Description

The Doctor and Leela discover a horrible truth behind the Fendahl, a legendary creature from The Doctor's childhood fairy tales. ... Read more

Reviews (11)

"How do you kill death itself?"
Could a 12 million year old human skull be the key to how humans evolved? "Image of the Fendahl" is a great horror story. The pace and execution of this story is very different from a lot of Who stories, it has the feel of an "X-Files" episode. "Image..." also contains some extreme violence(extreme for the Graham Williams eara). Max shooting Stahlman in the head is quite chilling. It's got sort of a pedestrian pace, and a little padding here and there, but never lets you down.

Thea, Thea, Thea... Poor Thea.
Of all the characters in this story, the only one I felt sympathy for was the doomed Thea Ransome (Wanda Ventham.) An intelligent woman who is used by arcane powers to serve as the host for some malignant alien being. She falls into trances, the first unseen, the second broken by her "friend" Adam Colby. When Thea collapses in front of Adam and the Doctor and is bathed in a halo with a bizarre vision of embryonic aliens, the Doctor recommends that her brain be X-rayed. While he is dismissed as crazy by Fendleman and carried off, Adam dosen't say a bloody word. HOW could he not report a spectacle so bizarre to his colleagues? Dare anyone suggest it slipped his mind? "You must think my head zips up the back," he exclaims not long after. Well Adam, if the shoe fits...

It's made abundantly clear that Thea is the focal point for the entire unfolding drama, but the other characters fail to notice that fact. It's clearly not due to ignorance, it's likely due to stupidity (or bad writing.) The Doctor bumbles about after breaking free and makes no attempt to track down Thea. Fendleman and Adam rabbit on about mutation and pentagrams - in front of our hapless heroine - and not ONCE does Adam say to Fendleman: "Y'know I saw this shimmering halo around Thea and some freaky Lovecraftian beasties crawling around her! Maybe we should stop the experiments!" Rather, he blurts out the Doctor's recommendation about X-Rays without mentioning the extraordinary reason WHY. Thea, perhaps tiring of her colleague's roundabout blather and lack of concern for her peculiar condition, ups and leaves. It never occurs to Adam to keep an eye on his tormented friend.
Searching for the Hero of the Series in an attempt to save her comely ass, she instead falls into the clutches of the villain, Maxmillian Stael. Drugged and bound, she is dragged into the basement of the manor by Max. Soon after her two doofus colleagues are bound and dragged there as well. Fendelman suddenly blurts out nonsense about him being used, Max being used and Adam being used. No mention of the ultimate sacrifice lying supine before them.
An arcane ritual is conducted which transforms Thea into what looks like a radiant Hellenic Goddess (appropriate that her name means "Goddess" in Greek!) Sadly, this devil in disguise has totally erased or submerged the hostess' personality. She starts turning the participants in the ritual into the wormlike creatures that writhed over Thea's body... the Doctor manages to save idiot Adam and destroy the Fendahl Hostess and her worm flunkies by imploding them into Lovecraftsville. The only eulogy for Thea is the look of distraught loneliness on her/the Hostess' face before she's slurped out of existence. Adam mourns her loss by "sticking on the kettle" for a bunch rustic bumpkins who were peripheral to the story (and had WAY too much screen time.) The Doctor and his sidekick Leela share some dumb bell wisecracks that would be appropriate for ANY other "Doctor Who" episode except this one.
"Image of the Fendahl," in more creative hands, would have been a cool occult episode complete with Thea as the Heroine-in-distress. (Leela's no heroine, she's a comic relief.) Sadly, the script writer ignored the strengths of the story and as a result, the episode imploded.
Before anyone drones out the catch-all excuse for a muddled teleplay, "C'mon man, it's just a shooooo-oooooooow," do me a favor: Stow it. George Lucas uses that excuse for his bad prequels, the Trek franchise uses it for everything done after "The Wrath of Khan," and it's getting old.

