Amazon.com essential video

One of the greatest screen biographies ever produced, this monumental film runs nearly three hours, won seven Academy Awards, and gave George C. Scott the greatest role of his career. It was released in 1970 when protest against the Vietnam War still raged at home and abroad, and many critics and moviegoers struggled to reconcile current events with the movie's glorification of Gen. George S. Patton as a crazy-brave genius of World War II.

How could a movie so huge in scope and so fascinated by its subject be considered an anti-war film? The simple truth is that it's not--Patton is less about World War II than about the rise and fall of a man whose life was literally defined by war, and who felt lost and lonely without the grand-scale pursuit of an enemy. George C. Scott embodies his role so fully, so convincingly, that we can't help but be drawn to and fascinated by Patton as a man who is simultaneously bound for hell and glory. The film's opening monologue alone is a masterful display of acting and character analysis, and everything that follows is sheer brilliance on the part of Scott and director Franklin J. Schaffner.

Filmed on an epic scale at literally dozens of European locations, Patton does not embrace war as a noble pursuit, nor does it deny the reality of war as a breeding ground for heroes. Through the awesome achievement of Scott's performance and the film's grand ambition, Patton shows all the complexities of a man who accepted his role in life and (like Scott) played it to the hilt. --Jeff Shannon ... Read more

Reviews (155)

Great Entertainment, but . . .
George C. Scott's portrayal of General George S. Patton is outstanding in capturing the essense of the man; so much so that one thinks of Scott when considering the historic Patton! Scott's deep voice better fits the profane and volcanic nature of the General, who was "blessed" with a high and squeaky voice! A classic war film that provides great entertainment with each viewing. That said, I must take exception with a reviewer who lauded the film's accuracy. It is anything but historically accurate. The overall timeline is correct, but anyone who has read a book on Patton (especially the "Patton Papers") will spot the dramatic license taken by the Hollywood producers. Just to name a few: Patton knew that he would command Third Army before he left the Mediteranean for England. In the film, he wasn't told until after D-Day! Another: the entire exchange between Patton and Montgomery in Messina was fabricated; as was the competition between the two for Messina. This said, "Patton" remains one of my favorite movies, and I recommend it to anyone. Just have that book ready on the coffee table (also available from Amazon!)

Not the best war movie, but great character study
It may be treasonous to suggest that Patton is a flawed WW2 movie, although it is leaps and bounds the best character study ever developed inside a war movie. Not for nothing was this Nixon's favorite flick. George C. Scott justly deserved an Oscar for his portrayal of the hugely idiosyncratic Patton. I was 14 when I first saw it, and it was a real eye-opener for someone who (growing up in the military) thought all Army generals were bland smiley Eisenhower clones.

Scott's Patton is sensational, and manipulates the audience into a genuine love-hate relationship with the man. He was a tyrant, but soft-skinned. He was a brilliant tactician who was respected above all others by the Germans. He was also a mean, petty, competitive SOB who could waste soldier's lives to feed his ego, and with primitive political sensibilities - kind of an American Arik Sharon.

Flaws? Well... the movie certainly blitzes through WW2 history. Near the end of the film, the flim shows Patton's troopers rescuing the surrounded 101st Airborne at Bastogne (December 1944), and suddenly, it's May 1945. This skips over perhaps Patton's worst moment, when in 1945 he ordered a small task force to penetrate far behind German lines to attempt a rescue of his son-in law languishing in a POW camp (he was captured during the Kassarine Pass battles). The mission was a dramatic and costly failure.

I did have problems with the other significant generals portrayed in the movie. Montgomery was pompous, but he did pull the British through in North Africa. In Patton, he has few redeeming features. Karl Maulden's Omar Bradley is just too nice for a four-star general - probably because the real Bradley served as a technical consultant for the movie, which must have stirred interesting emotions in the man. The real Bradley experienced a real love-hate relationship with the flashy, tempermental Patton.

The biggest flaw in Patton is technical. Like the earlier film, "Battle of the Bulge", American tankers drive 1950's tanks (Chafees?), and the Germans get bigger American tanks. (In unlikely movies like Kelly's Heroes, they used real Shermans). This is way before "Private Ryan", so the battle scenes are dramatic enough but do not have the punch of recent movies.

The real reason for "Patton" is the man, not the battles. In this, the movie surpasses "MacArthur" and similar biopics. And this definitely has the best music score of any war movie. So maybe it gets a "five" after all.

Decent Film/No Frills DVD
It's to the much-deserved credit of the underrated George C. Scott--simply brilliant here--and director Franklin Schaffner that the celebrated general of "Patton's" title comes across more the tragic hero and less the right-wing nutjob, especially considering that the film debuted in 1970. "Patton" is worth a look for that bit of storytelling finesse alone, but the film offers much more, effectively examining both the highs and lows of the headstrong general's World War II days. Though it lacks the poetic grandeur of epics like "Lawrence of Arabia" or "How the West Was Won," "Patton" nonetheless operates on a big scale, and Scott's larger-than-life portrayal is never obscured by the production's legions of soldiers or frequent changes of scenery. The script, co-written by Francis Ford Coppola, stays focused on the professional aspects of Patton's life--his devotion to duty, command, and career--and wisely avoids bogging down with diversions into romance or family life. Some might find such an approach imbalanced, but most viewers will likely enjoy the "purity" of what is, for lack of a better term, a satisfying "guy's story." Look for Karl Malden in a great supporting role as Omar Bradley, and enjoy Jerry Goldsmith's bombastic score, rivaled only by John Williams' Indiana Jones overtures. Still, "Patton" is not without faults. Military buffs may bemoan some technical inaccuracies, such as using tanks that don't fit the historical period; at times, the characterizations devolve into caricature, especially that of British General Montgomery; and some of Patton's borderline psychotic behavior--his various rages and obsessions with dreams and reincarnation--seem too easily dismissed as colorful idiosyncracies. The DVD itself is rather bare for a film that received many Oscars, perhaps the biggest flaw of all.

GREATEST WAR FILM EVER MADE
In 1970, two films juxtaposed each other. "Patton" was an unlikely winner of eight Oscars. The pacifist Scott for all practical purposes took his Buck Turgidson character and refined him into the real-life Patton. In interviews, Scott said he found his research of Patton revealed an unbalanced man, but on screen Scott nailed him as the vainglorious, brilliant, driven warmonger he was. Steiger was offered the role first but turned it down because it glorified war. Vietnam was absolutely at its apex. It was very surprising that Hollywood would make such a film at that time. But director Frankin Schaffner had served under Patton, and after making "The Planet of the Apes" had the clout to call his shots. The film did not get America behind the war, but it did cause Nixon to start bombing Cambodia because the Patton story convinced him to get tough. The screenwriter, oddly enough, was Francis Ford Coppola, who may have done himself a turn. Coppola was no war lover, and wrote "Patton" as a man obsessed with war ("God help me, I love it so"), deluded by visions of Napoleonic grandeur mixed with Episcopalian Christianity and karmic reincarnation. The intent may have been to show a psychotic military man, to de-mask his heroism, and this may have been what prompted Scott to play it. From page to screen there are virtually no changes, but if Coppola was trying to put down the military by showing Patton's human warts, the result was a brilliant work that now is one of, if not the most, conservative pictures ever made. Watching "Patton" stirs wonderful pride in two countries (Great Britain is prominent in the film) that were tough enough to stand up to the Nazis when the rest of the world cowered in victimhood. Karl Malden's Omar Bradley is Patton's perfect foil, as is the Bernard Law Montgomery character. The film saved Coppola, who was about to be fired as "The Godfather" director. When he won the Oscar for "Patton", it gave him too much clout to get the axe.

