Reviews (40)

Scarecrow of Romney Marsh
I was a teenager when i saw the scarecrow of romney marsh on the Wonderful world of Disney, and about 30 years later i was able to
rent the movie from a video store. The movie was then called Dr. Syn Alias the Scarecrow. Needless to say over the years, the
tape wore out, and i would pay any amount to have the movie in
DVD. Patrick Mcgooan the actor who plays the scarecrow in the movie portrays him brilliantly. The movie is in my opinion a true classic, and should be rereleased in DVD. Hope it comes out
soon, hopefully by the end of 2002.

The Scarecrow of Romney Marsh
I would echo others in urging Disney to release this action packed family adventure on dvd soon. It's a must-see for any Patrick Mc Goohan fan. He was perfectly cast, and I saw the three-part version when it first came out. I would also like to add that if anyone at Disney reads this, please issue the long, (135-min) version, of the combined 3 part series. The 90-min. abbreviated version that was making the rounds 20 years ago was far too short.

The Greatest Scary Movie for a Little Kid
I too was one of those that the Scarecrow gave nightmares to. It is a great movie about a great time in history whether it is true or not. I would love to see it again and that is why I put my order in in March, 2004. I want it. Please let Disney know.

I can't imagine why Disney cancelled the re-release...
This movie is such a sure hit, if marketed correctly, that it makes me wonder if Disney is thinking of remaking it. Could that be why they cancelled a re-release...?

Wha-happened to August 3, 2004?
I was stoked when I saw that the Scarecrow was coming out on DVD. I even marked it on my calendar. But when I recently re-checked here on Amazon I found out that it was not coming out at all anymore. What happened? C'mon Disney, give it up! You don't seem to have any trouble getting out such classics as Bedknobs and Broomsticks! ... Read more

Reviews (3)

Another Blockbuster Production from Samuel Bronston
Samuel Bronston producer of epic productions such as "El Cid" and "55 Days at Peking" turns to the circus for his setting of "Circus World." John Wayne plays Matt Masters who brings his exciting Wild West show to three rings under the Big Top across Europe. Veteran director Henry Hathaway applies his reputation for atmosphere and characterizations to make this more than just another formula movie. Dimitri Tiomkin's score lends just the right touch of melancholy often associated the circus. The ship disaster and the climatic fire sequences are truly spectacular. The film also features Rita Hayworth, Claudia Cardinale, Lloyd Nolan, John Smith and Richard Conte. This was originally filmed in single lens Cinerama Super Technirama 70.

I really loved it !!!
I remember seeing circus world when I was a kid! I really enjoyed seeing it again. John Wayne is one of my all time favorites. He played in alot of westerns and military movies, it was great to see him play in something different. If you have kids it's a great circus movie to show them and they will remember it like I did. I highly recommend this movie to all ages.

Hmm....Not quite what I was expecting
I watched this movie a couple of days ago, and I was really very surprised. I LOVE John Wayne's movies, and have seen around 90 of them. (The number is steadily increasing!) *Circus World* was a good movie, but I didn't think it was quite as impressive as the rest of Duke's movies, especially his later ones. The filming quality seemed a bit poor, and the storyline wasn't the best. Don't get me wrong, I think this movie's a great one-timer! Just not my favorite. Watch it, enjoy it, and see if you agree! ... Read more

Description

Alec Guinness delivers a masterful, not-to-be-missed performance in a brilliant screenplay by J.B.Priestley that combines irony, humor, and tenderness.Shy George Bird (Guinness) learns his days are numbered, so he decides to take a "last holiday." He withdraws his life savings and dashes off to a fashionable seaside resort, where he is taken for a man of substance and becomes a favorite with his newfound aristocratic friends. ... Read more

Reviews (3)

A dark, superior British comedy
A young Alec Guinness stars in this clever story of a mild-mannered, average sort of fellow who is told by his doctor that he has only days, perhaps weeks left to life. On medical advice, Guinness quits his job, liquidates his life savings, and goes off to a posh country resort on one last, luxuriously bittersweet holiday. Naturally, once he's given up all hope, everything in his life starts coming up roses: mistaken as a man of means by the hotel's inquisitive clientele, Guinness finds all sorts of new creative, financial and romantic opportunities arising out of nowhere. J. B. Priestley's script is in part a wry, piercing comment on Great Britain's class-bound society, where initiative and imagination were stifled by prejudice and regimentation... Only because he feels he has nothing left to lose does Guinness's George Bird work up the nerve to give business tycoons and Lords of Parliament a piece of his mind; once he does they recognize him as a man of great standing. Politics aside, though, this is also a very entertaining and somewhat sad little comedy, with an twist ending that happy, happy Hollywood wouldnt touch with a ten-foot pole. Recommended.

Low-key, touching masterpiece
George Bird is an unimportant cog in the merchant machine when he learns that he has Lampington's Disease--inevitably fatal. Through luck--meeting a beneficent salesman looking for the perfect man for an estate-sale bounty--and fatalism--losing any inhibition against speaking his true thoughts--the down-to-earth, plain-spoken words of Bird strike a spark in a broad range of characters at a posh resort and change the course of more than a few lives. Guinness is real, honest, and touching in his best role ever, in my mind. If the ending is sentimental and cutting at the same time, well, good for these old black-and-white movies. If Bird was real, I would be honored to know him, and even in the movie incarnation he is a prince among men in his triumph of substance over style and appearance.

Ain't What You Do (It's the Way That You Do It)
Alec Guinness is in top form in this dark comedy about an unexceptional, practically invisible salaryman who decides to take one last vacation upon learning that he only has a short time to live. The seemingly innocuous, inauspicious George Bird is exactly the kind of role that Sir Alec was born to play. Bird goes through some big changes throughout this seemingly slight entertainment, but Guinness makes every one of them believable and consistently goes for more than the easy laugh.

Be forewarned that the film does not end on a happy note. I was expecting to be entertained--and I was--but I was surprised at how moved I was by the ending (which is both sudden and ironic). Although Last Holiday isn't as well known as many of Guinness' Ealing era comedies (most notably 1948's Kind Hearts and Coronets), it should be. It really isn't a slight entertainment at all. On the contrary, it's more substantial than most, dealing as successfully as it does with the notion that it isn't how long you live but how well, and features one of this great actor's finest, most indelible performances. The colorful supporting cast (including the ubiquitous Wildrid Hyde-White and Bernard Lee of James Bond's "M" fame) is with him all the way. A keeper. ... Read more

Reviews (17)

a tour de force of acting!
Alec Guinness and John Mills - two of the best actors for decades, though I don't think either really received their full dues. Face it, a lot of people's awareness of Guinness came from Star Wars. And that is a shame. He was a brilliant actor with a touch of comedic genius, and he shines in this battle of wits and wills with Mills, another great.

It's basically a two man film, though there is a fine supporting cast of John Fraser, Dennis Price, Susannah York, Gordon Jackson, Percy Herbert and Peter McEnery.

Guinness is Major Jock Sinclair who has been with this Highland regiment since he joined as a boy piper, and rose to Second-in-Command during war time. The unit is now back in Scotland during peace time. Had he stayed as second-in-command, it might now have set tone for the conflict with Lt. Col. Basil Barrow (John Mills). But Jock has been Acting-Commander, so he fully expected to be promoted to full command. The men love him, he's a real man's man. He is devastated, a blow to his ego, when they bring in Barrow to assume command.

Barrow is not a very likable character, a martinet, so it's easy for Jock to wage psychological warfare by undermining Barrow at every turn. A Sandhurst trained disciplinarian, Barrows quickly alienates everyone with his prissy by the book ways, giving Jock the power to slowly rot Barrows authority, ultimately shaking Barrows mental foundations.

While Jock is doing all he can to send Barrows into a tissy fit, Jock's daughter is slipping around meeting John Fraser, which is pushing Jock to the edge as well.

There is a coming confrontation and only one man will survive.