try two and a half?
One review here states that Tom Baker's Golden Age ran for about four years. The Golden Age as some fans call it was that produced by Philip Hinchcliffe and it started with Ark in Space, Baker's second story in a seaosn which was also cut short, (there was only Ark, the two part Sontaran Experiment and Genesis of the Daleks to get excited about before the terrible Revenge of the Cybermen and ran until the end of Baker's third season. Deadly Assassin was about mid way through his third season. While it contained classics like Genesis, Pyramids of Mars, Deadly Assassin, Robots of Death and the Talons of Weng Chiang, it also suffered from some dross. Either side of Pyramids of Mars were major dissapointments, Planet of Evil and Android Invasion. Then there was the boring Masque of Mandragora and the terrible Hand of Fear and Face of Evil.
This story comes in Baker's fourth season, when the Golden Age was over and a new producer was at the helm. It's actually more entertaining than some of those dreary Golden Age stories, it is a Hell of a lot more fun than Mandragora or the silly Brain of Morbius. The Quatermass and the Pit rip-off plot about the origins of man is well used and there are amusing characters. But while the humor is good, it seems to detract from the suspense. The whole thing has a cool, gothic look and great atmosphere and overall, I like it better than some of the Golden Age stuff, which is overrated in my view.
It's quite memorable and I enjoy rewatching it, which says something and I really like things like the old lady who says to her Grandson, while helping battle the forces of evil, "There's gonna come a day when I'll be too old for this sorta thing!"
I've been rewatching my Tom Bakers recently and while he is the most alien of Doctors and very good in the role, and most of his stories are eminently watchable, I do not feel overly attached to him. I felt that the accessibility and sympathetic nature of Doctors like Pertwee and Davison made them more involving on a human/emotional level and brought out the suspense and drama, as it seemed possible that they could lose. Tom Baker breezes through situations like he's Superman! Pertwee's first season, and the Peter Davison era are my idea of the real "Golden Ages" of Dr.Who. But Tom's still pretty cool. Come to think of it, all of Dr.Who is pretty good really. In this time of CGI animation overkill to the point of boring us all stupid, Dr.Who is enjoyably character-driven and focused on dialog and performaces. So, I'd recommend this story, just like I'd recommend most Dr.Who stories.

A story on how man might fundamentally view himself
The story starts out with the examination of a skull found in the volcanic sediment in Kenya. Thea Ransome's potassium-argon test shows the volcanic sediment to be 12 million years old, but Dr. Adam Colby cannot accept the evolutionary implication of the skull: "What I don't accept is that Eustace here got himself buried under a volcano at least eight millions years before he could have possibly existed." The two and Maximilien Stael are colleagues of Dr. Fendelman, a scientific genius who made it big in electronics and who is using a sonic time scanner on the skull. His discoveries could fundamentally affect how man views himelf.

Their experiments with the scanner plays havoc with the TARDIS, which is drawn to the grounds near Fetch Priory, where the team is based. The Doctor and Leela not only become involved with the happenings there, including a mysterious death, but with Jack Tyler and his elderly grandmother, who has precognitive powers. She and many of the villagers of Fetchborough believe in the old ways of superstition and magic. Logic has no place in her life but more human nature. "When most people believe what's said, that make it true." Jack says "Most people believed the earth was flat when it were round." She counters with, "Ah, but they behaved as if it were flat," emphasizing the word "behaved".

What Dr. Fendelman is unwittingly tampering with involves a creature from the Doctor's own mythology that began when a planet between Mars and Jupiter exploded. Unless the Doctor can stop them from messing with dangerous things, the population of Earth will go down from 4 billion people to 1 person.

There's a great deal of horror/suspense in this story, from the hiker walking in the forest at night, the eerie churning sound when the skull begins to glow, and the air of crisis described by Colby at one point. "The phone is cut off, the place is surrounded by guards, we are beset by a wandering lunatic, we have a pair of corpses on our hands, and on top of all that, the telephone seems to be very dead. We are trapped."

Tom Baker is at his usual goofiness. He asks a bunch of cows upon landing, "Which one of you has the time scanner?" Another time, they are hiding outside the Priory and espy a guard and a dog.

Leela: I shall kill him.
Doctor: No.
Leela: Why not?
Doctor: You'll upset the dog.

He also offers a jellybaby to the skull and even goes "Alas, poor skull" a la Hamlet. Here, Leela sports a lighter tan outfit that shows more cleavage and has her hair, of a more reddish tint, in a bun. "Don't worry, Doctor. I shall protect you." she says and does.

