors, with full dramatic presence, at home in Shakespeare's language. Brief parts, like the soothsayer's and the cobbler's, are memorably played. The screenplay omits two short passages that are important to the plot: (1) Cassius' avowal in the first act, after his attempt to persuade Brutus to oppose Caesar, that if their positions were reversed and he, Cassius, stood as well with Caesar as Brutus does and Brutus made a comparable appeal to him, he would certainly not listen. (2) Immediately after the assassination, a promise by Brutus to Antony's servant of safe conduct for Antony, who thus knows when he comes to the Capitol and weeps over Caesar's body, challenging the conspirators to kill him also, that he is in no danger of their doing so.

Successful Version of Shakespeare's Caesar
Not a bad version at all of Shakespeare's play. Most of the attention for Julius Caesar is clearly with the 1950s version, but this one holds up as well. In this version, Charlton Heston plays Antony. Others include Jason Richards (Brutus), John Gielgud (Caesar), Richard Johnson (Cassius), Robert Vaughn (Casca), Richard Chamberlain (Octavius), and Diana Riggs (Portia).

In this story, Brutus comes forth as the tragic hero who joins the conspiracy to kill the ambitious Roman, Julius Caesar. Shakespeare's story delves much into the realm of politics within the Roman society. Brutus' tragic flaw is perhaps that he sees too much of the benevolent side of people and society; he gives in to help Rome only after pondering deeply the plan of Cassius, and "trusts" Antony to not give a stirring speech (big mistake there). He still considers Caesar a "good" man, but justifies his role in the conspiracy as for the common good of Rome. A tale that definitely concerns itself with justification, or lack thereof, of removing leaders from political positions, and the consequences those actions bring unto an entire nation and their citizens.

The set design, background and acting are true to the play. One of the differences between this and the Brando version is the scene in which Caesar is assassinated. It is far more bloody and gruesome (yet the movie is rated G, go figure). Heston, as Antony, does a decent job with the "Countrymen, lend me your ears" speech, making an emotional appeal to the crowd as a friend of Caesar. He stirs up the rage among the Romans in this emotional appeal on Caesar's behalf. Eventually, he will go to war against two of the leaders of the conspiracy, Cassius and Brutus.

This is definitely worth a view, especially if you are a Shakespeare fan. This also is an excellent resource for the study of Julius Caesar.

Also Recommended: Julius Caesar (Marlon Brando version)

If you're a huge fan of Heston's or of this superb play
If you're a huge fan of Heston's or of this superb play, you might want to suffer through this terrible print.

It's blurry, the colors blur and flash like a bad animation, and it sounds like it was recorded underwater with a megaphone. It's really a piece of crap.

The performances are good, and because it's the only other film version of the play, (that I can find) they warrant comparison with the 1958 Brando version. Heston's needlessly pompous and swaggering Antony is occasionally amusing and occasionally pretty good, but ultimately the performance lacks the authenticity and verve of Brando's, and one can't help but compare. Robards's Brutus is stoic and tortured and it is something like torture to watch him act, at least for the first half of the film. By the time Brutus is heading up the wrong end of the civil war, Robards aptly transforms Brutus into a man whose passions have fermented to the surface. It's by turns a flat, interesting, and jarring performance accented by an occasional flash of brilliance, such as the scene in which Brutus and Cassius argue about funds and bribes. Much of the supporting cast: Diana Rigg, Gielgud, and Robert Vaughn, in particular are excellent.
It's a shame really that this is such a horrifying print (the worst in fact that I've ever seen), because this was a good movie once. Somewhere through the blur you can make out decent production values: large crowd and battle scenes, attractive costumes, and what looks like the hilly Italian countryside. Who knows maybe even the "seven hills," though I doubt even a Roman native would be able to tell for sure.

Little more than terrible
I ordered this DVD for use in teaching the play. I had anticipated it for months and waited with impatience for its release; I now find I was impatient for mediocrity. The performances are disappointing, with only Richard Chamberlain as Octavious showing any passion in performance. Indeed, Jason Robards as Brutus is the poorest Shakespearean acting I've yet seen, and it's an embarassment for anyone attempting to light a fire for Shakespeare in teenagers. Robards speaks his lines as if he is reading them for the first time on his couch at home.

Until Hollywood gives this another try, I recommend the BBC version of the play available with English subtitles from Ambrose Video. Of course, there is always the Brando version of the play with James Mason doing a much more credible job than Robards as Brutus.