This is acting at is best, and this film really should get more attention.

An astonishing story by Ronald Neame...
The sociable and veteran Major Jock Sinclair (Alec Guinness) has been the acting as Commanding Officer for the Highland Regiment since World War II where he once began as a piper. However, Jock is about to be replaced by a new Commanding Officer, Lt. Col. Basil Barrow (John MIlls), and the mere thought of being swapped with another officer upsets Jock. Colonel Barrow is an aloof and pedant officer with deep scares from the war where he spent most of his time in a prison camp. When Colonel Barrow takes over he immediately begins to set his changes into action, which upsets the lenient Jock who does not like Colonel Barrow or his new strict changes that he has brought to the Highland Regiment. These changes instigate Jock to begin a private psychological warfare toward Colonel Barrow where he plays on the fact that the other officers are not used to changes.

Tunes of Glory is an astonishing story as it displays the rough surface of the Highland military, but at the same time presents the affectionate side of grown men that have returned from war. On top of this the audience gets to see two outstanding performances by Alec Guinness and John Mills that are supported by a terrific cast. In the end the audience will have experienced a wonderful film that leaves them with thoughts and stirred feelings.

One astonishing movie
This smart film shows us one true tour de force between John Mills and Alec Guiness.
Besides all the technical aspects that support this work, the dramatic nucleus deserves be remarked.
Yet this film was made in 1960 ; this script turns around one the essentials lines that support the question about what an effective leader must be.
Look inside what Guiness means; he has set up his mood leadership in a crowd of soldiers accostumed to his irreverent behavior.
He shares what they like; he drinks and he's vulgar too; in other words he flies with them , even ridiculizes the essential role of the authority. This a style yet employed for many managements specially in organizations composed by people of medium professional rank ; this leader stans up about the warm scent of the charisma; that behavior lets to Guiness smell and know the hidden weakness of every man under his power.
This approach is suddenly disturbed when an officer (John Mills) comes for him to replace. Obviously; that fact generates an inmediat reaction state in all the officers. Guiness knows his days are gone and yet he fights with his rules ; you disagree with his psycolghical handles; but you think that Mills a distingued officer, will be capable to end with this screwy state of things.
The obstacle are countless: some are direct and the rest you can imagine: that invisible match to establish the real rules of game , will turn in an unexpected twist ending.
The script is very carefully made ; just remember just two years before Stanley Kubrick had filmed Paths of Glory. This is important due the bitter atmosphere about every item related with the authority excess was not accepted in any society status.
Add to this, the Korea Cold War from the fifties ; the russian invassion over Hungary ; the growing nuclear tension around the nuclear weapons and the visible increase of peace movements all around the world in multiple facets as Litherature; poetry ; painting (Jason Pollock) ; music (rock & roll); cinema (New Wave birth) and challenging films as Baby doll, On the waterfront or Anatomy of a crime ; the raising movements for protecting the nature ; at this decade (fifties) the society was opened for new discoveries and sensations search (remember that the pill was discovered in the middle of the fifties) ; and this mood made the loss of certain principles you assumed as permanent.
And this movie walks in that direction. Watch this one; because its values and intentions goes far beyond a mere entertainment , the movie inquires you ; it challenges you and invites you to react.
Another superb achievement.

Fine DVD for a Guinness classic
No need to say much about the film itself: it is superb as others have agreed, with a phenomenally compelling performance from Sir Alec Guinness, with Sir John Mills (who won Best Actor prize at the 1960 Venice Film Festival) and the rest of the cast giving great support.

The Criterion DVD offers a really fine transfer: colours are rich, and there is a total absence of any artefacts, nicks or blemishes in the print. Sharpness is also very good, there is a hint of occasional grain but this is in the original celluloid I think - and anyway is nothing to worry about.

One slight caveat which has been commented upon by various review sites (so is not just a flaw in my DVD copy) is near the end of the film the appearance on the transfer of an opaque vertical line close to the right edge of the image, about a centimetre wide on my 28" screen. This is not really as distracting as it sounds and was presumably unfixable by Criterion from the source print. It starts near the end of the snooker room scene and stays for about 5 minutes - disappearing during Guinness's tour-de-force final scene where he addresses the assembled officers in a bravura display of fine acting - which leads to the unforgettable (and very moving) climax of the film. Certainly no-one should be put off by this slight flaw as it didn't interfere with my enjoyment of the film.

Soundwise this film offers a straight mono track - which with a 5 channel set-up will unusually use only the centre speaker. Manually adjusting my amp I was able to switch to the two fronts (minus the centre) which gives a slightly wider soundstage. In any event the dialogue is clear (subtitles will help with some of the more inpenetrable lines) and Malcolm Arnold'd bagpipe-based score comes through well.

The extras are slight but OK: the audio-only interview with the aged John Mills in 2002 is not too revealing but he is a lovely man, as comes across well here. The filmed interview with Guinness is better but covers his whole career rather than this film - and he doesn't give too much away of the real man. The trailer is interesting - because it is so appallingly (and hilariously) bad, with a dreadful voiceover and bizarre captions.

Get this DVD for the fine transfer of a brilliant film, which at the end of the day is the prime reason for any DVD package.

Och aye, a supairrb disc!
One of my favorite films has finally made it to DVD. One of the true gems of the postwar British cinema, by a director who often gets short shrift alongside his illustrious contemporaries, Ronald Neame. Everything about the picture's been said - some of the best screen acting of all time in this one. The disc does it justice. The delicate color balance is magnificently rendered,
and the sound is equally well-presented. The real kicker, tho',
is in the extras. The Neame interview is a delight, as is the Guinness one. The Mills one is marred slightly by the rather fatuous questions he is aked, but still quite fine. In short, Criterion hits another one out of the park. Pour yersailf a
wee dram, sit down, and enjoy a bona-fide classic. ... Read more

Description

Virtuoso performances fuel this powerful drama about the pressures of military life.Alec Guinness (The Bridge on the River Kwai) stars as a gruff Scottish officer who refuses to relinquish his regiment to an aristocratic colonel (Oscar®-winner John Mills, Ryan's Daughter).The impeccable supporting cast includes Kay Walsh and Susannah York in her film debut. ... Read more

Reviews (17)

a tour de force of acting!
Alec Guinness and John Mills - two of the best actors for decades, though I don't think either really received their full dues. Face it, a lot of people's awareness of Guinness came from Star Wars. And that is a shame. He was a brilliant actor with a touch of comedic genius, and he shines in this battle of wits and wills with Mills, another great.

It's basically a two man film, though there is a fine supporting cast of John Fraser, Dennis Price, Susannah York, Gordon Jackson, Percy Herbert and Peter McEnery.

Guinness is Major Jock Sinclair who has been with this Highland regiment since he joined as a boy piper, and rose to Second-in-Command during war time. The unit is now back in Scotland during peace time. Had he stayed as second-in-command, it might now have set tone for the conflict with Lt. Col. Basil Barrow (John Mills). But Jock has been Acting-Commander, so he fully expected to be promoted to full command. The men love him, he's a real man's man. He is devastated, a blow to his ego, when they bring in Barrow to assume command.

Barrow is not a very likable character, a martinet, so it's easy for Jock to wage psychological warfare by undermining Barrow at every turn. A Sandhurst trained disciplinarian, Barrows quickly alienates everyone with his prissy by the book ways, giving Jock the power to slowly rot Barrows authority, ultimately shaking Barrows mental foundations.

While Jock is doing all he can to send Barrows into a tissy fit, Jock's daughter is slipping around meeting John Fraser, which is pushing Jock to the edge as well.

There is a coming confrontation and only one man will survive.

This is acting at is best, and this film really should get more attention.