What really struck me about Wanda Ventham (Thea) was that rigid, stone-faced look of someone being possessed. It's very reminiscent of Elizabeth Sladen's reaction on feeling her soul leaving her body in the Who story Planet Of Evil. She has a stab at doing Dr. McCoy: "I'm a technician, not a human paleontologist." And this is one of Denis Lill's greatest TV moments as the misguided but persistent Fendelman, someone who is a passionate adventurer in unlocking mysteries of human evolution. Daphne Heard is quite a character as the superstitious, headstrong, but also kind Ma Tyler. The dialogue between her and her grandson show an argumentative but loving relationship.

Goofs: The Doctor mentions two victims, naming one of them, even though he hasn't been told the name. Another is a scene in Episode 2, when he is locked in a cupboard. The sonic screwdriver doesn't work, yet later, the lock outside is heard unlocking and the door swings open. Who let him out?

A mixture of science and the occult, this is the closest Dr. Who got to the horror genre.

An acquired taste??
This is a rare below-average outing from Tom Baker's "Golden Period" as the doctor, which ran from his first appearance in "Robot" to his stand-alone turn in "The Deadly Assassin"; a run which I believe covered about four seasons or so. "Image" is not actually a bad episode -- it has a creepy horror-movie atmosphere (especially at the beginning), a good sense of humor, and some strong performances by the guest actors and by Louise Jameson -- but it is hampered by plot holes, a not-too-terribly convincing monster, and a not-too-terribly credible ending. As with several of the weaker outings on this show, you get a sense watching it that it could have been a strong, solid episode if somebody had bothered writing a second (or third) draft. Plot holes are not necessarily fatal if everything else works in the story, but in this case, not everything else does.

The story has the Doctor investigating a "rift" in time which is eminating from that same rural English country mansion that seems to appear in about half the show's episodes. Turns out a team of scientists led by an obsessed millionaire genius are responsible; for reasons never adequately explained, they are scanning time following the discovery of a human skull which predates the appearance of humans on earth by about 11 1/2 million years. Of course, they are messing with something better left alone, and it turns out that the skull is actually the power source of a thought-to-be-extinct race of monsters called the Fendahl. The Fendahl are snake-like creatures who feed off death itself: the Time Lords destroyed them millions of years before because they represented a perversion of evolution. It turns out that one of the scientists is actually a member of a witch coven who believe the skull is their way to power, and between the (more or less) well-intentioned efforts of the scientists and the meddling of the witches, the Fendahl emerge from the endangered list to endanger our heroes and everybody else on the planet.

If the plot sounds a bit overdrawn, it is. The logical gaps are annoying, and the Fendahl don't work very well as villains, because in addition to looking like spray-painted foam flowers or badly rendered Chinatown dragons, there there isn't really a human villain in this episode for the Doctor to spar with, or even talk to. The female scientist turned into the Image of Fendahl doesn't have any dialogue, and spends most of the last episode striking somewhat silly poses and turning people into snakes. That skull is indeed creepy, but a glowing skull can't carry a whole episode. We are told it is indestructable ("The Fendahl is death. How do you kill death?") and then at the end, the Doc breezily tosses it into a supernova to kill it. Why not spare yourself the contradiction and toss it into a black hole instead?

Okay, that last criticism is nerdly in the extreme. A cheap shot. On the plus side, "Fendahl" does do a good job of combining horror with humor, it gives the enjoyable guest stars a lot of screen time, and is one of the episodes which plays up the combative-yet-affectionate relationship between the Doc and Leela with good effect. His largely unsuccessful attempts to civilize her are some of the finest moments in the series.

"Fendahl" has problems which are hardly unique to this episode.
It's just in this case, those problems slightly outweigh the things that work. Not an episode I would recommend except to harder-core fans, but still worthy of a place in the collection. ... Read more

Reviews (3)