Quality Terrible
I ordered this tape to show to my Sophomore English classes as we read the play. The quality of the video was so poor that my colleagues and I judged the tape unwatchable. I do not recommend this tape. Instead, order the Marlon Brando edition. ... Read more

Amazon.com

Here was a case in which the progenitors of this successful comic-book adaptation figured they had to go in a new direction--and chose the wrong one. For starters, they recruited comedian Richard Pryor, who was the kiss of death for almost every movie he was in except his own concert films. He plays a computer specialist who is hired by a criminal mastermind (Robert Vaughan) to help him take on Superman by exposing him to a new form of Kryptonite: red Kryptonite, which always had unpredictable effects in the comic books. In this film, it splits Superman in two, dividing his good self from his dark side. The special effects had gone about as far as they could, and this movie strains to hold an audience's interest for its full running length. --Marshall Fine ... Read more

Reviews (106)

Disappointing.
Aside from Christopher Reeve's fine performance once again as Clark Kent/Superman, "Superman III" was a major disappointment back in 1983. I remember sitting in the theater as a 10-year-old and thinking, "Is that all there is?" Superman vs. a Supercomputer just cannot compare with him rescuing California from a major tectonic disaster or duking it out above Metropolis with three Kryptonian villains.

I also could never understand why the producers cast Richard Pryor. It's like he bumbled onto the set accidently from a different movie. He's a very talented comedian, yes, but exactly what audience were the Salkinds aiming for? I know I wasn't old enough then to see his concert movies or his vehicles with Gene Wilder. Mind boggling to me.

I missed the magic and awe I felt during the original film. I missed Lex Luthor's scheming ways. But mostly, I missed the witty relationship between Clark Kent/Superman and Lois Lane. Annette O'Toole is lovely, but her character simply wasn't as fun or interesting as the best girl reporter in Metropolis. With her husky voice and hilarious manic energy, Margot Kidder was absolutely perfect. Two small scenes were not enough.

I really don't like leaving negative reviews, but as a Superman purist, the only REAL Superman movie to see is the orginial. Richard Donner's vision for the film was flawless. The first sequel was fine, but it could have been sooo much better had Donner been allowed to finish (he was unjustly fired after the Salkinds worked him to the bone). Do yourself a favor... preorder SUPERMAN: THE MOVIE on DVD and enjoy!!

This Looks Like A Job For...Richard Pryor??
After getting off to a great start, the Superman film series, got muddled a bit by a director change while filming Superman II. Thanks to the fact that Creative Consultant Tom Mankiewicz's original story for the sequel stayed intact, despite all of the backstage hostility, Superman II still manages to work. Superman III, hovwever, is a whole nother matter entirely, with its own set of problems.

Gus Gorman (Richard Pryor) is a down on his luck computer genius, who is hired by Websco industries, to doa meanial data entry. Soon though Gus learns how to imbezzle large sums of money. When CEO Ross Webster (Robert Vaughn) finds this out, rather than send him to jail, Webster uses Gus and his computer skills to hold other competitors around the world at bay. Soon his plan becomes one of worldwide domination Superman (Christopher Reeve) tries to stop Webter and his cohorts in crime, but is halted by a synthetic chunck of Kryptonite, that turns the Man Of Steel against the planet he had sworn to protect.

Superman III took the series in a more comedic direction. From the farsical oppening credit sequence, to Pryor bumbling his way through one unfunny scene after another, It's sad to see a Superman film depart so drasticaly from what's come before and the comic book. Thanks to yet another dispute with producers Alexander and Ilya Salkind, the character of Lois Lane (Margot Kidder) is all but forgotten, save for a thankless, throwaway of a cameo. The action seems a bit silly, particularly at the end, as a super computer runs amok. For me, Reeve is the only thing about Superman III, that keeps it alive. Clearly director Richard Lester has it in for our hero, running him nearly into the ground. Superman III is more of a paraody, than a superhero flick.

The only extra on the DVD is the theatrical trailer.