(...)

WORTH SEEING JUST FOR THE OPENING SPEECH
In this post-9/11 world everyone should see this film if only to see and hear the famous speech Patton gave to his troops, opening the film. He starts out by saying that no one ever won a war by dying for his country. One wins a war by getting the guy on the other side to die for HIS (other) country. The Islamic terrorist plaguing the world today all say they want to die. Patton would say that he is glad to oblige them.

Just a warning, don't expect to learn anything about the conduct of the Second World War from this film. It is first and formost a character study of Patton, the man, and I can't praise George C. Scott enough for his stupendous performance. It is rare in history that an actor adapts so well to the role he is playing. ... Read more

Amazon.com

Charlton Heston seemed fond of starring in apocalyptic science-fiction films in the late 1960s and early '70s. There was Planet of the Apes, of course, and The Omega Man. But there was also 1973's Soylent Green, a strange detective film (based on Harry Harrison's Make Room! Make Room!) set in 2022 and starring Heston as a Manhattan cop trying to solve a murder in the overpopulated, overheated city. His roommate (a necessity in the overcrowded metropolis), played by Edward G. Robinson, tries telling him about a better time on Earth before there were no more resources or room left; but Heston doesn't care. Directed by Richard Fleischer (The Vikings), the film has a curious but largely successful mix of mystery and bleak futuristic vision, somewhat like Blade Runner but without the extraordinary art direction. This was Robinson's last film and he's easily the best thing about it; his final scene seems terribly appropriate in retrospect. Joseph Cotten makes an appearance as the man whose murder results in the revelation of a shocking secret. --Tom Keogh ... Read more

Reviews (97)

3 1/2 stars for sharply written and directed sf classic
THe 70's were a strange time for science fiction films. There were a number of minor classics (Westworld, the absurd and pretentious Zardoz, Logan's Run) and major space operas (Star Wars)that dominated the scene. While none of these films were perfect, Soylent Green was one of the outstanding efforts from the era. Although it's a flawed minor masterpiece, the strong performances from Heston, Robinson, Leigh Taylor-Young and Chuck Conners help the film continue to shine. All the actors benefit from the assured direction of veteran Richard Fleischer. The film was produced during one of MGM's bleakest periods and, in turn, has a rather bleak out look about the future.

Set nearly twenty years from now, humanity has used up most of our resources and spoiled the planet. There isn't enough to eat and there's even less space to live in; the cities are crowded with street people everywhere. The middle class is virtually extinct and only the wealthy have lives approaching the comfort to which we've become accustomed.

A executive with a major food corporation is murdered. The company produces a variety of pre-processed foods that are popular among the general population. Fresh fruit and foods are almost as extinct as many of the species that have disappeared from our overburdened, overdeveloped planet. Charleton Heston plays Detective Thorn who is investigating the murder. In the process, his life is threatened and he comes into major conflict with the police force about his methods. What Heston's character discovers about the food maker could unravel the fabric of the comfortable society that runs the world.

Soylent Green is based on Harry Harrison's fine novel Make Room, Make Room!. The adaption incorporates a lot of common themes from films during the 70's particularly the issue of the ecology. That isn't to say this film is obsessed with issues. While there are a number of importance observations, all of them are well integrated into this sharply written science fiction murder mystery. The direction by Richard Fleischer (Fantastic Voyage, 20,000 Leages Under the Sea, Treasure Island)isn't as stylized as one would expect but he does manage to get the most out of the material. The director's commentary is often wry and observant--a rarity now on most DVDs.

This was Edward G. Robinson's last film and his 101st. A talented, popular actor often misused by Hollywood, Robinson gives a startling fresh and powerful performance as Heston's roommate and assistant Sol. His final scene in the film is both powerful and gives Heston's character the faith to carry on his investigation. The dinner scene between Heston and Robinson (which was ad libbed) is terrific and much of the dialog and banter between the two actors is both funny and touching.

The DVD looks terrific particularly after all the poor prints that have circulated on television. Yes, there's analog artifacts but this is probably about as pristine a print as were likely to see. The transfer is vivid and well balanced. The sound is fairly strong given the fact that this was pre-THX and stereo. The DVD includes a couple of short featurettes about Heston and the making of the film. Robinson also gets due notice. A vintage theatrical trailer is also included.

Soylent Green's importance in science fiction cannot be underestimated. There were a number of bad films produced after 2001 and Planet of the Apes (including many of the sequels to the original Apes film)that had cheapened the luster these two fine films had temporarily given to science fiction. Soylent Green is a somber, powerful film. It's also an entertaining mystery. After this the genre would fall back into decline (although there were a few highlights) until the success of Star Wars in 1977. Thoughtful, impactful science fiction films were rare during the 70's. Although Soylent Green hasn't aged as well as one would expect, it's intent and the power of the performances, script and direction still make it a potent look into the future.

'Soylent Green' still nourishing after all this time!
If there was ever such a thing as 'sci-fi-noir', this is it. This wonderful, pessimistic, science fiction flick works as a cautionary tale, an action-mystery and a love story to boot. Charlton Heston fans will love it! It's 'Taylor-made' for the big guy (pardon the 'apes' pun). Heston excells at playing the cynical, tough yet decent sort; here a cop who's trying to unearth a cover-up reaching into the very top of government and industry. The movie is paced well and allows us to experience the gritty, sooty, reality of an exhausted, failing industrial society in the all too near future. The story line is supported by wonderful supporting performances by notable actors like Leigh Taylor-Young, Brock Peters, Chuck Connors, Joseph Cotten, and the great Edward G. Robinson, in what I believe is his last move. Unlike some 70's science fiction movies, the premise of 'Soylent Green' has not proved dated. It's as frightening and riviting today as it was when it was filmed nearly three decades ago. It's also poignant. The scene where Sol Roth (Edward G. Robinson) weeps out of sadness as the delighted Thorn (Heston) tasts the first real food he's ever eaten, is pristine, pure, gut-level story telling. Thorn's ultimate abandonment of his love interest, (Leigh-Taylor Young) to her unhappy fate is in keeping with the film's hard edge. Ultimately Thorn and Roth uncover a secret best left hidden. This movie never flinches. It's not as well known as Heston's other science fiction classic, 'Planet of the Apes' but 'Soylent Green' is great entertainment and perhaps the most underrated science fiction movie of the 1970's!

"Sorry We Went" Green
My wife and I saw this film in his initial theater release, expecting a good couple of hours entertainment, because of our faith in Charlton Heston. Bad move! Though it did depict rather well a bleak Malthusian future, its focus was entirely on efforts to obtain the wondrous Soylent Green as food, since it was so much superior to the other 2 colors. Alas, as soon as we had guessed the "shocking" source of the Green, there was nothing more to this one-trick-pony of a movie.