A GARBO MILESTONE.
The once highly esteemed script-writer, Frances Marion, faithfully followed the text of the famous Eugene O'Neil play which starred Blanche Sweet on Broadway in the early twenties. Bette Davis, who was a devout "Garbomaniac" (as Garbo fans were called in the thirties), once stated about Garbo's acting: "What Garbo did on the screen was sheer witchcraft... I cannot analyze this woman's acting". In her first sound film, after what seems an eternity, Garbo finally comes into view, weary and cynical, she says to the bartender: "Gif me a viskey - chinger ale on the side. And don't be stingy, baby!". Her voice was blissfully right on target! This 1930 antique is very talky and reminds one of a silent movie with dialogue. If it were not so well-acted, it would be very tiresome indeed. Garbo's voice was noted as being in strange and beautiful accord with the Garbo personality of the silent pictures. Garbo had, more than than any other actress on the screen in the early thirties, the ability to emit the power of suggestion, and, in infinite degrees, expose the isolated mysteriousness of the human soul. Charles Bickford does quite well as the Irish seaman, and as the the old waterfront hag, Marthy Owens, Marie Dressler put an infinite amount of detail in her excellent (albeit a bit hammy) characterization; Garbo was so impressed by Dressler's performance that she personally brought a bouquet of chrysanthemums to Dressler's home in appreciation. On both the stage and screen, George Marion seemed destined to be old Chris; his remarks about "Dat old davil sea" has made audiences laugh for over 70 years.

German with English subtitles version is better!
Of the two versions I saw, I preferred the German version with English subtitles. Garbo's performance as well as that of the supporting cast was more inspired. I will keep looking for that version before I buy!

Much more than 'Garbo Talks!'
Eugene O'Neill's play was here adapted to the silver screen, and to Garbo. The plot is dated, and this being 1930 the sound's quality is not entirely mastered. But there are the characters, the actors, the gloom and doom of early Depression. And, of course, this also very much Garbo's film. Unlike many past(and following) roles she's no femme fatale here. Anna's character is the strongest in the film, not so much dominating the males (boyfriend, father) but being manlier more mature and more independent than either will ever be. She might survive without them. It's doubtful if they could have achieved the same.

And that's pretty much where Garbo stands in relation to this film. She's the one that breathes life into it, and whenever she's off camera only Marie Dressler's drunken-lucid banter keep the interest. Still, undoubtedly a classic. Minus Garbo this would be a 3 stars... ... Read more

Description

Screen chronicle based on actual 1917 events outside Fatima, Portugal, where three shepherd children report visions of the Virgin Mary and confront anticlerical government oppression in the process. ... Read more

Reviews (19)

Beautiful. So Beautiful
A magnificent depiction of one of the most wonderful and important events in history. The movie is entertaining, to be sure (Gilbert Roland is a hoot), but it's much more than that -- it's inspiring. The story of Our Lady of Fatima (as detailed in William Walsh's book, as well as in this excellent film) speaks eloquently of the Beauty and Glory of the Queen of Heaven. How can we not, how dare we not, heed her message and her request -- and her warning? The Blessed Mother does not look kindly on being displeased. Recall Our Lady's reaction when told by Saint Catherine Laboure that the delay in striking the Miraculous Medal was a result of Father Aladel's scepticism. Said Our Lady: "Never mind. He is my servant, and would fear to displease me."

The Anti-Communist Virgin Mary
My dad told me that he first saw this movie on TV in November 1963, on KHJ (now KCAL) channel 9 in Los Angeles, the Sunday that John Kennedy was buried. There had been so much televised and rerun that weekend about JFK, the murder of Oswald and the funeral, that channel 9 thought it would show this movie about the Miracle of Fatima which had not been shown on TV before that night, out of what they said was historical interest (and not forgetting that JFK was Catholic), but was really just to take a break from all the intensity of the weekend. So it has a special meaning to him. I found it interesting and even appealing, but not the great movie that "Song of Bernardette" was.

The film itself is a product of its time, don't you think? I read a book that said that Jack Warner, the head of Warner Bros. studios had made a movie sympathetic to the Communists during WW2 when they were our allies. Just a few years later, during the McCarthy Communist witch-hunting era, Warner was being accused of having Communist sympathies because he made that film. So, just to get Congress off his back, he made this movie because of the eerie prophecy made by the Virgin Mary in 1917, before the Russian Revolution, "In Russia there is an evil scheme to destroy the peace of the earth..." This seemed to be a way to show that Heaven was on the side of America. I read the review here that says that Fatima is a hoax. But this prophecy came out of left field. There was no way any peasant in Fatima could have known about Lenin's plans back then. Explain that, okay?