I could have done with less comedy and moore of Reeve being...well...for lack of a better word super

You Will Believe Pryor Can Fly ...This Film Into the Ground!
When the movie poster first came out to promote SUPERMAN III with the illustration of Superman flying while carrying a distraught Richard Pryor, it was suspect. When the film was finally released, all suspicions were true. Director Richard Lester (A HARD DAY'S NIGHT)did such a great job on SUPERMAN II making it a straight action adventure film, but SUPERMAN III was just too campy. From the poster, we go to the opening credits. As they roll, a sequence of "Rube Goldberg", slapstick, domino-effect, accidents happen around a clueless Clark Kent walking through the streets of Metropolis. Somehow the audience knows that this is going to be a different Superman film. Richard Pryor (as Gus Gorman) is a computer whiz who is caught electronically embezzling from his conglomerate boss Robert Vaughn (Ross Webster). Instead of turning him in, Webster offers Gorman a job to help him rule the world by controlling a weather satellite (through Gorman's computer skills), and building a super computer. Superman gets in their way and they devise a plan to kill him with a bad batch of Kryptonite. Instead of killing him, the kryptonite turns Superman evil. He mostly flies around neglecting himself, the people of Metropolis (and of the world), and doing juvenile pranks (i.e. straightening out the Leaning Tower of Pisa). Richard Pryor is not bad in the film, but more of a distraction. The movie-going audience is not used to seeing him in this type of film. British comic actress Pamela Stephenson (whose talents were wasted during her one season on Saturday Night Live--was hardly used or seen in any sketches--but she was brilliantly hilarious on BBC's sketch comedy series NOT THE NINE O'CLOCK NEWS) is wasted and miscast in her role as Lorelei Ambrosia, Vaughn's/Webster's mistress. The special effects are decent for the pre-digital age. Some of the action sequences are excellent (i.e. when Superman has to fight the super computer). Also, the Smallville sequences with Clark Kent rekindling his frienship with Lana Lang (Annette O'Toole) are noteworthy. However, most of the film did not work due to the casting of Richard Pryor, other casting decisions, some cheesey sequences (some involving Pryor), and unnecessary humor! As John Lennon's appraisal of the Beatles' film HELP! (also directed by Lester) to paraphrase, "it was a movie about frogs with snakes in it!". That seems to be the case with SUPERMAN III.

Another Really Cheesy 1980s Movie!
Get "Superman III" and "Supergirl" by the Salkind folks and you'll have the cheesiest evening ever! In fact, Superman III nearly beats Supergirl in the "pure cheese" category. And if, like me, you're a fan of such movies, you'll absolutely love this DVD.

The story - Clark Kent/Superman goes back to Smallville for a school-reunion and meets up with a really lovely Lana Lang (Annette O'Toole). Unfortunately, there's this businessman and his bimbo girlfriend and his sister who hires Richard Pryor to mess up the world-weather (and Columbian coffee) with computers. Superman turns evil after touching some green crystal (Kryptonite mixed with tar) and gets drunk, then ends up sleeping with the aforementioned businessman's bimbo girlfriend and even pushes the Tower of Pisa straight. Finally, a supercomputer designed by Richard Pryor turns evil and transforms the aforementioned businessman's sister into an evil, mechanical sister. Superman fights them all with acid and then proceeds to make the Tower of Pisa a leaning tower again before soaring off triumphantly. Movie ends. Roll credit.

I hated this as a kid but watched it again last night and absolutely loved it. It's the nostalgia thing again. I knocked one star off my rating for it because there's this scene where Richard Pryor skies off a skyscraper, lands on the street and DID NOT die!

Superman can be better
Without Lex Luthor, this film rather suffers. But it was an attempt to create an original story instead of returning to the same old theme, which, let's be honest, can get exhausting.

This also got me interested in psychology as a child, because I thought the whole notion of two sides of the same man duking it out was fascinating, to say the least.

Besides, Richard Pryor is a scream here, though what he does on the computer intuitively instead seems to be very close to what a skilled hacker can do today.

This film has one other great idea: Clarke should forget about Lois and start dating Liana. Liana is much sweeter, and unlike the Superman-obseesed Lois, Liana only wants her old friend, Clarke? And, she's smart enough NOT to put herself into deathtraps. ... Read more

Reviews (68)

No doubt, BEST DISASTER MOVIE EVER!
Firstly, this movie deserves praise for Faye Dunaway's dress that she wears throughout the entire film. But movies shouldn't all be beautiful women in provocative clothing, this movie has it all. Produced by Irwin Allen, who produced "The Poseidon Adventure" before this movie. Allen bested himself in this flick.

The story is relatively simple; the world's highest skyscraper catches on fire. There is a large party on the top floor, and we watch as people fight for survival as the fire creeps towards them. Only Steve McQueen playing a streetwise firehouse captain, and Paul Newman acting as the tower's architect can stop the fire before everyone inside dies. As I was re-watching this film I couldn't help but think of the similar situation faced by many in the 9-11 attack. Their result was not as positive.

throughout the film there are too many people, too many relationships, and too much death to keep track of everything. However, the important people to watch are Fred Astaire, Faye Dunaway, Paul Newman, and Steve McQueen. This is the only real weakness to the film.