An astonishing story by Ronald Neame...
The sociable and veteran Major Jock Sinclair (Alec Guinness) has been the acting as Commanding Officer for the Highland Regiment since World War II where he once began as a piper. However, Jock is about to be replaced by a new Commanding Officer, Lt. Col. Basil Barrow (John MIlls), and the mere thought of being swapped with another officer upsets Jock. Colonel Barrow is an aloof and pedant officer with deep scares from the war where he spent most of his time in a prison camp. When Colonel Barrow takes over he immediately begins to set his changes into action, which upsets the lenient Jock who does not like Colonel Barrow or his new strict changes that he has brought to the Highland Regiment. These changes instigate Jock to begin a private psychological warfare toward Colonel Barrow where he plays on the fact that the other officers are not used to changes.

Tunes of Glory is an astonishing story as it displays the rough surface of the Highland military, but at the same time presents the affectionate side of grown men that have returned from war. On top of this the audience gets to see two outstanding performances by Alec Guinness and John Mills that are supported by a terrific cast. In the end the audience will have experienced a wonderful film that leaves them with thoughts and stirred feelings.

One astonishing movie
This smart film shows us one true tour de force between John Mills and Alec Guiness.
Besides all the technical aspects that support this work, the dramatic nucleus deserves be remarked.
Yet this film was made in 1960 ; this script turns around one the essentials lines that support the question about what an effective leader must be.
Look inside what Guiness means; he has set up his mood leadership in a crowd of soldiers accostumed to his irreverent behavior.
He shares what they like; he drinks and he's vulgar too; in other words he flies with them , even ridiculizes the essential role of the authority. This a style yet employed for many managements specially in organizations composed by people of medium professional rank ; this leader stans up about the warm scent of the charisma; that behavior lets to Guiness smell and know the hidden weakness of every man under his power.
This approach is suddenly disturbed when an officer (John Mills) comes for him to replace. Obviously; that fact generates an inmediat reaction state in all the officers. Guiness knows his days are gone and yet he fights with his rules ; you disagree with his psycolghical handles; but you think that Mills a distingued officer, will be capable to end with this screwy state of things.
The obstacle are countless: some are direct and the rest you can imagine: that invisible match to establish the real rules of game , will turn in an unexpected twist ending.
The script is very carefully made ; just remember just two years before Stanley Kubrick had filmed Paths of Glory. This is important due the bitter atmosphere about every item related with the authority excess was not accepted in any society status.
Add to this, the Korea Cold War from the fifties ; the russian invassion over Hungary ; the growing nuclear tension around the nuclear weapons and the visible increase of peace movements all around the world in multiple facets as Litherature; poetry ; painting (Jason Pollock) ; music (rock & roll); cinema (New Wave birth) and challenging films as Baby doll, On the waterfront or Anatomy of a crime ; the raising movements for protecting the nature ; at this decade (fifties) the society was opened for new discoveries and sensations search (remember that the pill was discovered in the middle of the fifties) ; and this mood made the loss of certain principles you assumed as permanent.
And this movie walks in that direction. Watch this one; because its values and intentions goes far beyond a mere entertainment , the movie inquires you ; it challenges you and invites you to react.
Another superb achievement.

Fine DVD for a Guinness classic
No need to say much about the film itself: it is superb as others have agreed, with a phenomenally compelling performance from Sir Alec Guinness, with Sir John Mills (who won Best Actor prize at the 1960 Venice Film Festival) and the rest of the cast giving great support.

The Criterion DVD offers a really fine transfer: colours are rich, and there is a total absence of any artefacts, nicks or blemishes in the print. Sharpness is also very good, there is a hint of occasional grain but this is in the original celluloid I think - and anyway is nothing to worry about.

One slight caveat which has been commented upon by various review sites (so is not just a flaw in my DVD copy) is near the end of the film the appearance on the transfer of an opaque vertical line close to the right edge of the image, about a centimetre wide on my 28" screen. This is not really as distracting as it sounds and was presumably unfixable by Criterion from the source print. It starts near the end of the snooker room scene and stays for about 5 minutes - disappearing during Guinness's tour-de-force final scene where he addresses the assembled officers in a bravura display of fine acting - which leads to the unforgettable (and very moving) climax of the film. Certainly no-one should be put off by this slight flaw as it didn't interfere with my enjoyment of the film.

Soundwise this film offers a straight mono track - which with a 5 channel set-up will unusually use only the centre speaker. Manually adjusting my amp I was able to switch to the two fronts (minus the centre) which gives a slightly wider soundstage. In any event the dialogue is clear (subtitles will help with some of the more inpenetrable lines) and Malcolm Arnold'd bagpipe-based score comes through well.

The extras are slight but OK: the audio-only interview with the aged John Mills in 2002 is not too revealing but he is a lovely man, as comes across well here. The filmed interview with Guinness is better but covers his whole career rather than this film - and he doesn't give too much away of the real man. The trailer is interesting - because it is so appallingly (and hilariously) bad, with a dreadful voiceover and bizarre captions.

Get this DVD for the fine transfer of a brilliant film, which at the end of the day is the prime reason for any DVD package.

Och aye, a supairrb disc!
One of my favorite films has finally made it to DVD. One of the true gems of the postwar British cinema, by a director who often gets short shrift alongside his illustrious contemporaries, Ronald Neame. Everything about the picture's been said - some of the best screen acting of all time in this one. The disc does it justice. The delicate color balance is magnificently rendered,
and the sound is equally well-presented. The real kicker, tho',
is in the extras. The Neame interview is a delight, as is the Guinness one. The Mills one is marred slightly by the rather fatuous questions he is aked, but still quite fine. In short, Criterion hits another one out of the park. Pour yersailf a
wee dram, sit down, and enjoy a bona-fide classic. ... Read more

Reviews (16)

All the World's A Stage
Why Stage Fright doesn't rank amongst the top Hitchcock films is one of the great mysteries of the twentieth century. It has all the things that the best Hitchcock films have: great stars, Jane Wyman and Marlene Dietrich, both at the top of their game, a compelling storyline, a blossoming romance, and wonderful characterizations from the supporting players. The story begins with Eve Gill (Wyman), a student actress at the Royal Academy of Dramatic Art, and her attempts to shield her boyfriend Jonathan Cooper (Richard Todd) from being framed for the murder of the husband of stage actress Charlotte Inwood (Dietrich). Jonathan and Charlotte were lovers and he fears that this relationship will be exposed (it was a secret) and thus establish his guilt. Eve who has had a crush on Jonathan for years believes he is telling the truth and tries to expose Charlotte as the real murderer. To do this she pretends to be the cousin of Charlotte's maid Nellie Good (Kay Walsh) who ostensibly is ill. In the guise of Doris, Nellie's "cousin," Eve is able to gain Charlotte's confidence. As Eve gets closer and closer to Charlotte, the mystery surrounding the death of her husband becomes more confusing and complex. Along the way, Eve is attracted to Inspector Wilfred Smith (Michael Wilding) who is investigating the case. As Eve's character tries to solve the murder, her relationship with the inspector gets a little strained. She wants to tell Wilfred that she's Doris, Charlotte's maid, but the timing never seems right. With more twists and turns than the average Hitchcock film, Stage Fright moves along at a crisp pace, keeping viewers guessing right until the end. To reveal more would spoil the fun. Wyman is great as Eve and absolutely charming as the maid, Doris. And Dietrich is at her best playing a woman who isn't at all what she appears to be. And that's a big part of what makes this film so compelling. No one is who they appear to be! Everyone seems to be acting a part or role for one reason or another. There is great support from Todd, Wilding, Sybil Thorndike and Alastair Sim (as Eve's parents). Thorndike is simply hilarious as Wyman's mother, as is Sim as her father. If you're a Hitchcock fan, I don't think you'll be disappointed in this one, and if you're new to Hitchcock, by all means give it a try.