A nightmare every time closer
In 2022 the population's growth may reach eight billions people So the awful warning call given by Aldous Huxley ( A new visit for a brave new world) , George Orwell (Animal's farm or 1984) will suppose several restrictions about the free circulation vehicles and also an estimated amount of liters of water by each one of us.
This film is a very clever scifi story about a overcrowded world, where the reduced free spaces of the world we know actually , may be more narrow.
The story holds a deep reflection about the effects of a claustrophobic world, the lack of certain benefits you assumed almost naturally till now.
This movie shows us about a reality not so far. This work was the last appearance of Edward G. Robinson; thanks to Heston efforts for including him in that role. The last sequence in which you watch the ancient world like it was; it depicts a bucolic landscape; and the Pastoral Symphony works out perfectly with this goal. You may feel it something tearful, but the remarkable point is the hidden message. Still we are on time to avoid it. But who'll take this dangerous flag?
This film was released just one year after since Roma's club establihment, in 1972. In that age I had the opportunity of reading that fundamental work of Barry Commoner titled The circle that it closes.Watch for this one. Because with these raising reflections about the enviroment concern around the world made it possible, by instance, avoid to throw several hazardous weapons over Vietnam, whose direct and collateral effects had not studied enough. Chernobyl was just only fourteen years before and Long island twelve years.
Only with this long introduction you'll be capable of understand why this film,together with Farenheit 451, Capricorn one, The Omega man, Zardoz, The planet of the apes , 2001 and Solaris were made between 1967 and 1972. We are taking about movies of film makers so distant in style and view directorial as Kubrick , Tarkovski, Truffaut, Schafner ,Hyams and Boorman, but surrounded by that cloudy atmosphere who involved the world in those days.
A must for you to watch. It will let you thinking for a long, long time.

An Underrated SF Thriller
I just rediscovered this classic movie on DVD recently. It is an extraordinary and haunting film with a powerful message. The performance by Edward G. Robinson is moving, and it's almost obligatory to say that Charles Heston chews up the scenery (as usual).

Some of the reviewers here have bemoaned the fact that there are so many 70s-type vehicles in the world of Soylent Green, which detracts from its setting in the year 2022. Nothing could be further from the truth. I remember watching this film in 1973 and was very conscious of that fact that it was projecting what NYC might look like 49 years from then. Why so? Read on.

Not to state the obvious, but this is a film about a dystopian future. The planet is overpopulated and running out of resources. All of the major oil fields on earth have passed peak production (our experts tell us that the last major fields in Saudi Arabia and Iraq will reach peak production in just a few years from now). Most of the automobiles are old and broken down. Infrastructure is decaying. Even in 2004, here and now, you can see this process beginning. In many parts of the city where I live, people are driving vehicles manufactured from the 1960s, 1970s, and 1980s. Things are run down. People are working harder and making less money. Richard Fleischer's vision of the future is brilliant and spot on.

So what about the cheesy 70s background music, you say? All I can say is that by 2022 there might very well be a 70s renaissance, because by then people will have realized how good things were in the 1970s. Look at us in 2004, we're still playing Beatles music, and it is quite likely that the music industry will dramatically change or won't even exist by 2022.

And finally, to underscore the scope and brilliance of this film, just do some investigative research into today's Monsanto Corporation and see if you can't find an overwhelming parallel with the Soylent Corporation depicted in the film, whose aim was to control the world's food supply.

And who knows, by the year 2022, food processing and Chicken McNuggets will be so pervasive that NOBODY will know where their food really comes from. What a chilling thought.

I wish that every person on this planet owned this DVD. It's not just a great Heston film, or a brilliant science fiction thriller, it's an important film for all of mankind...because it's still not too late.

p.s. the amazing quality and sharpness of the images in this film are astounding. This is the film that I saw in 1973. All other versions have been muddy and dark. Another outstanding transfer!! ... Read more

Reviews (13)

LIFEGUARD
If you consider yourself a movie fan then Lifeguard is a must see. Sam Elliot's performance as Lifeguard Rick Carlson is vintage Elliot. This performance, and his perfect performance in Mask as Garr, make Elliot one of the best actors in the past 30 years. It takes place on the beaches of LA so Elliot is tan and in the best physical shape of his career. Elliot battles the pressures of the working world, while juggling several women. It has the beach, a great love story, and of course Elliot. So if you even somewhat like movies Lifeguard is for you!

THE RIGHT MAN FOR THE JOB
The story goes that Daniel Petrie was having problems casting the lead role in his new movie, "Lifeguard." His wife had recently seen "Frogs" and she suggested that he take a look at a young actor in that movie named Sam Elliott. Bless Mrs. Petrie! Sam Elliott is so right for his role in "Lifeguard" that it's difficult to imagine the movie without him. In fact, though he's done some good work since then, nothing in Sam Elliott's career quite matches his performance here though, unfortunately, the movie didn't attract much notice when it was released back in 1975. Perhaps the audience which might have appreciated it was discouraged by an ad campaign which made "Lifeguard" look a bit like those "Beach Blanket Bingo" movies.

Actually, "Lifeguard" is a thoughtful study of a man who's happy in a job which others consider beneath him. At one point he's tempted to change his life in order to conform to others' expectations, but by the end of the movie he's decided to be his own man and to follow a course which satisfies him. This philosophy has echoes of the "do-your-own-thing" mood of the 1960's but it's presented here in a quieter, more mature form.

Still A Satisfying View!
I just took this movie off the shelf and viewed it again after a few years. The message still rings true and the storyline is still poignant and real. Sam Elliott is great in this movie as are the supporting actors. The beach scenes are fantastic and the "to thine own self be true" theme resonates long after the movie is over. I only wish the writers would have resolved Rick's relationship with his old high school flame. But I guess we can all imagine our own view of the ending. Buy it!

much better in original format
this movie is one of my favorite movies. but why did they change the original song to just plain music. the original song at the beginning and end of this film went much better with the movie then the song they have now. i wan't to get this on dvd with the original song please thank you.

A CLASSIC!
This movie was a very good film indeed.Watch sam elliot star as a man in his early 30's going thru an early mid-life crisis,trying to decide whether he should finally "so called" grow up and get a real job or stay at a job he truly loves.This film really moved me and i am truly happy of how this movie ended!Buy this video while you still can. ... Read more

Reviews (155)

Great Entertainment, but . . .
George C. Scott's portrayal of General George S. Patton is outstanding in capturing the essense of the man; so much so that one thinks of Scott when considering the historic Patton! Scott's deep voice better fits the profane and volcanic nature of the General, who was "blessed" with a high and squeaky voice! A classic war film that provides great entertainment with each viewing. That said, I must take exception with a reviewer who lauded the film's accuracy. It is anything but historically accurate. The overall timeline is correct, but anyone who has read a book on Patton (especially the "Patton Papers") will spot the dramatic license taken by the Hollywood producers. Just to name a few: Patton knew that he would command Third Army before he left the Mediteranean for England. In the film, he wasn't told until after D-Day! Another: the entire exchange between Patton and Montgomery in Messina was fabricated; as was the competition between the two for Messina. This said, "Patton" remains one of my favorite movies, and I recommend it to anyone. Just have that book ready on the coffee table (also available from Amazon!)