Also, for a film that is approaching 30 years old the special effects are still good, and that will make this a good film for a long time. The images of the tower burning, the fires, and the stunts are superb.

At times, the acting in this film can seem a bit stiff. That's early on, however after the first 20 minutes of the film everyone seems to find their place in the film. One of the notable performances is done by O.J. Simpson, who plays as a senior security guard. The interplay between McQueen and Newman is also well done, especially since there was a good chance of major dorkdom in the architect of the "perfect" building versus the blue-collar fireman plotline.

Some may complain that the movie is slow, and maybe by modern "immediate gratification" standards it is, I say that the tension builds, you care about the characters, many of which, and are left at the end of your seat. And I was watching the thing on a computer; imagine what a decent entertainment system will do.

This definitely is an "essential" film.

An epic disaster film! Not to be missed!
I remember first seeing this movie at a very early age. As a child, I loved this movie for it's spectacularity. As an adult (sort of), I love it for the acting performances of it's marvelous cast.

This is a disaster movie. During the seventies this type of movie was extremely popular, with timeless hits such as "The Poseidon Adventure" and "Airport".
Disaster films seemed to have lost their appeal during the eighties but recent hits like "Armageddon" and "Titanic" show that this type of movie is still very popular and here to stay.

In San Francisco, the tallest building in the world, "The Glass Tower" has finally been completed. An awesome superstructure and the new icon of the city.
On the night of the dedication ceremony on the 130th floor a seemingly harmless fire erupts fifty floors below the partying crowd. When the situation grows out of control their pleasant happening turns into a nightmare struggle for survival.

With some of the best actors of that time (Paul Newman, Steve McQueen, William Holden, Faye Dunaway and Fred Astaire to name a few), true drama and an absolutely convincing inferno this movie deservedly took the world by storm!

Got a Match?
Somebody once asked James Garner's character on "The Rockford Files" TV show if there was nothing he wouldn't do for money. He wouldn't kill for it and he wouldn't marry for it, he said, other than that he was pretty much open to suggestions. Paul Newman and Steve McQueen must have been open to suggestions when they ok'd this turkey, and I wish they had said no. The world's tallest skyscraper is burning due to shoddy construction work, and architect Newman and fireman McQueen would like to put it out before the entire cast is incinerated. On top of the building are a million gallons of water in reserve Newman forgot about in all the excitement. Why this 2500 ton weight hasn't gone crashing into the basement we are not informed but the daring duo manage to blow up the tanks and there's your happy ending. O J Simpson rescues a cat and Fred Astaire, after a lifetime of giving the American movies some of their greatest moments, was awarded an Oscar for enduring this production.

A better film than is often assumed
More than 10 years ago, Roger Ebert and the late Gene Siskel did a special edition of their program that examined "The Early '70s: The Last Golden Age of American Film." It was a great show, with a look at each nominee for the Best Picture Oscar for the years 1970-1974, and then which film Siskel and Ebert would have chosen as the winner.

When the duo got to 1974, and a split screen revealed the five Best Picture nominees for that year, Ebert expressed some amusement at "The Towering Inferno's" nomination, when compared with the others ("Chinatown," "The Conversation," "Lenny" and the winner, "The Godfather Part II."). But while it was not the best film in a truly great year for the medium, "Inferno" did deserve to be considered one of the best.

This is polished, professional filmmaking. It was not intended to be a scathing expose of construction politics, or an actor's showcase. "The Towering Inferno" never tries to be anything more than an action spectacular, pure and simple, and on that level, it has few equals.

The film has been criticized for being almost gleeful in its depiction of various deaths, but I'm not sure what those critics would have had directors John Guillermin and Irwin Allen do. The story is about a giant skyscraper on fire, which means that the primary dangers involved are burning, falling, smoke inhalation and being buried under tons of debris. All of these are horrific, and "Inferno" conveys that horror.

The movie takes on a different hue than the Irwin Allen film it's inevitably compared to, "The Poseidon Adventure," the minute Steve McQueen arrives at the scene as the San Francisco Fire Dept.'s battalion chief, O'Hallorhan. Unlike "Poseidon," in which a small band of ship passengers follows a layman toward safety, the "Inferno" disaster is going to be taken on by a competent, experienced professional, leading other professionals. McQueen conveys an authority that anchors the film.