Don't be frightened of this movie!
I love all of Hitchcock's movies, so it's hard to pick a favorite, but this one would be near the top. The plot is full of suspense and humor, the actors are perfect in their respective parts, especially Marlene Dietrich and Jane Wyman. Any movie where Marlene sings is a must-see anyway, much less in a Hitchcock movie! Lots of comic bits sprinkled throughout the movie offset the suspense and deadly points perfectly. When I first saw the movie years ago, I was completely fooled right up to the point with Wyman and Richard Todd hiding beneath the stage. But I still watch the movie about once a year and thoroughly enjoy it every time. A must for any Hitchcock fan who may have never seen this true gem.

Finally gets the recognition it deserves
After years of film/Hitchcock scholars dismissing it (like Truffaut did) or having coniptions about the famous "lie" it contains, it's great to see people are now appreciating this sharp, clever little movie. A recent biographer of Dietrich also correctly identified it as one her best showcases...she is hilarious and very sexy here. As for the "lie"...I think it's brilliant, and it will forever teach viewers not to believe everything the director shows them (Brian De Palma must have memorized this movie). Oh yeah...can we get a DVD please?!

A great movie that deserves to be put on DVD!
This movie is so wonderful that it deserves to be put on DVD. If there is a DVD to this movie, I hope it is loaded with special features. If you are looking for a classic, you should choose this one. This movie is a classic because it is filled with suspense, action, and drama. It is a very entertaining movie. So if you are looking for an exciting thriller as well as a classic, also, you should choose this one. Go see it!

A great piece of entertainment!
This is wonderful entertainment. It is filled with suspense and romance. It is exactly what you expect from the Master of Suspense. This film is filled with great actors and a wonderful plot. I recommend this to everyone. Go see it! ... Read more

Reviews (18)

Please Sir, I want some More
Charles Dickens' "Oliver Twist" first appeared in a magazine in 1838. Since then, 13 motion picture versions have graced the silver screen. Perhaps the uncontested classic was released in England in 1948. David Lean stands within a tiny circle of 20th Century film directors who could literally paint with a camera. And paint he did. Dark and moody, his "Oliver Twist" opens in an English countryside storm, as a pregnant young girl seeks shelter from the squall. She is about to give birth to Oliver Twist. Intentionally mute, there is no dialogue until seven minutes into the story. The stage is set for gothic evil and tragic foreboding. Lean auditioned 1500 boys for the lead role, but complained that, in each case, "there was nothing in the eyes". He eventually settled on 8 year-old John Howard Davies. Hard-drinking Robert Newton plays Bill Sikes. Alec Guinness appeared in 6 David Lean productions. His second was here as Fagin. Future movie beauty Diana Dors has a small part. Peter Bull and Francis L. Sullivan are outstanding in supporting roles. Filmed in the shadows of St. Paul's Cathedral, "Oliver Twist" reveals the circuitous, seamy London backwaters of the 19th Century. I have to say it. The extras for this Criterion DVD are rather "lean". However, it does contain a trailer, and 12 minutes of film censored from the original 1951 U.S. release. These scenes show Fagin giving a pick-pocket lesson, and counting his jewels. Charles Dickens and David Lean were just at the beginning of their long and prodigious careers when each released their own versions of "Oliver Twist". Amazingly for both, the best was yet to come.

The most unknown masterpiece this world has yet produced!
Many films have been made, but none in history have matched this one in its all-round technical brilliance. Every last element--Acting: particularly Guinness's richly villanous Fagin, and Newton's terrifyingly larger-than-life Bill Sikes; Direction: David Lean's true masterpiece, a cinematic milestone of such immediacy, it has all the impact and more than any '90's film; Adaptation: distilling the drama and sweep of Dickens' voluminous novel into less than 2 hours; Photography: dazzling the eye with its ravishing camera movements and stunning detail; Music,wondrously witty and almost operatic in its texture by Sir Arnold Bax; & Art direction: a massive studio set that seems all the size of London. Due to controversy, it was shunned its due acclaim, (and devastated this high-budgeted classic's chance at the box-office, contributing to the near-bankruptcy of Britain's film industry soon after) but at first viewing the controversy ends. See it, and wonder not that a 22-year old writes such a glowing review; for truly, "Oliver Twist" is a film for the ages!!! *P.S.: Note Lean's genius in scene where Sikes murders Nancy; without showing any violence, Newton's frightening intensity and Lean's brilliant use of image and sound convey the full shocking violence of the scene.

Dark Brilliance
Although it takes liberties with the plot of Charles Dickens' classic, David Lean's 1948 version of OLIVER TWIST brilliantly captures the darkness and desolation, as well as the grotesqueness and humor, of its source. John Howard Davies as Oliver is the picture of angelic innocence. His underworld nemeses include Alec Guinness, the most repulsive Fagin imaginable; Robert Newton, perfect as the murderous Bill Sikes; and the teenage Anthony Newley, an intense and authentically Cockney Artful Dodger. Kay Walsh is excellent as the doomed Nancy, though I personally would prefer a more youthful depiction of the character. With its vivid cast and masterful direction, Lean's stirring yet unsentimental OLIVER TWIST is surely one of the finest films ever made of a Dickens novel.

The champion of OLIVER TWIST versions
There have been many versions of Charles Dickens classic, OLIVER TWIST. Indeed, ever since movies began, there have been numerous attempts to bring this classic tale of a young boy's battle against thieves, neglect and abuse to the screen. However, it is this version, directed by the great David Lean, that has come to be regarded as the definitive version. By now, the story of a young abused orphan who escapes the workhouse, only fall into a den of thieves, is a familiar one. It is also blessed with some of Dickens' most memorable characters: the brutal Bill Sikes and his girlfriend Nancy, the pompous Mr. Bumble, the noble Mr. Brownlow, the envious Monks, and last but not least, the sly and nasty Fagin and his rag-tag gang of boy thieves, including the sneaky Artful Dodger.

Lean captures the atmosphere of the tale perfectly with stark black and images that will haunt your mind's eye, while Bernard Herrmann presents a wonderfully classic score. One musical highlight is when Fagin teaches Oliver the finer points of pickpocketing with a wonderfully amusing demonstration. Lean's direction also keeps the moving as a good clip, while not sacrificing the finer points of his narrative.

As for the casting, they do a wonderful job to the point of seeming to come bounding out of the page itself. Francis Sullivan is perfect as the blustery beadle of the workhouse, Mr. Bumble. Robert Newton (years before he would ham it up as Long John Silver for Disney's TREASURE ISLAND) turns in a dark and violent turn as the thuggish Bill Sikes. Kay Walsh is equal parts steel and heartache as the ill-fated Nancy. John Howard Davies (who would eventually become a famed British television producer) is touching as the title character, without becoming too saccharine. Henry Stephenson makes for a warm and caring Mr. Brownlow. A very young Anthony Newley makes a strong impression as the fantastic Artful Dodger. But, in the end, it is Alec Guinness's controversial performance of the master thief, Fagin, that will linger in the memory. In unrecognizable make-up designed to make him look the worst Jewish stereotype, combined with a mincing, lisping manner, Guinness creates a truly slimy and disturbing character that generates controversy to this very day. Indeed, when the film was first released in 1948, many critics were up-in-arms over the seeming anti-Semitic portrayal of Fagin to the point that the film wasn't allowed in the US until 1951, when some small cuts of Guinness' performance were made.

There have been many other versions of this classic drama, ranging from the solid Lon Chaney/Jackie Coogan silent, to the wonderful 1968 musical OLIVER!, to the rather limp Disney remake. But, this one has stood the test of time as the definitive version. As such, this is a must see film for all fans of Dickens' work and one that I give one of my highest recommendations.

another good film based on one of Dickens' books
This review is for the Criterion Collection DVD edition of the film.

This film, directed by David Lean is also bsed on the famous Charles Dickens novel, based on the popularity of Oliver Twist and Great Expectations, it is a wonder he didn't do A Christmas Carol also.

Having not read the novel I cannot determine how close the film is to it. The plot is probably too well known for a summary to be necessary.