Not the best war movie, but great character study
It may be treasonous to suggest that Patton is a flawed WW2 movie, although it is leaps and bounds the best character study ever developed inside a war movie. Not for nothing was this Nixon's favorite flick. George C. Scott justly deserved an Oscar for his portrayal of the hugely idiosyncratic Patton. I was 14 when I first saw it, and it was a real eye-opener for someone who (growing up in the military) thought all Army generals were bland smiley Eisenhower clones.

Scott's Patton is sensational, and manipulates the audience into a genuine love-hate relationship with the man. He was a tyrant, but soft-skinned. He was a brilliant tactician who was respected above all others by the Germans. He was also a mean, petty, competitive SOB who could waste soldier's lives to feed his ego, and with primitive political sensibilities - kind of an American Arik Sharon.

Flaws? Well... the movie certainly blitzes through WW2 history. Near the end of the film, the flim shows Patton's troopers rescuing the surrounded 101st Airborne at Bastogne (December 1944), and suddenly, it's May 1945. This skips over perhaps Patton's worst moment, when in 1945 he ordered a small task force to penetrate far behind German lines to attempt a rescue of his son-in law languishing in a POW camp (he was captured during the Kassarine Pass battles). The mission was a dramatic and costly failure.

I did have problems with the other significant generals portrayed in the movie. Montgomery was pompous, but he did pull the British through in North Africa. In Patton, he has few redeeming features. Karl Maulden's Omar Bradley is just too nice for a four-star general - probably because the real Bradley served as a technical consultant for the movie, which must have stirred interesting emotions in the man. The real Bradley experienced a real love-hate relationship with the flashy, tempermental Patton.

The biggest flaw in Patton is technical. Like the earlier film, "Battle of the Bulge", American tankers drive 1950's tanks (Chafees?), and the Germans get bigger American tanks. (In unlikely movies like Kelly's Heroes, they used real Shermans). This is way before "Private Ryan", so the battle scenes are dramatic enough but do not have the punch of recent movies.

The real reason for "Patton" is the man, not the battles. In this, the movie surpasses "MacArthur" and similar biopics. And this definitely has the best music score of any war movie. So maybe it gets a "five" after all.

Decent Film/No Frills DVD
It's to the much-deserved credit of the underrated George C. Scott--simply brilliant here--and director Franklin Schaffner that the celebrated general of "Patton's" title comes across more the tragic hero and less the right-wing nutjob, especially considering that the film debuted in 1970. "Patton" is worth a look for that bit of storytelling finesse alone, but the film offers much more, effectively examining both the highs and lows of the headstrong general's World War II days. Though it lacks the poetic grandeur of epics like "Lawrence of Arabia" or "How the West Was Won," "Patton" nonetheless operates on a big scale, and Scott's larger-than-life portrayal is never obscured by the production's legions of soldiers or frequent changes of scenery. The script, co-written by Francis Ford Coppola, stays focused on the professional aspects of Patton's life--his devotion to duty, command, and career--and wisely avoids bogging down with diversions into romance or family life. Some might find such an approach imbalanced, but most viewers will likely enjoy the "purity" of what is, for lack of a better term, a satisfying "guy's story." Look for Karl Malden in a great supporting role as Omar Bradley, and enjoy Jerry Goldsmith's bombastic score, rivaled only by John Williams' Indiana Jones overtures. Still, "Patton" is not without faults. Military buffs may bemoan some technical inaccuracies, such as using tanks that don't fit the historical period; at times, the characterizations devolve into caricature, especially that of British General Montgomery; and some of Patton's borderline psychotic behavior--his various rages and obsessions with dreams and reincarnation--seem too easily dismissed as colorful idiosyncracies. The DVD itself is rather bare for a film that received many Oscars, perhaps the biggest flaw of all.

GREATEST WAR FILM EVER MADE
In 1970, two films juxtaposed each other. "Patton" was an unlikely winner of eight Oscars. The pacifist Scott for all practical purposes took his Buck Turgidson character and refined him into the real-life Patton. In interviews, Scott said he found his research of Patton revealed an unbalanced man, but on screen Scott nailed him as the vainglorious, brilliant, driven warmonger he was. Steiger was offered the role first but turned it down because it glorified war. Vietnam was absolutely at its apex. It was very surprising that Hollywood would make such a film at that time. But director Frankin Schaffner had served under Patton, and after making "The Planet of the Apes" had the clout to call his shots. The film did not get America behind the war, but it did cause Nixon to start bombing Cambodia because the Patton story convinced him to get tough. The screenwriter, oddly enough, was Francis Ford Coppola, who may have done himself a turn. Coppola was no war lover, and wrote "Patton" as a man obsessed with war ("God help me, I love it so"), deluded by visions of Napoleonic grandeur mixed with Episcopalian Christianity and karmic reincarnation. The intent may have been to show a psychotic military man, to de-mask his heroism, and this may have been what prompted Scott to play it. From page to screen there are virtually no changes, but if Coppola was trying to put down the military by showing Patton's human warts, the result was a brilliant work that now is one of, if not the most, conservative pictures ever made. Watching "Patton" stirs wonderful pride in two countries (Great Britain is prominent in the film) that were tough enough to stand up to the Nazis when the rest of the world cowered in victimhood. Karl Malden's Omar Bradley is Patton's perfect foil, as is the Bernard Law Montgomery character. The film saved Coppola, who was about to be fired as "The Godfather" director. When he won the Oscar for "Patton", it gave him too much clout to get the axe.

(...)

WORTH SEEING JUST FOR THE OPENING SPEECH
In this post-9/11 world everyone should see this film if only to see and hear the famous speech Patton gave to his troops, opening the film. He starts out by saying that no one ever won a war by dying for his country. One wins a war by getting the guy on the other side to die for HIS (other) country. The Islamic terrorist plaguing the world today all say they want to die. Patton would say that he is glad to oblige them.

Just a warning, don't expect to learn anything about the conduct of the Second World War from this film. It is first and formost a character study of Patton, the man, and I can't praise George C. Scott enough for his stupendous performance. It is rare in history that an actor adapts so well to the role he is playing. ... Read more

Reviews (12)

This is HOT!
This is one of my favorite soft core movies. I love the fact that Shannon ...the whole family. It's too bad the unrated versionis unavailable because the sex scenes are significantly longer and much more clean cut. There are a bunch of wide shots of the action that goes on between Shannon and he counterparts. My favorite scene is when Andrew Stevens's son peaks into Shannon's room.... This scene is very short in the R rated version. This is a great soft core movie, but the R rated version doesn't do it justice.

the absolute BEST work of Shannon Tweed!
Count your blessings if you are able to get a hold of the unrated
version!The rated version is still good,but alot of scenes get shortened.The way Shannon completey stupifies the virgin son in the family with raw,sexual temptation is a work of art.My favorite scene in the movie(and I have yet to see another Tweed movie with her doing anything even remotely close to this)is where she gets it from behind on the pool table.....that scene is extremely close to porn with all her grunts,groans and facial expressions.In short:BUY THIS VIDEO!!