None of the acting struck me as truly bad, even in action-oriented scenes that called for broad playing. Aside from McQueen, my favorite performances were those of Susan Flannery and Jennifer Jones. Flannery makes the most of a small but memorable part as Robert Wagner's love interest, while Jones, looking very good for a woman of 55, plays the kind, heroic love of Fred Astaire's con man character.

Fred Koenekamp's cinematography received a well-deserved Academy Award, as did L.B. Abbott's special effects. The song "We May Never Love Like This Again," sung by Maureen McGovern, also won an Oscar, though I found it to be forgettable. "The Poseidon Adventure's" similar "The Morning After" is much better (which will certainly be faint praise to some).

John Williams' Oscar-nominated score would have been a perfectly reasonable choice as the winner, though Jerry Goldsmith's evocation of film noir classics for "Chinatown" was probably the year's best. Carmine Coppola and Nino Rota wound up winning for "The Godfather Part II."

Williams is in majestic form here. The main title is appropriately busy and exciting, the love themes for the Paul Newman/Faye Dunaway and Astaire/Jones duos are poignant, and the finale is one of the masterpieces of the art. This is a justifiably a favorite score among film music buffs, and Williams' greatest triumph, in my opinion, until "Star Wars" in 1977.

"The Towering Inferno" is a must for action film fans, and the finest representation of the "disaster film" genre.

The Glass Tower - tallest building in the world... on fire.
After a long vacation, away from the hectic city life, Doug Roberts (Paul Newman) returns to San Francisco in order to participate in the opening of his newest architectural wonder, The Glass Tower - tallest building in the world. The seemingly perfect skyscraper has one big flaw as James Duncan's (William Holden) son-in-law has received kick backs to ignore Doug's requests on the top-of-the-line electrical circuitry. The installed electrical circuits cannot handle the electrical use of the Glass Tower and on the opening night a fire begins on the 81st floor, which Fire Chief Michael O'Hallorhan's (Steve McQueen) men try to get under control while the opening party is taking place on the 135th floor. Towering Inferno has an immensely talented cast (e.g., Faye Dunaway, Fred Astaire, Richard Chamberlain and many more), however, the cast cannot enhance the cinematic experience. Overall the film is hurt by the many scenes that go on ceaselessly as the director attempts to create suspense through tedious climbing and rescue scenes. This occurs through occasional lapses in realism in the film, such as the ending, prevent the audience from receiving a top notch suspenseful drama. Instead the audience is left with an epic rescue mission that seems endless, and leaves the audience with a barely acceptable cinematic experience. ... Read more

Reviews (4)

Cry me a 'River,' Put on DVD now!
A lost city in the Amazon jungle has John Hamilton (Michael Dudikoff) interested. There are riches hidden below, but unfortunately for he and his crew, there is a sadistic doctor there still performing offbeat operations. Disease ridden and strange tribes are spread out through the "River of Death" and the group either survives or perishes by the end of the story. The movie based on Alistair MacLean's novel is pure genius (never read the book). If I knew a river was called the "River of Death," then I wouldn't go into it. No casual swim, no fishing. Probably infested with piranha, anyway, those tribesmen needed to save makeup time for their Barbies. Why couldn't those people take a shower? If you want to stay healthy, all you have to do is stay clean. Common sense. Michael Deitykoff is a genius once again. Please put this movie on DVD right now! MGM needs to release all of Michael Dudikoff's movies.

Actually, 2,5 stars...
This is just ok. Nothing else. But don't waste money buying it. There are MUCH better action movies...

Great action adventure
I didn't realize this was an Allistair MacLaine story. There are plenty of neat twists to keep you interested. I always have liked adventure stories that involve a group of colorful heroes/characters who go jungle adventuring together and you try to determine who will live or die by the end. This isn't a perfect movie, but fun. Personally, my favorite Dudikoff role.

Indiana Jones meets Dr. Mengele
WOW!!!!

If your in the mode for a great flick then rent this sleeper. It boasts everything; from Nazis to a swashbuckling hero. Nuff said - get it NOW!!! ... Read more

Reviews (1)

What a series! Blond-haired, blue-eyed Hebrews!
Never before in the history of mankind has there been more blond-haired, blue-eyed Hebrews in the Middle East! I say this tongue in cheek ofcourse. This short lived TV series, which may go by two titles on the web, was filmed in Paige, Arizona in the late 1970's. The continuous use of practically the same set every third episode and a minority of extras as a crowd of hundreds of thousands of Jews should give the viewers an indication of the budget.