The acting is quite impressive also. There was a controversy over Alec Guiness' portrayal of Fagin. While the makeup is impressive, The charater's Jewishness and the very large nose on the makeup labeled the filmmakers as anti-Semitic. The extras casting for the climax of the film is well done also.

There is also an egregious flub in the film. When Oliver faints in the courtroom the POV camera overshoots the set.

There is only a theatrical trailer as a special feature on this release but it still is a good movie. ... Read more

Reviews (29)

A unique and hilarious black comedy
The Ruling Class remains a unique film in many ways. Totally iconoclastic, brilliantly concieved and executed, original in style and tone from start to finish, it is both hilarious and touching in its story of the 14th Earl of Gurney (played by Peter O'Toole) who believes himself to be Jesus Christ. The picture painted of the British upper classes is mercilessly biased but the comedy that is mined from their shallowness and greed is as funny as when the film was made. O'Toole's performance is delightful. He gets to do a little bit of everything in this film, including sing and dance. The cast of supporting players is brilliant, especially Alister Sim as a tongue tied Bishop trying to perform a wedding between 'Christ' and the bride picked for him by his family so they can control his fortune. Other standouts include such characters as 'The Master in Lunacy', who decides that the Earl is sane because he has the right school pretensions. The pivotal twist of the plot comes in the 'healing' sequence when the Earl is transformed from 'Christ' into 'Jack'. Unfortunately, the Jack in question is Jack the Ripper. This new persona seems so much more sane, but violently less so.

This is a strange concoction but never fails to amuse. Everything about it continues to be fresh because nothing about it has ever been copied. It is a one of a kind film that deserves a place in any serious video collection of great, original movies.

o'tooles tour de force
the main flaw of this film is that it overstays its welcome. that said, o'toole delivers one of his most powerful over the top performances.
this is a true cult classic and, thanks to criterion, it has gotten the remastering it deserves.
not for the closed minded to be certian, but a challenging and rewarding comedy that delivers and jolts.

A Fantastic DVD of a Fantastic Film
I will eschew the plot summary which ye will find in other reviews above . . . as well as a few spoilers!

This is one of my favorite films that examines a number of issues, particularly what is "acceptable" in a religion. It is extremely well-cast, with Peter O'Toole turing in one of his best performances. It is a pleasure to watch Alister Sim--the best Scrooge ever--as a befuddled Anglican bishop. Fans of the Blackadder will enjoy seeing "Nursey" as a village busy-body who wishes to bring back flogging.

The DVD is a wonderful treatment. The US release--and subsequent videos--lacked some scenes lost for length. This is a film that is based on a play, and every character had a soliloquy--until someone cut them! Here, finally is the complete film. Visually, it is beautiful.

A big suprise is the "goodies." The running commentary includes the director, Peter Medak, the playwright/screen writer Peter Barnes, and even Peter O'Toole. It is an excellent addition to the movie rather than voices blathering about themselves.

The insert also has a nice essay from a British film professor.

Fans of the film need this DVD.

A review above complained it was not "funny." How one cannot laugh at Harry Andrews in a tutu, military garb, hanging himself in order to [CENSORED--Ed.] I do not know?! However, it is NOT a comedy. It is a play that has social satire, some comedy, a fair amount of farce and darkness and tragedy.

The only warning that I give is the DVD back-notes reveals some spoilers! If you have NOT seen the film or stumbl'd upon them in some reviews above, make sure you do not read the back!

the brother of Sherlock Holmes!, you illeterate oaf!
wow, this is quite honestly the weirdest(not to be confused with strange, that is reserve for clockwork orange) movie i have ever seen, and ive seen some weird ones, but nevertheless, very very funny but make sure you dont have some apahty for dark british humor, imean honeslty its a fanstatic film and hsa some great songs(everybody do the varsity slag!) its very very pricey though, so keep in mind to have an open mind nad very liking to british humor, i am very proud it is in my collection though, deffinatly worth price

Decent, and very British
I wasn't sure what to expect of this movie. The concept is brilliant: an aristocrat who believes himself to be Jesus, and is "cured" of this mania only to become Jack the Ripper--with musical numbers interspersed throughout. Genius idea. The movie is ripe for a modern re-make.

Unfortunately, a lot of the British-isms and dated style of humor can make the movie seem awfully corny in places. And I agree with the reviewer who mentioned a dragging pace at many points. The musical numbers aren't quite as funny as they could/should be, I thought. The funniest moment for me was when we see Peter O'Toole as Jesus for the first time, absurdly made up, commanding the people on his estate to bow down before him while he delivers a pompous monologue to the Heavens. And there are a few classic, great lines here and there. (Society Lady: "When did you first realize you were God?" Jack/Jesus: "When I realized that every time I was praying I was really talking to myself.")

The movie seems dated, I have to admit. In all, I have mixed feelings about it. I found myself wishing the whole ariistocrat-as-Jesus angle could have been played up more. The movie is definitely worth seeing, but don't let all the ecstatic, glowing reviews by the hardcore cult fans prepare you for some unbelievably, otherworldishly hilarious comedy. It's best to go into it with low expectations and be pleasantly surprised by what does work.

Like I said, a re-make of this in the right directors' hands would be marvelous. The concept is brilliant. The execution could have been better. That said, rent it before you buy it and see if it's for you. ... Read more

Amazon.com

Released in 1961--the same year as The Absent-Minded Professor and The Parent Trap--Greyfriars Bobby epitomizes the heart-on-its-sleeve sentimentality that was the special preserve of the Disney Studio. Based on a true story, the film follows the adventures of a wee Skye terrier who refuses to be separated from his master, even in death. Bobby sleeps on the old man's grave in the cemetery of Greyfriars church; he won't be driven away by Mr. Brown, the groundskeeper (Donald Crisp), or adopted by Mr. Trail (Laurence Naismith), the kindly restaurant owner. Bobby wins over both men, as well as the children in the neighborhood tenements. When a priggish policeman charges Mr. Trail with harboring an unlicensed stray, the case becomes a tempest in a dog dish. Greyfriars Bobby offers handsome vistas of Edinburgh; however, even at 91 minutes the pace is meandering. Crisp and Naismith offer engaging performances as the reluctant friends (and rivals for Bobby's affection), but everyone speaks with such thick Scottish burrs it's like attending Groundskeeper Willie's family reunion. Suitable for all ages. --Charles Solomon ... Read more

Reviews (11)

True Love
Here's a real life story, told with love and compassion. If you love animals, you'll love this movie! Both children and adults will laugh and cry at this movie. The scenery is great, and the acting is great. The phrase, Man's Best Friend, must have been coined with "Bobby" in mind!

Loyalty and the Transformng Power of Love
Greyfriars Bobby is one of the finest children's movies of all time. Based on a true story, it is a deep-feeling, understated exploration of how a "pound-hound" transformed an entire city. In detail it shows the the mutual transformation of a lonely, impoverished older man and the stray dog who befriends him. They become a fixture in their Scottish neighborhood -- the dog greeting schoolchildren, etc. -- until the old man's death. Scruffy-looking Bobby develops a routine of staying on his dead master's grave each day, still taking the time to greet the kids on their way to and from school. Upon the old dog's death, the people of Greyfriar's built a statue to Bobby, by his master's grave: a testament to loyalty and love. A several handkerchief movie but very uplifting, for adults and kids alike.

Wonderful film...too bad it's in fullscreen
I feel tricked and used.
After waiting decades to enjoy this film the way I saw it in the movie theater as a child, what does Disney do? They glibly release the DVD in fullscreen format, even going so far as to list one of the "Special Features" on the jacket as "Fullscreen (1.33:1)". The "breathtaking Scottish countryside" mentioned on the box is nearly obscured in the film due to the cropping on all sides.

While the image and sound quality are superior to the VHS version, poor Bobby would cry at this fullscreen treatment by Eisner and his cronies.Why Disney doesn't offer buyers a DVD with fullscreen on one side and letterbox on the other is a complete mystery.