The (fictitious) character of Hugo (Gilbert Roland) is a welcome breath of fresh air in contrast to Susan Whitney's breathless, prayerful attitude. Yes, she was way to old to play Lucia but, despite the other reviewer here who thinks it is part of racist attitudes to show a green-eyed girl playing a Portugese, this girl was under contract to the studio and she was "available". And Susan's heavy, unplucked eyebrows make up for her green eyes. It is a shame that there are still witch hunters looking for evil where none existed. Jack Warner was known to be tight with a dollar and if he had a girl close enough to the type, why waste money finding someone else?

Hugo is a necessary "Everyman", who starts off as a roguish agnostic and is convinced of the reality of God by show's end. He is as real as any other literary creation such as Jonah, or even Adam and Eve, to show the effects of God's grace.

The movie is simple and straightforward telling its story with few embellishes. I also found Richard Hale as the parish priest very powerful in his acting, striking a false note only when he, too, is converted to belief and starts distributing signs of the cross to the crowds during the dance of the sun.

There are many incidents in the Fatima story left out because they would detract from the basic story - 3 children against the vile Socialist establishment that would rob people of God. I know the story could be better told, but this will do as an introduction.

Be warned! As a special effect, "The "Dance of the Sun" is not very well done, even with the movie technology of the early 1950s. Unhappily, the sun does not "dance" -it just zooms to earth. The effect is just the sun in a lens being enlarged. You can see the clouds through it as it gets bigger.

But don't be afraid to see this movie, even if you're not Catholic and don't know anything about the Virgin's appartions at Fatima. This movie will acquaint you with the basics.

The Miracle of Our Lady of Fatima . dvd !!!
Please put this movie , The Miracle of our Lady of Fatima , on DVD. in Full Screen , Wide Screen . This is the most needed movie today in our times. Please amazon.com , can you send a message to Warner Bros.Pictures.Inc and put this request in for the people.I Hope There is Someone There at amazon.com would look in to this matter . I can only say PLEASE !!!

A Good Movie!!
I have fond memories of when I was a little girl in the 70's probably about 7 or 8 years old watching The Miracle of Our Lady of Fatima on TV one Easter and being captivated by the story and just really liking the movie and years later when this movie was shown on one of those classic movie networks I taped it and even though the film and acting isn't quite as excellent as The Song of Bernadette (Which is also based on actual accounts about a young girl seeing visions of The Virgin Mary) I still think The Miracle of Our Lady of Fatima is good and I would like for it to be put on DVD!

The Miracle of Our Lady of Fatima
I have viewed this film many times & at one time had a copy of the film of which I loaned & never had it returned to me. After a long search I finally found it again & will never let it out of my hands again. I'll look at it often over & over.
I have reviewed some of the comments that are favorable & those not so favorable for one reason or another. All I can say is this is BEAUTIFUL & should be seen on TV more often than it is. There are many movies shown on TV that are an insult & give nothing to our intelligence & growth. Believe it or not there are still many who are unaware of the Miracle at Fatima in 1917. The message is crutial to our times. Our Lady needs to be better known if there is to be PEACE!!!! Lucia, the oldest seer is still living & reaffirms the events in Fatima. Francisco & Jacinta are deceased & have been declared Saints. With regard to the quality of acting, I also found this to be very good. Even if it were not, it would not distracted me from the message the film had to offer. I hope to buy more of this film in the future & distribute them as gifts. ... Read more

Reviews (109)

Death and a masterpiece
After ten years in the crusades, Antonius Block (Max von Sydow) returns to his homeland with his squire (Gunner Bjornstrand) to find it is blackened with plague. Upon his return he is faced with a meeting with Death and the realization of his ultimate fate. The clever knight prolonges his destiny by challenging Death to a game of chess. Through the film Antonius strives to find the meaning of life and the existence of God. The story is joined by several other intriguing characters played by many of the familier Bergman Actors and Actresses.
Truely a masterpiece by Swedish director Ingmar Bergman. This film displays the true soul of man and his ignorance and acceptance of his existance. I was particularly marveled by the contrast between the beliefs of the knight and the squire. Whenever Antonius' search for faith became too ambitous, his squire always levels him with reality. Through the charcters of the film, Bergman shows us the living fabric of man's contradicting natures and ambiguous answers to life. As an avid film viewer I strongly recommend this film to serious movie spectators. This DVD is truely a treat as all the films in the Criterion Collection. The transfers are considerably noteworthy. If you have already seen this film and found that it was enjoyable, check out other Bergman films or look into some of the other Criterion titles.