One scene stands out
This movie would be an average erotic thriller just like any other, if it wasn't for one scene where Shannon Tweed has drugged the wife's cup of tea and after puttting her to bed, proceeds to seduce her, invoking an involuntary response from her victim, in the most erotic scene that I have ever seen in a mainstream movie.
This scene alone warrants buying the movie!

Pool table dreams!
This is a sexy movie. Shannon Tweed looks gorgeos and those twins of hers are so fine. The scene with her bent over the pool table is one of the hottest r-rated scenes i have seen. He is pulling her hips and her hair while she moans and grimaces as he pounds away.

This is the Best Tweed, R or otherwise. The lad is lucky.
This is the best Tweed movie I've seen. While Sensual Response, available in UR is a bit more revealing, the Scorned plot is better and Shanon's acting skills show too. ... Nothing hidden.

Tweed's hubby is hoping to be promoted. He arrives at work that day and finds out otherwise. Destroyed, he kills himself. Shannon finds out who the guy was who beat her husband out. She must get revenge at any cost and begins.

Learning about the creep, somehow Tweed gets to be close friends with him, wife and virgin teen son. She learns
all their moves. At same time, she deflowers the lad and falls
for his youthful staying power. Toward the end, the creep figures out who is haunting him. There are a few last scenes.

This has more sensualism than her others, a good plot and all-round excellent acting. One nude of Shannon is worth 100,000
others. So, don't count. The R version is already getting scare. W/in a year, barring a re-issue ... For Tweed fans and admirers of sensual beauty,
this is the best. Thrilling, chilling deception too. Dr. K. ... Read more

Reviews (97)

3 1/2 stars for sharply written and directed sf classic
THe 70's were a strange time for science fiction films. There were a number of minor classics (Westworld, the absurd and pretentious Zardoz, Logan's Run) and major space operas (Star Wars)that dominated the scene. While none of these films were perfect, Soylent Green was one of the outstanding efforts from the era. Although it's a flawed minor masterpiece, the strong performances from Heston, Robinson, Leigh Taylor-Young and Chuck Conners help the film continue to shine. All the actors benefit from the assured direction of veteran Richard Fleischer. The film was produced during one of MGM's bleakest periods and, in turn, has a rather bleak out look about the future.

Set nearly twenty years from now, humanity has used up most of our resources and spoiled the planet. There isn't enough to eat and there's even less space to live in; the cities are crowded with street people everywhere. The middle class is virtually extinct and only the wealthy have lives approaching the comfort to which we've become accustomed.

A executive with a major food corporation is murdered. The company produces a variety of pre-processed foods that are popular among the general population. Fresh fruit and foods are almost as extinct as many of the species that have disappeared from our overburdened, overdeveloped planet. Charleton Heston plays Detective Thorn who is investigating the murder. In the process, his life is threatened and he comes into major conflict with the police force about his methods. What Heston's character discovers about the food maker could unravel the fabric of the comfortable society that runs the world.

Soylent Green is based on Harry Harrison's fine novel Make Room, Make Room!. The adaption incorporates a lot of common themes from films during the 70's particularly the issue of the ecology. That isn't to say this film is obsessed with issues. While there are a number of importance observations, all of them are well integrated into this sharply written science fiction murder mystery. The direction by Richard Fleischer (Fantastic Voyage, 20,000 Leages Under the Sea, Treasure Island)isn't as stylized as one would expect but he does manage to get the most out of the material. The director's commentary is often wry and observant--a rarity now on most DVDs.

This was Edward G. Robinson's last film and his 101st. A talented, popular actor often misused by Hollywood, Robinson gives a startling fresh and powerful performance as Heston's roommate and assistant Sol. His final scene in the film is both powerful and gives Heston's character the faith to carry on his investigation. The dinner scene between Heston and Robinson (which was ad libbed) is terrific and much of the dialog and banter between the two actors is both funny and touching.

The DVD looks terrific particularly after all the poor prints that have circulated on television. Yes, there's analog artifacts but this is probably about as pristine a print as were likely to see. The transfer is vivid and well balanced. The sound is fairly strong given the fact that this was pre-THX and stereo. The DVD includes a couple of short featurettes about Heston and the making of the film. Robinson also gets due notice. A vintage theatrical trailer is also included.

Soylent Green's importance in science fiction cannot be underestimated. There were a number of bad films produced after 2001 and Planet of the Apes (including many of the sequels to the original Apes film)that had cheapened the luster these two fine films had temporarily given to science fiction. Soylent Green is a somber, powerful film. It's also an entertaining mystery. After this the genre would fall back into decline (although there were a few highlights) until the success of Star Wars in 1977. Thoughtful, impactful science fiction films were rare during the 70's. Although Soylent Green hasn't aged as well as one would expect, it's intent and the power of the performances, script and direction still make it a potent look into the future.

'Soylent Green' still nourishing after all this time!
If there was ever such a thing as 'sci-fi-noir', this is it. This wonderful, pessimistic, science fiction flick works as a cautionary tale, an action-mystery and a love story to boot. Charlton Heston fans will love it! It's 'Taylor-made' for the big guy (pardon the 'apes' pun). Heston excells at playing the cynical, tough yet decent sort; here a cop who's trying to unearth a cover-up reaching into the very top of government and industry. The movie is paced well and allows us to experience the gritty, sooty, reality of an exhausted, failing industrial society in the all too near future. The story line is supported by wonderful supporting performances by notable actors like Leigh Taylor-Young, Brock Peters, Chuck Connors, Joseph Cotten, and the great Edward G. Robinson, in what I believe is his last move. Unlike some 70's science fiction movies, the premise of 'Soylent Green' has not proved dated. It's as frightening and riviting today as it was when it was filmed nearly three decades ago. It's also poignant. The scene where Sol Roth (Edward G. Robinson) weeps out of sadness as the delighted Thorn (Heston) tasts the first real food he's ever eaten, is pristine, pure, gut-level story telling. Thorn's ultimate abandonment of his love interest, (Leigh-Taylor Young) to her unhappy fate is in keeping with the film's hard edge. Ultimately Thorn and Roth uncover a secret best left hidden. This movie never flinches. It's not as well known as Heston's other science fiction classic, 'Planet of the Apes' but 'Soylent Green' is great entertainment and perhaps the most underrated science fiction movie of the 1970's!

"Sorry We Went" Green
My wife and I saw this film in his initial theater release, expecting a good couple of hours entertainment, because of our faith in Charlton Heston. Bad move! Though it did depict rather well a bleak Malthusian future, its focus was entirely on efforts to obtain the wondrous Soylent Green as food, since it was so much superior to the other 2 colors. Alas, as soon as we had guessed the "shocking" source of the Green, there was nothing more to this one-trick-pony of a movie.