The DVD of Darby O'Gill and the Little People is coming out in August of 2004. If Disney releases it in fullscreen with the opening titles cut off like on the VHS tape, I think I'll consider breaking the DVD in half.

among disney's best animal films
Originally released in 1961, Greyfriars Bobby is a very tender and beautifull film. It really is right up there with old yeller, and other disney classics. Set in Scotland, the sets are lavish, the production values strong. Performances by Donald Crisp and Laurence Naismith are involving. I saw it recently for the first time in 30 years, since it was broadcast on the disneyland tv show many years ago. I was as equally captivated by it as I was when I was a boy. It isnt overly sentimental as some may think, but it is quite touching. A real classic.

Great movie
I watched this movie as a child and thought it was one of the sweetest Disney ever made. The tale of a little dog who comes to his master's grave no matter who tries to stop him. In the end the whole village of Greyfriar loves him and adopts him as their own. I loved watching the battle of wills between the restaurant owner and the graveyard caretaker who each thought the "wee dog" should be his. But Bobby belonged only to his dead master in the graveyard. After Bobby died he was buried in the graveyard alongside his master, a rare honor for a little dog.

The only reason I gave the video 4 stars instead of 5 is because of the mono soundtrack. I stronly prefer stereo and would really like to see this movie released on DVD or even VCD. ... Read more

Reviews (10)

Joan Fontaine in a superb performance
A classic Hammer chiller, THE WITCHES, which is also known as THE DEVIL'S OWN, is an engrossing story of the occult set in the seeemingly harmless English countryside.

Haunted by the terrors she saw in Africa, schoolteacher Gwen Mayfield (Joan Fontaine) accepts a teaching position in a local Haddaby School run by Alex Bax (Alec McCowan) and his sister Stephanie (Kay Walsh).

Soon, however, as mysterious occurances start, such as a boy falling into a coma, a headless doll found impaled with pins, Gwen starts re-living her African nightmare again.

Very good story, although the climactic witch-coven scene draws more laughs than gasps, with the Witch Queen looking like a cross between Edina from AB FAB and Bullwinkle the Moose.

In deluxe widescreen (aspect ratio of 1.66:1), and original trailers of the film under the DEVIL'S OWN title, and paired with another Hammer film PREHISTORIC WOMEN.

Joan Fontaine and the Coven of the Kooky
In her last appearance on the silver screen, Joan Fontaine, who won an Academy Award for her performance in Suspicion (1941), stars in this Hammer Studios release of The Witches (1967). While the material here is certainly not of the caliber of some of the previous films she's appeared in, it is fun to watch. Maybe I have some lurid fascination of seeing once great stars reduced to appearing in roles they probably would have never considered in their prime.

Joan plays Gwen Mayfield, a teacher who has just been accepted to assume a position as head teacher of a private school in a small English village. The film starts off with Gwen teaching at a mission school in Africa, and, after an incident with a native witch doctor that caused Gwen to have a nervous breakdown, she has now returned to England to put the pieces of her life back together.

After formally meeting with her employers, Alan and Stephanie Bax, played by Alec McCowen and Kay Walsh respectively, the well-to-do resident benefactors of the town who are also brother and sister, Gwen settles into her new surroundings. The situation seems idyllic, a nice, quiet position in a small town where little happens, but, as the saying goes, still waters sometimes run deep. The oddness begins when two of her pre-teen students, a boy and a very weird girl, exhibit closeness to each other, one borne of a budding romance. This causes consternation among some of the townspeople, and soon the boy falls ill of a mysterious coma. Apparently there was more than just a passing concern about what might happen if the relationship between these two continued, specifically in respect to the girl.

Rumors of witchery begin to reach Gwen, and the deeper she probes, the more ominous the proceedings. As the notion of witchery becomes more and more viable, the idea that there may be more than one witch, a coven, operating within the town, involving various members of the small village. Gwen soon finds herself at odds with unseen forces, and suffers a relapse, forcing her to be institutionalized. She has also lost her memory of everything that's transpired after leaving Africa. She does regain her memory, bits at a time, and the horror begins to return as she understands what is about to transpire, and rushes back to the town in an attempt to save the girl from an unknown fate, and ultimately learn that witchery is not limited to third world peoples but is alive and well here in this small, English village.

Joan Fontaine does a great job here, still exhibiting the sheen of a Hollywood star, even if some of that sheen has dulled since her prime. I have to say, even pushing 50 she still looked pretty good, despite the oddish, bowl bouffant she sported through most of the film. Fontaine's older sister, Olivia de Havilland, didn't fare as well, career wise, in my opinion, starring in dubious films like Lady in a Cage (1964), and Irwin Allen 70's disaster pics like Airport '77 (1977) and The Swarm (1978). The creepy factor develops nicely as the film progresses, and as the mystery deepens about who's involved in the coven and what their purpose is, but this is soon replaced by a goofy factor as we see the coven in action, performing a ritual, half-nekkid dance of sorts in a decrepit, abandoned church, eating greasy dirt as their leader spouts incomprehensible mumbo-jumbo while clad in colorful robes and donning a crown with birthday candles adorning the top. I kept waiting for someone to make a wish and blow out the candles, but the others were to busy bumping and grinding to their chanting, and, as I said before, masticating the mud.

Anchor Bay Entertainment releases a great print, in wide screen anamorphic format. Special features include a theatrical trailer, television promotional spots and a World of Hammer episode titled Wicked Women. Also included in the DVD case on the flipside of the card listing the chapter stops is a reproduction of promotional material used for the film. I really find much enjoyment in these little touches, as it seems to indicate thought was actually put into the release, and a sense that one's getting their money's worth, even though this release seems a bit pricey.

Cookieman108

Excellent Hammer movie without Peter Cushing
Joan Fontaine is a teacher who was traumatized by a frightening voodoo ritual while in Africa. Years later, she accepts a job at a small private school and then strange things start to occur.

The DVD is released by Anchor Bay, there is excellent color and the sound is also outstanding. Extras include the original theatrical trailer, two TV spots that advertise the film as a double feature with Prehistoric Women, and the episode "Wicked Women" from the World of Hammer series.

It's always the quiet chills that "get" you!
Lucky me--I'm both a big fan of Joan Fontaine and Hammer Films, so "The Witches" is heaven-sent! I'd read about this movie years ago and have even caught snippets of it over the decades, but nothing prepared me for Anchor Bay's excellent DVD release! Crisp, clean, with deluxe packaging and interesting "extras," The Witches is a quality product all the way. Ms. Fontaine--whose screen persona ranged from innocent and shy (see Hitchcock's "Rebecca" and "Suspicion") to connivingly evil ("Born to Be Bad")--gives a low-key and totally convincing performance as "Gwen Mayfield," ex-missionionary teacher. Her new assignment, acting as headmistress to a private church school in quiet Heddaby (Cornish England) would seem to be an ideal move, considering her traumatic turn at the hands of African witchdoctors (shown in an exciting prologue). But what's this? There are strange "undercurrents" in Heddaby! Drownings, headless voodoo dolls, a burned-out church, and "the mangle!" Could it be? Is there actually (gasp)witchcraft afoot? Well, needless to say, with a movie called "The Witches," you can draw your own conclusions! It's interesting to see Fontaine at work--she lacks the bombast of, say, a Bette Davis or Joan Crawford. Instead, she handles her duties as Hammer horror heroine with great subtlety and panache. Watch for British film vet Kay Walsh, who practically steals the film--she's excellent! "The Witches" gets my highest recommendation!

Good Brit Witchcraft Film
Interesting story of African withcraft in Britain. Some suprising moments make the movie interesting. ... Read more

Amazon.com

In suspense films characters frequently deceive one another. But can the camera tell a lie? This is one of the questions that Hitchcock takes up in Stage Fright (1950), and his answer has puzzled, infuriated, and delighted audiences ever since its initial release. Stage Fright is one of only two films Hitchcock made in Great Britain after he moved to America in 1940 (the other is Frenzy, his late masterpiece). It is also his only picture to star Marlene Dietrich, whose character's allegiances are even more ambiguous than usual.