A Compelling, if Somewhat Dated, Classic of Existentialism
I recently watched the Criterion edition release of this film, The Seventh Seal, with some friends. Although the film's techniques -- innovative and startling in 1957 -- are somewhat cliche today, the film still packs a powerful message, which is that although we cannot know if God exists, it is still possible for us to perform meaningful acts in the time allotted to us.

The story focuses on the story of a Swedish knight, Antonius Block, returning to Sweden from the Crusades -- played by the ageless Max von Sydow. The knight and his squire, Jons, are on the way home through a land ravaged by the Black Plague. On a lonely beach, the knight encounters Death, played with admirable restraint, and a good dose of dry humor, by Bengt Ekerot. Before Death claims Block's life, the knight challenges him to a game of chess -- if Block wins, he goes free; otherwise, when the game is over, Death will come for him. In that Death is busy, the game is renewed throughout the movie.

The movie also focuses on a troupe of actors who are traveling along the same road as the knight. Block knows that Death plans to come for the young actor and his family, and by prolonging his game with Death and thereby distracting him, he enables the young family to escape.

The movie, although obviously shot with a very small production budget and featuring a very minimalist approach (it could well be a stage play), is haunting -- one thinks about the movie's simple lessons for days afterward.

The film has often been parodied -- by Woody Allen in Love and Death, or in the recent "Bill and Ted's Bogus Journey" where Death is forced to play games such as Twister and Battleship with the film's heroes -- but it is still well worth watching.

The Criterion edition features both a Swedish and English-dubbed soundtrack, as well as a commentary track from a noted film critic.

An amazing and thought provoking movie.
This film is absolutely amazing. It is one of the few movies I watch more than once or twice.
It is an achievment in style. The film manages to look amazing by virtue of Bergman's skill with lighting and cinematography alone. Especially compared to the big budget, color Hollywood titles of the time (such as The Ten Commandments) which look plastic despite their "special effects" and use of color (this film is black & white).
The subject of the movie is man's search for the meaning of life and the question of whether or not God exists. The film is both thought-provoking and blunt in its presentation of this subject and the answers which Bergman provides are suprisingly blunt.
The DVD quality is great, as it always is with Criterion Collection DVDs, and Peter Cowie's commentary is particularly good.

However, I will admit that this film is not for everyone. It also seems to require (for me anyway) one to be in a certain "mood" to view it. If you want to simply be entertained then this is not a film for you, but if you want to view a skillfully directed and wonderfully thought-provoking (if a bit dated) film then go for it.

The silence of God!
Ingmar Berman(1918) established a challenging premise a chess mate between a knight from the Crusaders and the Death (Bengt Ekrot). If he wins, he'll live ; otherwise the Death will claim him . And this original duel happens after Sydow has left behind the misery, the plague and an unending war. He's deeply dissapointed with God and certainly he concludes that it doesn't exist.
This game will let exchange , scrutinize several ideas concerned with the faith , the silence of God and its own existence. God is a comfortable idea for the mankind ; it keeps them warmth , besides the man can dream with the hope of a celestial Paradise after this journey through this awful and miserable world. The ending sequence with the Dance of the Death is one of the most captivating and fascinating images in all the cinema story.
Many people state this is the Masterpiece : and obviously to me it's one of the three major achievements ; Persona and Cries and Whispers would be the rest .
But I've watched almost forty films of this brilliant swedish film maker and in his particular case ; a minor film from Bergman is above the average . So my advise is try to find out and watch all you can from this outstanding director.
This film won the Special Jury Prize 1957.
A timeless cult movie.