The Review: Lot splits with Abraham and moves toward Sodom, gets captured, freed and eventually rises to some degree of leadership in Sodom. Lot eventually meets up with glowing angels and they shoot laser beams. Wow, that's neat! Sodom is destroyed and Lots wife turns into "BEST YET Salt" but I'm not sure if she's iodized (iodine treated description on BEST YET products). This low budget series features Ed Aames (Lot) and Gene Barry (Abraham) was an interesting idea for an episode and should've stayed just an idea. ... Read more

Amazon.com

It's been years since Blake Edwards made a funny film, and this 1981 effort may have been one of his last consistent laugh producers. Richard Mulligan plays a Hollywood producer who realizes that his career may be over when the public sees his latest film: a big-budget musical that lands on test audiences with a thud. In a moment of madness, he hits upon the idea of reediting it to include soft-porn reshoots--including a shot of his movie-star wife (Julie Andrews), who has a squeaky clean public image, baring her breasts (which the squeaky clean Andrews actually does). Scathing in its satire of Hollywood numbskullery, the film features terrific performances by Mulligan, Robert Preston, and William Holden (in his last film). --Marshall Fine ... Read more

Reviews (18)

Classic acting, classic directing
When I was younger, the appeal of SOB was seeing Mary Poppins bare her chest. Well, it's still great.
But when I got older, and really watched this film again, it was the incredible timing and acting chops of the entire cast that blew me away. The skewering of the Hollywood system this movie delivers is first-rate. It's fascinating seeing a film so greatly crucify the underside of Hollywood, when these days its so common knowledge the incorporation and bureacracy the film industry is. We have the internet and a million entertainment magazines now, its common knowledge how cut-throat it is. But in 1981 things were different and when SOB came out, it disappeared quickly it seems. It was probably too "inside" for general audiences to appreciate. Plus I'm sure the forces that be made sure to not trumpet a film which made fun of the people who brought it to screen.

If you appreciated the 'adult' humor of Blake Edwards other films such as '10', and 'Skin Deep', you must see 'SOB.' You have veteran actors tackling matters and situations that really apply to being an adult in the adult world. Mid-life crisis', integrity over indecency, getting older, standing up for principles as society seems to worsen around you...these themes run rampant in Edward's films. Its as though Edwards was the last 'Rat Pack''-ideaology director making movies about loveable drunks and womanizers who's hearts were in the right place, though we watch them comically learn life's lessons through trial and error choices. Good people dealing with the anxiety of getting older and realizing truths about themselves and the world, good and bad. But Edward's always presented it with a 'Boy's Club' mentality that, at least for me, made one hope to have such colorful characters as friends as I matured and got older.

To any prospective watcher of the film reading these reviews, I'd suggest one thing per your first viewing. Pay attention to the repoire between Felix (the suicidal director) and his cohorts Erving (the doctor), Cully (director friend), and Ben (Felix's wife/Julie Andrew's publicist). These guys are pros and the timing of the scenes they share is stellar , old-school, drinking pal ensemble acting. Especially as they 1-by-1 come by the beachhouse to see Felix and fall into their routine of spending time together (drinking and one-liners). These characters were partying Hollywood-style in the 50s and 60s and are now alumni of that classic generation, elders in the world of late 70s early 80s starlets and studios. They've seen it all and nothing shocks them. And boy do they still keep up.

Just lots of little moments, subtle nuances of comraderie that make this film a gem.

I've spent the last few years anxiously awaiting SOB on DVD, searching and contacting studios,websites, anyone who may have known something but to no avail. Suddenly one day it was just another title on a DVD site's "Upcoming Releases." I was ecstatic. I hope it looks and sounds as good as I imagine.

Wish Edward's would have done a commentary track for this, like supposedly he's done for 'Skin Deep'. Then again, maybe since most of the male leads of the film are deceased, it may have been tough for him to watch and reminisce.

Have you come to see her bare herself?
Well, Julie Andrews DOES bare herself in this movie--which is why some may first want to see it--but this film by her real life husband Blake Edwards (who also brought us The Pink Panther) does have some other very good qualities. The trouble is that the film-and the DVD itself--also have some potentially bad points.

On the bright side, we are treated to excellent performances by some very talented people including Julie Andrews, Richard Mulligan, William Holden, Loretta Swit, Larry Hagman--and more! These actors really worked! The story is comparatively simple: in Hollywood, director Felix Farmer makes a terrific flop of a movie and despite his many