Years after making Stage Fright, Hitchcock claimed that because the villains were just as frightened as the heroes, the film did not carry the requisite quota of menace. But it has received a good deal of attention in recent years and is worth a fresh look. The director did admit that he was proud of the movie's most astounding plot twist, though no commercial filmmaker since has been bold enough to let the camera lie so eloquently. --Raphael Shargel ... Read more

Reviews (16)

All the World's A Stage
Why Stage Fright doesn't rank amongst the top Hitchcock films is one of the great mysteries of the twentieth century. It has all the things that the best Hitchcock films have: great stars, Jane Wyman and Marlene Dietrich, both at the top of their game, a compelling storyline, a blossoming romance, and wonderful characterizations from the supporting players. The story begins with Eve Gill (Wyman), a student actress at the Royal Academy of Dramatic Art, and her attempts to shield her boyfriend Jonathan Cooper (Richard Todd) from being framed for the murder of the husband of stage actress Charlotte Inwood (Dietrich). Jonathan and Charlotte were lovers and he fears that this relationship will be exposed (it was a secret) and thus establish his guilt. Eve who has had a crush on Jonathan for years believes he is telling the truth and tries to expose Charlotte as the real murderer. To do this she pretends to be the cousin of Charlotte's maid Nellie Good (Kay Walsh) who ostensibly is ill. In the guise of Doris, Nellie's "cousin," Eve is able to gain Charlotte's confidence. As Eve gets closer and closer to Charlotte, the mystery surrounding the death of her husband becomes more confusing and complex. Along the way, Eve is attracted to Inspector Wilfred Smith (Michael Wilding) who is investigating the case. As Eve's character tries to solve the murder, her relationship with the inspector gets a little strained. She wants to tell Wilfred that she's Doris, Charlotte's maid, but the timing never seems right. With more twists and turns than the average Hitchcock film, Stage Fright moves along at a crisp pace, keeping viewers guessing right until the end. To reveal more would spoil the fun. Wyman is great as Eve and absolutely charming as the maid, Doris. And Dietrich is at her best playing a woman who isn't at all what she appears to be. And that's a big part of what makes this film so compelling. No one is who they appear to be! Everyone seems to be acting a part or role for one reason or another. There is great support from Todd, Wilding, Sybil Thorndike and Alastair Sim (as Eve's parents). Thorndike is simply hilarious as Wyman's mother, as is Sim as her father. If you're a Hitchcock fan, I don't think you'll be disappointed in this one, and if you're new to Hitchcock, by all means give it a try.

Don't be frightened of this movie!
I love all of Hitchcock's movies, so it's hard to pick a favorite, but this one would be near the top. The plot is full of suspense and humor, the actors are perfect in their respective parts, especially Marlene Dietrich and Jane Wyman. Any movie where Marlene sings is a must-see anyway, much less in a Hitchcock movie! Lots of comic bits sprinkled throughout the movie offset the suspense and deadly points perfectly. When I first saw the movie years ago, I was completely fooled right up to the point with Wyman and Richard Todd hiding beneath the stage. But I still watch the movie about once a year and thoroughly enjoy it every time. A must for any Hitchcock fan who may have never seen this true gem.

Finally gets the recognition it deserves
After years of film/Hitchcock scholars dismissing it (like Truffaut did) or having coniptions about the famous "lie" it contains, it's great to see people are now appreciating this sharp, clever little movie. A recent biographer of Dietrich also correctly identified it as one her best showcases...she is hilarious and very sexy here. As for the "lie"...I think it's brilliant, and it will forever teach viewers not to believe everything the director shows them (Brian De Palma must have memorized this movie). Oh yeah...can we get a DVD please?!

A great movie that deserves to be put on DVD!
This movie is so wonderful that it deserves to be put on DVD. If there is a DVD to this movie, I hope it is loaded with special features. If you are looking for a classic, you should choose this one. This movie is a classic because it is filled with suspense, action, and drama. It is a very entertaining movie. So if you are looking for an exciting thriller as well as a classic, also, you should choose this one. Go see it!

A great piece of entertainment!
This is wonderful entertainment. It is filled with suspense and romance. It is exactly what you expect from the Master of Suspense. This film is filled with great actors and a wonderful plot. I recommend this to everyone. Go see it! ... Read more

Description

Playing Gulley Jimson, a deceptively scruffy bum, Alec Guinness captures the essence of an artist possessed by the need to create.Guinness' performance and his Oscar®-nominated screenplay create both stirring drama and hilarious tomfoolery as the vagrant Jimson races from bar to pawnshop to wealthy art patron to fulfill his artistic quest.Kay Walsh is brilliant as the cantankerous barmaid doomed to help Jimson on his wildest mission yet. ... Read more

Reviews (12)

Fantastic Film, Exemplary DVD
Gulley Jimson is an unappreciated painter, loopily passionate about his art, and defiantly inured to the rigors of poverty & the fear of giving offense.

"The Horse's Mouth" wears its 45 years effortlessly. We are fortunate that Alec Guinness poured his unique talents into imagining the genius of this comic character, getting it down as a screenplay, and rendering so inspired a performance. The result defies imitation. Intelligent viewers will find the comedy as delightfully quick as it must have been when it was first shown.

The Criterion Collection DVD has preserved the Technicolor gorgeously. We are spared the customary tedium of "DVD filler" but given a wonderful short interview with director Ronald Neame.

Alec Guinness is fantastic!
Alec Guiness is fantastic as a sort of likeable but stubborn starving artist. It's a great character and probably my favorite performance from him(he's so much more abrasive than most of his other films). To be sought out at whatever cost(it seems to be not widely availabe right now)-find it, watch it! From the director of TUNES OF GLORY(also with Alec Gunness) and GAMBIT(soon to be remade by the Coen Brothers).

How To Out Bluff A Film Buff
If a film buff askes you to name a classic film you realy like you can do no worse than to answer "The Horse's Mouth". Try to suppress a smile as the buff looks at first puzzled and then cautiously admits that they have never heard of let alone seen that movie so can it be that good?

Well actually yes it is explain to them then casually mention that it is the only film that Alec Guinness ever wrote a screenplay for and that he gained an Academy Award nomination for his trouble and that in his "Parkinson" interview in 1977 he almost (but not quite) admitted that it was his favourite film in his long career.

Then you can go on to tell that it is one of the few films from the 1950's that shows London in colour and the music adapted from Sergei Prokofieff's "Lieutenant Kije" gives the film a touch of class and a unique sense of style not to be found in other films of the period.

You may then mention that the acting is superb; as well as Guinness' faultless study of an obsessive and slightly desturbed artist Gulley Jimson. Kay Walsh(Mrs. David Lean)adds humour and pathos as Miss Coker the comugenly woman who none the less has a soft spot for Jimson and music hall turn Renee Houston as Sara Munday (Gulley's ex-wife) adds a bit of bawdy fun to the proceedings. Young actor Mike Morgan gives an energetic perfomance all the more sad because he died before the film's release.

As the discussion continues you may point out that there are a few technical problems; the original three strip Technicolour camaras were so heavy, with their sound blimps, that the camera doesn't move that much during dialoge shots but that makes the actors move more especially when Gulley and Coker are escaping from the police . Also because the film was assembled onto one roll of negative (a common practice in British films until the 1960's )the dissolves are a bit klunky. But any discerning viewer will forgive such imperfections like the bullet holes in a Jimson painting.

You can then round off your discourse by stating that the end of the film, when Jimson sets sail in his wreck of a boat (a metaphor for his own body?), to find something new to paint is sublime.

Then if the film buff is still a bit bemused you can tell them that there is an excellent DVD of the film including an interview with director Ronald Neame and a D.A. Pennebacker Short that accompanied the film on it's original release from Criterion and that no serious DVD collection should be with out it and that comes, as they say, from the horse's mouth.