A nightmare every time closer
In 2022 the population's growth may reach eight billions people So the awful warning call given by Aldous Huxley ( A new visit for a brave new world) , George Orwell (Animal's farm or 1984) will suppose several restrictions about the free circulation vehicles and also an estimated amount of liters of water by each one of us.
This film is a very clever scifi story about a overcrowded world, where the reduced free spaces of the world we know actually , may be more narrow.
The story holds a deep reflection about the effects of a claustrophobic world, the lack of certain benefits you assumed almost naturally till now.
This movie shows us about a reality not so far. This work was the last appearance of Edward G. Robinson; thanks to Heston efforts for including him in that role. The last sequence in which you watch the ancient world like it was; it depicts a bucolic landscape; and the Pastoral Symphony works out perfectly with this goal. You may feel it something tearful, but the remarkable point is the hidden message. Still we are on time to avoid it. But who'll take this dangerous flag?
This film was released just one year after since Roma's club establihment, in 1972. In that age I had the opportunity of reading that fundamental work of Barry Commoner titled The circle that it closes.Watch for this one. Because with these raising reflections about the enviroment concern around the world made it possible, by instance, avoid to throw several hazardous weapons over Vietnam, whose direct and collateral effects had not studied enough. Chernobyl was just only fourteen years before and Long island twelve years.
Only with this long introduction you'll be capable of understand why this film,together with Farenheit 451, Capricorn one, The Omega man, Zardoz, The planet of the apes , 2001 and Solaris were made between 1967 and 1972. We are taking about movies of film makers so distant in style and view directorial as Kubrick , Tarkovski, Truffaut, Schafner ,Hyams and Boorman, but surrounded by that cloudy atmosphere who involved the world in those days.
A must for you to watch. It will let you thinking for a long, long time.

An Underrated SF Thriller
I just rediscovered this classic movie on DVD recently. It is an extraordinary and haunting film with a powerful message. The performance by Edward G. Robinson is moving, and it's almost obligatory to say that Charles Heston chews up the scenery (as usual).

Some of the reviewers here have bemoaned the fact that there are so many 70s-type vehicles in the world of Soylent Green, which detracts from its setting in the year 2022. Nothing could be further from the truth. I remember watching this film in 1973 and was very conscious of that fact that it was projecting what NYC might look like 49 years from then. Why so? Read on.

Not to state the obvious, but this is a film about a dystopian future. The planet is overpopulated and running out of resources. All of the major oil fields on earth have passed peak production (our experts tell us that the last major fields in Saudi Arabia and Iraq will reach peak production in just a few years from now). Most of the automobiles are old and broken down. Infrastructure is decaying. Even in 2004, here and now, you can see this process beginning. In many parts of the city where I live, people are driving vehicles manufactured from the 1960s, 1970s, and 1980s. Things are run down. People are working harder and making less money. Richard Fleischer's vision of the future is brilliant and spot on.

So what about the cheesy 70s background music, you say? All I can say is that by 2022 there might very well be a 70s renaissance, because by then people will have realized how good things were in the 1970s. Look at us in 2004, we're still playing Beatles music, and it is quite likely that the music industry will dramatically change or won't even exist by 2022.

And finally, to underscore the scope and brilliance of this film, just do some investigative research into today's Monsanto Corporation and see if you can't find an overwhelming parallel with the Soylent Corporation depicted in the film, whose aim was to control the world's food supply.

And who knows, by the year 2022, food processing and Chicken McNuggets will be so pervasive that NOBODY will know where their food really comes from. What a chilling thought.

I wish that every person on this planet owned this DVD. It's not just a great Heston film, or a brilliant science fiction thriller, it's an important film for all of mankind...because it's still not too late.

p.s. the amazing quality and sharpness of the images in this film are astounding. This is the film that I saw in 1973. All other versions have been muddy and dark. Another outstanding transfer!! ... Read more

Reviews (11)

Pathetic Copy of the first movie
I really enjoyed The Skulls but was sorely dissapointed by the sequel. The movie is jumpy, there is no characterization, the plot developtment isn't there, and there is in general no suspense whatsover. Watch the original and forget the sequel.

Low Budget copy of the original
The "Skulls" premise, based on well-established rumors and reports about Yale University's Skull & Bones Order, is a useful basis for a suspense movie. The 1st film was solid and featured quality actors and direction. This sequel has none of the same cast and was straight to video. It basically repeats the same plot theme of the 1st movie. This movie tries to be more racy than the first yet has weaker drama and dialogue. It was disappointing - perhaps someone will make a film about the real "Skulls" which would be MUCH more dark and suspenseful than the fictional "Skulls."

Fantastic Idea, but Poor Plot
I don't know how Universal hurt a movie that had such a great idea, but couldn't produce it correctly. It is hard to screw up this story. You have a story about a secret society, one of the most powerful in the world, and instead of developing that plot, it looked as though this was a skit on Saturday Night Live making fun of the story itself. The acting was particularly poor and it was hard to have a strong level of empathy with any of the characters. Not one stands out. All the characters appear shady, dark, depressing, and yet, it is quite clear that not all of the characters deserved this trait. We didn't really learn that much about the secret society (other than it likes to keep secrets) and the school the students were attending. Where is it? Yale, I presume; but there is little discussion on what the students are like who aren't in the secret society. I think this movie could have been done much better.

Even worse than the first...
...and that's saying alot.

The movie goes nowhere fast. With a plot as transparent as cellophane and a solidly second-string cast (couldn't they afford ANYONE we have heard of), the movie wastes our time with some serious implausibilities spliced together with laughable dialogue and a downright silly ending.

Did the producers really think that this film covered any new territory that the first missed? It seems that both are based on the same book. Now, I don't plan on reading said book anytime soon, but it seems to me that when you make a sequel, you might want to have a few original ideas to make the vehicle interesting. Just a suggestion...

Skulls II
I loved the movie. It is a solid rental ... Read more

Reviews (1)

Very Good Political Movie
I saw this movie the other day and was dead into it. I guarentee that everyone interested in politics will enjoy this movie. ... Read more

Reviews (1)

Flawed Gem
Leonard Maltin says in his review that Scott's transition from peaceful rancher to killer is unconvincing and, in part, I agree. The first violent encounter seems abrupt and jarring. But. The reasons for the transformation are convincing and the set-up is, unlike most modern movies, at least logical. The rage thus engendered is portrayed with convincing implacability. In most of his performances, George C. Scott has more than a touch of rage just under the surface; in this film, he lets it out. The primary flaw, as I see it, is that although the plot line itself is more or less plausible, somehow the supporting actor roles are not convincing, and that I would guess is due more to Scott's directing debut than the actors themselves. Nonetheless, it is a muted but powerful portrayal of a father's searing rage and the look on Scott's face as he scorches down the road on a motorcycle is one that is hard to forget. If this is one of your favorite actors, this is an important film. ... Read more

Reviews (1)

This movie kicks great!!!
This movie is a very fun and exciting. The cast doesen't really take itself seriously. Its more for youngsters, but everyone should love this flick! ... Read more

Reviews (12)

This is HOT!
This is one of my favorite soft core movies. I love the fact that Shannon ...the whole family. It's too bad the unrated versionis unavailable because the sex scenes are significantly longer and much more clean cut. There are a bunch of wide shots of the action that goes on between Shannon and he counterparts. My favorite scene is when Andrew Stevens's son peaks into Shannon's room.... This scene is very short in the R rated version. This is a great soft core movie, but the R rated version doesn't do it justice.

the absolute BEST work of Shannon Tweed!
Count your blessings if you are able to get a hold of the unrated
version!The rated version is still good,but alot of scenes get shortened.The way Shannon completey stupifies the virgin son in the family with raw,sexual temptation is a work of art.My favorite scene in the movie(and I have yet to see another Tweed movie with her doing anything even remotely close to this)is where she gets it from behind on the pool table.....that scene is extremely close to porn with all her grunts,groans and facial expressions.In short:BUY THIS VIDEO!!