Absolutely Brilliant
A profound, affecting movie. Excellent dialogue and performances. Stark black and white cinematography. One of Bergman's greatest films. In fact, one of the greatest films of all time. ... Read more

Reviews (21)

The first and the best of Hammer's erotic vampire films
"The Vampire Lovers," directed by Roy Ward Baker in 1970, is the first in the Karnstein trilogy of Hammer films, all based quite loosely on Joseph Sheridan LeFanu's story "Carmilla." The Karnsteins are a clan of vampires, represented in this version by a bunch of scantily clad women. Ingrid Pitt stars as Carmilla, who also goes under the anagram names of Mircalla and Marcilla at various points in the story (yes, there is a story). The last of her clan, Carmilla is trying to rebuild, turning first to Laura (Pippa Steele), the daughter of General Spielsdorf (Peter Cushing) and then Emma (Madeleine Smith), the daughter of Roger Morton (George Cole). Along the way she turns Mademoiselle Perrodon (Kate O'Mara) into a sexual slave. In the great tradition of Dracula and most other vampire films, Laura dies before anyone recognizes the marks of the vampire and then the goal is to save poor Emma from the same fate.

There is a lot in "The Vampire Lovers" that never makes much sense. Who is the countess (Dawn Addams) who travels with Mircalla? What is up with the black-clad vampire (John Forbes Robertson) who keeps hanging around? Supposedly Mircalla is the last of her clan, but maybe not. Mircalla keeps saying she loves her victims, but they all end up dead, which certainly does not help out her clan much. In the end it is clear that Hammer, aided and abetted by American International in this instance, was making a flat-out lesbian vampire film. As such, I can honestly say that you are not going to find a better one out there. Ironically, "The Vampire Lovers" ends up being more erotic than the vast majority of films featuring heterosexual relationships between the undead and their victims.

ARE YOU A VAMPIRE LOVER?
Indeed, many fantasy mavens are vampire lovers themselves, and a lot of them got that way by being "bitten" by Hammer Studios' great vampire classics of the late 50s and early 60s, as exemplified by "Horror of Dracula" and "Brides of Dracula." Sexier and a little bloodier than previous Dracula films, Hammer's productions took the vampire movie to the next level. Unfortunately, the law of diminishing returns forced Hammer's competitors to up the ante themselves to compete, and Hammer recognized that if they wanted to keep their exalted place in horror's hierarchy they would have to raise the bar once more.

The result was "The Vampire Lovers," derived from J. Sheridan LeFanu's immortal short novel entitled "Carmilla." Actually preceding "Dracula" in the annals of vampire literature and even more respected by some, LeFanu's story seemed the perfect choice for Hammer to batten upon. The picturesque Styrian setting, the gothic trappings, and the tale's natural sexual subtext all seemed custom made for a splendid Hammer adaptation.

Unfortunately, Hammer's adaptation leaves much to be desired. Many love this movie because it so seamlessly blends vampirism and sex, but in fact there is nothing to the film at all besides nudity and bloodletting. The elegant narrative of LeFanu's original is reduced to a rather childish softcore exhibition of skin and blood. Granted, it seems rather tame compared to "From Dusk Til Dawn," but given its pedigree "The Vampire Lovers" should have been a classic on par with "Horror of Dracula," not the rather sorry T&A flick that is.

More's the pity because of an excellent cast, one of the best 70s Hammer would ever boast. Ingrid Pitt is an intelligent, alluring vampire seductress, albeit little resembling LeFanu's languid, frail Carmilla; Jon Finch (before his excellent performance in Roman Polanski's "Macbeth") is a rather vapid
stalwart hero; Pippa Steele is an attractive, innocent victim; and the great Peter Cushing shows up at the end as a vengeful General who could have been another Van Helsing but is never given a chance to do much of anything. These performers could have worked wonders with better action and dialogue; as it is, their considerable talents are virtually wasted (especially Cushing).

Sadly, "The Vampire Lovers" is a contribution of little value to vampire cinema. True, it made sure future vampire films would have an excuse to indulge in more and more sex and nudity, but that's hardly anything to brag about. Moreover, despite all the sexual shenanigans, the plot drags terribly and there's little real action or drama. The most exciting sequence comes at the very beginning and nothing else matches it the rest of the way. To top things off the script makes little sense, with several characters who seem to be of some importance just popping in and out a few times to no dramatic end whatsoever.

While "The Vampire Lovers" has its fans, its no classic and certainly not as good as some of its Hammer predecessors. It was a trendsetter--but in all the wrong ways.