A Must see for will-be artists or art lovers in general.
I saw this movie with Spanish subtitles for the first time in 1964 as I turned ten years old. It was shown in a public channel in Puerto Rico. That was my first contact with Art in general.
As I watched the movie I realized that I identified strongly with the artist character played by Alec Guiness. Eveything seemed so cool about him.
I also loved the image of the sculptor wearing the long scarf and creating an abstract image as he worked inspired by a nude female model.
My whole life was tranformed at the end of this movie. I was only ten years old but I was decided to be myself like the artists in the movie. Sure enough I became an artist painter!
I travelled the world and lived in Paris for ten years.
After all those years I still trace the root of my artistic life to that wonderful and providential film.
It amazes me how powerful and influential
the art of Cinema could be.

"Burning bright" indeed
I recently purchased this film from Amazon as well as "The Alec Guinness Collection" which includes Kind Hearts and Coronets (1949) plus four others: The Man in the White Suit (1951), The Lavender Hill Mob (1951), The Captain's Paradise (1953), and The Ladykillers (1955). Frankly, I was amazed how well each of the six films has held up since I first saw it.

This film is based on a novel by Joyce Carey, The Horse's Mouth. Guinness wrote the screenplay which was nominated for an Academy Award. The director was Ronald Neame who also produced it. Special credit should also be given to the cinematographer, Arthur Ibbetson, who brilliantly captures the beauty of London while sustaining the viewer's focus on both the splendor and squalor of Gulley Jimson's passions. For me, Guinness' portrayal of that aging and impoverished but obsessed painter gives a whole new meaning to the word "eccentric." As in the novel, the spirit of William Blake is very evident. Art is Jimson's religion for which he is not only willing but eager to make whatever sacrifice may be necessary, his or another's. There are both lambs and tigers in Blake's world. As portrayed by Guinness, Jimson seems to combine their dominant characteristics in his own personality and behavior.

Members of the supporting cast are outstanding, notably Mike Morgan (Nosey) and Kay Walsh (Coker) who remain devoted to Jimson throughout his constant use and abuse of them. I hasten to add that, after recently watching this bittersweet film again, I found its several comic moments hilarious. The best of Guinness' comic films always include special "touches" which enrich their appeal. Whether it was his idea or Neame's (or theirs together), clever use is made of Sergei Prokofiev's "Lieutenant Kije" suite throughout the film. I am unable to explain why so few people who claim to be "film buffs" know about this classic...nor why even fewer people have seen it. ... Read more

Reviews (1)

bad Teddy Bare
This film based on a play called Murder Mistaken by Janet Green is directed with pace by Lewis Gilbert, and only reveals it's stage origins at the climax when the cast yell at each other. We begin with Dirk Bogarde as the irresistably named Teddy Bare, married to an older woman, who he kills for the inheritance. The murder occurs offscreen, with the camera moving to a curtain fluttering in front of an open window. Gilbert presents Bogarde as threatening from the opening where his wife (the touching Mona Washbourne) screams and he glowers as they ride the ghost train at an amusement park. Gilbert also uses Wellesian deep focus framing of the couple, for an expressionist effect. However Bogarde's next intended victim, his new wife Margaret Lockwood is a lot more resistant to his charms. It's hard to decide which of Lockwood or Bogarde is the more unlikeable character, so when they court to the strains of a torch singer's Leave Me Alone, you're not sure which one should leave and which should be left. Things are complicated by Lockwood being the aggressor, but as we see she is no fool, it becomes a game of outwitting. When Kay Walsh enters after Lockwood becomes the new Mrs Bare, and appears to be Lockwood's successor, the stage is set for a venomous triangle. The suggestion that Washbourne remains some sort of accomplice to Bogarde's actions and his confidante, with her symbolic rocking chair prefiguring Mrs Bates in Psycho, doesn' make sense since there was no hint that his wife was in on her own demise, even though we see that Bogarde enshrines her bedroom. Perhaps it is more a device left over from the theatre staging, so that Bogarde can deliver asides, more than a demonstration of his mental state. And the suspicious lawyer breathing down Bogarde's next makes similarly theatrically timed entrances. However Gilbert gives Bogarde a nicely conceived partially shadowed face when he is confronted with his past as motivation, and whilst the end may bear a hole, we're still willing to go along with it. This film was one of the roles Bogarde took on to escape his Doctor at Large typecasting, which explains his working class accent, though his character reading a muscle magazine just before he meets Lockwood is something left unexplained and a subtextual hint not further explored. Lockwood too roughens her Hitchcockian Lady Vanishes image. I liked 2 of Green's lines. At the wedding of Lockwood and Bogarde is told "You've landed the fish but don't forget who supplied the chips". And in response to Bogarde's anger at Lockwood invading Washbourne's bedroom, she says "If he had any more wives, I'd have to sleep in the bathroom". ... Read more

Reviews (9)

Gorgeous and unforgettable!!!!!!!
Unlike the recent blood-opera "Elizabeth" where the only thing they tried to do was to copy the famous movie on the massacre in Paris 1572 with Adjani this movie is a nice fantasy and gets one interested in Elizabeth. My passion for the Tudors started here. It was kinda sad to discover that the real Tom Seymour had almost nothing in common with the fascinating character Stewart Granger brought to life but at least this movie doesn't pretend to be "real". It's entertainment!

so preposterous, it's laughable
after knowing the history of not only protocol, but of the individual characters through research on Tudor England, this movie is so laughably off the mark with regards to Elizabeth's life.

1. It attempts to put forth the concept that Elizabeth was bold enough to take such a leave of not only herself, but of her place as to throw attitude on her father. Scholarship and historical research has proven that Elizabeth was a daddy's girl--she didn't make the mistake Mary did by, as David Starkey put it "nailing herself to the cross of her mother's memory". There was nothing that would have induced Elizabeth to treat with her father the way Jean Simmons' character did with King Henry in the movie. She lived for his approval and acceptance, and he was sufficiently impressed enough with her that he began her restoration and secured her succession to the throne in his will.

2. It portrayed Elizabeth as being at her father's bedside when he died. That is the furthest thing from the truth. She and Edward were told together a few days later, after Somerset's council coupe had succeeded.

By the age Elizabeth was treating with Seymour, Henry had long ago spent money on dresses for her and her ladies--Mary, too--therefore, she would not have been walking around in Cinderella-like scubbing-maid's clothing. She was wearing a cap style that was still over 40 years away--in the 1540's they were still wearing French hoods.

After viewing this blatant stupidity, I had to turn it off. Jean Simmons was just plain irritating to watch... Everything about this movie is vulgar to historical fact and scholarship. One day, someone will produce a believable movie on Elizabeth Tudor. To date, none has made the mark.

young bess, heart touching and unforgetable.
One of the best Motion Pictures every made on the life and times of an English Monarch. This film will live in our hearts for generations to come. Jean Simmons and Stewart Granger light-up the scene, with love, romance and adventure. Young Bess is a powerful adaptation of the life of one of Englands greatist female rulers and her rise to the throne of England.

A Romantic Vehicle for Simmons and Granger
This film, released the week of the coronation of Queen Elizabeth II in 1953, is a highly fictionalized account of the early life of Elizabeth I.
Jean Simmons and Stewart Granger had been married for three years at the time of this film's release. While their union would only last for seven years afterwards, this film proves that it was a very productive union while it hung together.
It begins on the eve of Elizabeth's ascension to the throne, when her governess, Catherine Ashley, played by a discreet and dignified Kaye Walsh, visits the steward, Mr. Parry, played by a booming-voiced and jovial Cecil Kellaway, to inform him that Elizabeth's half-sister, Mary, is dying, begining a long reminiscence about Mrs. Ashley's adventures in raising a royal heir.
Charles Laughton resumes the role he originally had as Henry VIII 20 years earlier in "The Private Life of Henry VIII" in this film, and he was still very much up to the