One scene stands out
This movie would be an average erotic thriller just like any other, if it wasn't for one scene where Shannon Tweed has drugged the wife's cup of tea and after puttting her to bed, proceeds to seduce her, invoking an involuntary response from her victim, in the most erotic scene that I have ever seen in a mainstream movie.
This scene alone warrants buying the movie!

Pool table dreams!
This is a sexy movie. Shannon Tweed looks gorgeos and those twins of hers are so fine. The scene with her bent over the pool table is one of the hottest r-rated scenes i have seen. He is pulling her hips and her hair while she moans and grimaces as he pounds away.

This is the Best Tweed, R or otherwise. The lad is lucky.
This is the best Tweed movie I've seen. While Sensual Response, available in UR is a bit more revealing, the Scorned plot is better and Shanon's acting skills show too. ... Nothing hidden.

Tweed's hubby is hoping to be promoted. He arrives at work that day and finds out otherwise. Destroyed, he kills himself. Shannon finds out who the guy was who beat her husband out. She must get revenge at any cost and begins.

Learning about the creep, somehow Tweed gets to be close friends with him, wife and virgin teen son. She learns
all their moves. At same time, she deflowers the lad and falls
for his youthful staying power. Toward the end, the creep figures out who is haunting him. There are a few last scenes.

This has more sensualism than her others, a good plot and all-round excellent acting. One nude of Shannon is worth 100,000
others. So, don't count. The R version is already getting scare. W/in a year, barring a re-issue ... For Tweed fans and admirers of sensual beauty,
this is the best. Thrilling, chilling deception too. Dr. K. ... Read more

Reviews (1)

Enlightening and Inspirational for Woman
This movie, although, the title is kind of funky, is actually quite enlightening, interesting and fun to watch and inspirational to woman who may find themselves in this position. I thought the story laid out really well, the acting was excellent and the moral of the story strong and important. I've seen it several times and it is still interesting to watch again. Highly recommend it! ... Read more

Reviews (4)

Interesting sci-fi attempt...
After an Earth-destroying threat endangers the planet, Mankind builds a gigantic Earthship Ark spacecraft to save the best of humanity. Different populations and cultures inhabit individual habitat domes on the Ark (think, "Silent Running"), and when an accident damages the Ark and kills the crew, the domes are sealed off from the rest of the ship. As the centuries pass, each culture evolves in an enclosed society, each a world unto itself that is fifty miles in diameter. One such dome is an Amish-like agrarian society called Cypress Corners.

There are so many good ideas evident in this series, that it really is a shame the execution of the individual episodes is so poor. First off, the names Ellison and Trumbull mean nothing. Both Ellison and Trumbull abandoned the series before it ever aired, as they were both so disappointed with the results. Originally intended to be 24 episodes (if not multiple seasons), the show only lasted a mere 16.

Keir Dullea (in his biggest screen credit since "2001"), is very good as a 19th Century farmer-type, reacting with an apporpriate sense of wonder throughout the first episode, as he leaves the safety of the Cypress Corners habitat and discovers the futuristic systems aboard the Ark. Dullea, Robin Ward, and Gay Rowan as the regular cast each play their parts with such a sense of conviction that they are instantly believable, despite the oversights in writing and production.

In this first installment in the five-tape "quintology", we are treated to two early episodes of the series (#1 and #3, respectively). While the regulars are good, the real winner here is the performance turned in by John Colicos (better known as Baltar from "Battlestar Galactica"). His performance completely outshines the rest of the cast (with the possible exception of Barry Morse), and you get a real sense of an actor who doesn't just collect a paycheck and phone in a performance; in other words, a professional. In fact, I'd go so far as to say that his guest turn is one of the few highlights of the series as a whole.

Personally, the shot-on-video look of the series does not bother me. "Doctor Who", "Star Cops", and "Moonbase 3", not to mention "Red Dwarf" were all shot at one time or another on videotape, and although film is always better, it's usually the acting and writing that carries these British shows. "The Starlost" was made in Canada, and I suspect that the production staff simply did not have the experience with video to be found across the pond at the BBC.

Truthfully, the effects are very, very poor. But while the worst of "Doctor Who" puts "The Starlost" to shame in the effects department, I found the sets pretty interesting. Obviously low-budget affairs, the set designs are still better than I think most folks give the show credit for. I hate to think what they could have achieved with just a few more bucks!

I still like the ideas for the show, despite the low budget. I suspect that fans of British sci-fi like me will probably be able to appreciate "The Starlost" more than others.

Perhaps a remake, with a few more dollars behind it, would help expunge the bad reputation of this oft-maligned attempt to create an intellegent science fiction program.

Classic bad Sci-fi
In the year 2790 A.D., a giant Ark, drifts through deep space, out of control, its crew having been killed five-hundred years earlier. When the accident that killed the crew occurred, the airlocks connecting the ship's domes that housed the last survivors of the dead planet, Earth, were sealed. Cut off from the outside world,: many communities simply forgot that they were on a spacecraft. They accepted that their world was fifty miles in diameter and the sky was metal. Content with their lot, no one knew that their world was in grave danger. Without a crew at the helm, the Ark was on a collision course with a sun.
Another short-lived SF series that probably looked exceedingly good on paper, but lost something in the translation to video. The only survivors of a ravage Earth roam the galaxy in their spaceship looking for a home. What they find, however, is alien menace and alleged adventure week after week. Harlan Ellison (along with Ben Bova) created the show, then aborted the mission upon seeing its maturation

Beginning

With Barry Morse (Space:1999) and John Colicos (Star Trek, Battlestar Galactica)

A secret passageway in EARTHSHIP ARK leads a group of explorers into an unknown area of the vessel: a world inhabited by ancient warriors from an all-male society--with a passion for female specimens.

(Compiled from Episodes #1 Voyage of Discovery & #3 The Goddess Calabra)

Oddball timepiece from the 70's
This show didn't enjoy a long television run and most people haven't seen it. However, there has been quite a lot written about it because Harlan Ellison has tried to shift the blame for this turkey on everyone involved except himself. He ought to take his lumps like everybody else; in spite of some glimmers of intelligence in the pilot, this series is pretty bad. The premise is lifted directly from the novel "Non-Stop" by Brian Aldiss: a gigantic spacecraft, designed for interstellar travel over a number of generations, goes off course, and its inhabitants can't fix the problem because they are initially unaware they are on a spaceship. The protagonist is Devon, a member of an Amish community preserved in one section of the spaceship. We are to learn there are many different micro-societies hidden throughout the ship. This offers a lot of dramatic possibilities week-to-week, but the show didn't live up to its potential. The only interesting thing about the show was the character of Devon himself. As an Amish man (even a non-conformist one) he is honest, forthright, dependable and -- at some of the most crucial moments -- incredibly trusting and naive. Even the most transparently malevolent character could earn Devon's complete trust by telling him an obviously bogus and self-serving story. "The Starlost" is an oddment from the 70's. You might get a kick out of it -- but why not read "Non-Stop" instead?

Get lost with The Starlost!
This cult classic / rarely seen Caadian television opus is now avaliable on video. This tape contains the two episodes of the series.

First up is "Voyage of Discovery" - by Cordwainer Bird AKA Harlan Ellison. The pilot for this series was written by the popular fantasy author. Not only did he write the show he created the concept. at least until it went from a big budget show filmed in Hollywood to a low budget show videotaped in Canada.

In the pilot we are introduced to a society of farmers living off the land in Cypress Corners. Cypress Corners happens to be inside a dome on a giant spaceship, but our main characters do not know that yet. Right away we meet Devon (a bit of a questioning rebel) who is not in favor with the elders of the community. he is deeply in love with Rachel. Unfortunately she is to be married to Garth, a local blacksmith with a promising future. Devon eventualy find out they are living in a sealed off dome, one of many aboard a jiant space ship. Later he and Rachel flee into the fast interior of the spaceship. They are pursued and then joined by Garth. the embark on a quest to save the Earthsip Ark as the bridge crew have been killed in an accident and the Ark is drifting out of control towards a star. Keir Dullea, best known for his role in 2001, was cast in the leading role.

"The Goddess Calabra" by Martin Lager (From a Story by Ursula K. Le Guin) Finds out heroes in a strangely Romanesque society inhabited only by men. Rachel does not fit in all that well but she happens to look just like the image of thier goddess! Great fun and some interesting revelations about the ark and the posibility of our three heroes ever being able to repair it.

This episode features John Colicos the actor who played Baltar on Battelstar Galactica and Bary Morrse the actor who played the scientist in the first season of Space: 1999.

Unlike most movie compilations of recent years the Starlost has not been hacked and slashed together to try to make it look like a movie. So what you get are the two episodes back to back minus the nice credit sequences. ... Read more

Reviews (1)

Classic bad Sci-fi
In the year 2790 A.D., a giant Ark, drifts through deep space, out of control, its crew having been killed five-hundred years earlier. When the accident that killed the crew occurred, the airlocks connecting the ship's domes that housed the last survivors of the dead planet, Earth, were sealed. Cut off from the outside world,: many communities simply forgot that they were on a spacecraft. They accepted that their world was fifty miles in diameter and the sky was metal. Content with their lot, no one knew that their world was in grave danger. Without a crew at the helm, the Ark was on a collision course with a sun.
Another short-lived SF series that probably looked exceedingly good on paper, but lost something in the translation to video. The only survivors of a ravage Earth roam the galaxy in their spaceship looking for a home. What they find, however, is alien menace and alleged adventure week after week. Harlan Ellison (along with Ben Bova) created the show, then aborted the mission upon seeing its maturation

Invasion

A deranged space commander plots a wicked plan to take control of EARTHSHIP ARK. By using computerized implants, he has shrewdly gained mind control over every scientist on the space ship!

(Compiled from episodes #11 The Astro Medics & #12 The Implant People) ... Read more

Reviews (2)

Post-Trek, pre-B5 Walter Koenig on 70s Canadian Sci-Fi TV
This videotape edits together what are arguably the best two episodes from a notoriously bad early-70s Canadian Science Fiction TV series produced by CTV called "The Starlost".

Although the series ran for only one year, its episodes were replayed frequently on Canadian TV for years afterwards as an easy way for stations to help fulfill our government's Canadian content quotas. Thus it was with a kind of twisted nostalgia for the (bad old) early days of Canadian Sci-Fi TV that I purchased this tape.

The series was actually ghostwritten by Sci-Fi great Harlan Ellison, and has become quite the embarrassment for him. It stars Keir Dullea of "2001: A Space Odyssey" fame as Devon, as well as Robin Ward (--who Canadian viewers will recognize as currently working as a weatherman on Canada's "Weather Network"!) as the stoic blacksmith Garth.

The premise of the series is that Devon and Garth, along with female companion Rachel, who have been raised in a conservative agrarian community resembling the Mennonites, one day stumble upon a doorway and discover that their "world" is actually part of an immense spaceship. It turns out that many communities had been loaded onto the ship to evacuate them from some imminent disaster, each in their own "dome" (which bear an uncanny resemblance to the domes in the then-recent film "Silent Running"). But somewhere along the way, an accident had permanently sealed the domes off from each other and had also killed the ship's piloting crew, sending it dangerously off course and heading for a sun. Now untold years after the accident, driven out of their community as blasphemers, Devon, Garth and Rachel travel from dome to dome trying to find someone who can set the ship back on course.

Thus it is in the course of their travels down the deserted ship's corridors that they meet up with Mr. Walter Koenig as the enigmatic alien Oro. --Is he friend or is he foe? Watch it and find out!

Oro originally showed up in Episode 7, and was later brought back for a sequel episode in Episode 13 of the series. This tape edits both together into one long "movie", and not having the other episodes in between kind of diminishes the original impact that Oro's reappearance for a sequel had.

I was also very disappointed that the makers of this tape have edited out the series' original classic opening narration sequence and theme music, which I dearly loved, and have replaced it with some generic muzak. WHY???

In closing, I would recommend this tape to all fans of cheesy and just plain BAD Sci-Fi. Terrible, plodding pacing, wooden acting, low-tech sets, and best of all Mr. Chekhov! How can you resist?

Classic bad Sci-fi
In the year 2790 A.D., a giant Ark, drifts through deep space, out of control, its crew having been killed five-hundred years earlier. When the accident that killed the crew occurred, the airlocks connecting the ship's domes that housed the last survivors of the dead planet, Earth, were sealed. Cut off from the outside world,: many communities simply forgot that they were on a spacecraft. They accepted that their world was fifty miles in diameter and the sky was metal. Content with their lot, no one knew that their world was in grave danger. Without a crew at the helm, the Ark was on a collision course with a sun.
Another short-lived SF series that probably looked exceedingly good on paper, but lost something in the translation to video. The only survivors of a ravage Earth roam the galaxy in their spaceship looking for a home. What they find, however, is alien menace and alleged adventure week after week. Harlan Ellison (along with Ben Bova) created the show, then aborted the mission upon seeing its maturation

Alien Oro

With B5/Star Trek's Walter Koenig

A spaceship collides with EARTHSHIP ARK, resulting in heavy damage to both ships. But it's only the beginning of an alien ruse to sabotage the huge vessel and use it to return home.

(Compiled from episodes #7 The Alien Oro & #13 The Return of Oro) ... Read more