Lavish, Beautifully Filmed Vampire Story From Hammer Studios
"The Vampire Lovers", one of the later Vampire efforts filmed by the famed Hammer Studios has always received its share of controversy from the fact that for once a female Vampire is prominently featured and the displays of nudity combined with its lesbian theme have not been to all viewers tastes. Directed with gusto by Roy Ward Baker, I believe it is an excellent effort full of lavish production values, rich colour and an exciting story that for once is not tied in with the Dracula Legend. It is obvious that a lot of care and attention was poured into this story and it is definately one of the finest of the later Hammer efforts.

Hammer Studios, long the reigning masters of the horror genre definately took a new updated tone with this production and allowed nudity and the previously not mentioned theme of lesbianism to be featured prominently. First and foremost it gave a classic role to Polish actress Ingrid Pitt who went on to appear in a number of other Hammer and Amicus productions. "The Vampire Lovers", is based on J S LeFanu's novel "Carmilla" and was the first of the "Karnstein Trilogy" which Hammer made and included "Lust for The Vampire " and the excellent "Twins Of Evil". "The Vampire Lovers",tells the story of vampire seductress Marcilla/Carmilla the last of her blood thirsty clan who at the beginning of the story is left by her "mother" the Countess (Dawn Addams) in the care of General von Spielsdorf (Peter Cushing in another of his dignified horror performances) after she is supposedly called away to the bedside of a dying friend. Soon after her stay begins with the General his daughter Laura begins to suffer from terrible nightmares which involve a monsterous cat that seemingly molests her. Suffering from a strange anemic condition Laura eventually dies after which Marcilla mysteriously disappears and moves on to the home of Laura's friend Emma Morton where a similiar situation is played out with the vampire having herself invited to stay at the home of Emma's father Sir Roger Morton. Once in residence "Carmilla" as she is now called sets her sights on the lovely young Emma and proceeds to begin to drain the blood and life out of the girl. Emma's governess Madame Peridot (Kate O'Mara in a very effective performance) is also put under Carmilla's spell with the use of a charmed brooch. Emma's friend Carl (Jon Finch) starts to suspect Carmilla of something devious and rides to the house to save Emma becoming involved in a deadly battle with Carmilla who after killing Madame Peridot retreats to her old former home, the ruined Castle Karnstein. Discovering that Carmilla is the last member of the vampiric Karnstein family General von Spielsdorf And Sir Roger pursue her to the Castle and she is eventually dispatched by the traditional means of a sharp stake driven through the heart. Her family portrait then ages before their eyes to indicate that she is now truly dead and her curse is now lifted.

Ingrid Pitt is superb as the totally evil Marcilla/Carmilla . She possesses the appropiate beauty and sense of mystery which is vital in portraying the seductive and evil villianess. Pitt went on to portray other similiar characters in the rarely seen "Countess Dracula", and the classic "The House That Dripped Blood". Her place as one of Hammer's most prominent female performers was sealed after this effort. Peter Cushing a long term performer in Hammer productions is his usual convincing self as the ardent General bent on revenge for the cold blooded murder of his daughter. No matter what the part Cushing always lent great value to any production he performed in. The cast in "The Vampire Lovers" is uniformily fine and the two young actresses who play Carmilla's main victims, Madeline Smith as Emma and Pippa Steel as Laura have the just right innocent qualities which make them believable as the victims. Hammer really spent big on this production and the film boasts beautiful on location photography, magical indoor settings, lavish costumes and tight editing.

To watch "The Vampire Lovers", is to see how far cinema had come since the time of Hammer's first vampire effort in the late 1950's the classic "Horror of Dracula", in so far as adult themes are now openly explored in this effort. The film indeed is a feast for the eyes and succeeds in never losing touch with the imporatant elements in any Vampire story, those being an exciting story, air of mystery and terror and performers who take their parts in it very seriously. I strongly recommend Hammer Studios "The Vampire Lovers", starring Ingrid Pitt and Peter Cushing to all horror buffs and lovers of intriguing vampire stories. Enjoy!

boring
I rented this because of the positive reviews, boy, was I disapointed! This film was boring, tedious, and did not make much sense. I found the female vampire to be unconvincing as a vampire and not suited to the role. Skip this film, there are better 1960's horror movies out there.

Scary!!!
They just don't make'em like this anymore! Forget the holes in the storyline that make bits and pieces of this film somewhat senseless. Just relish the overall beauty of the production, the lush musical score, and the wonderful and attractive group of actors that combine to make The Vampire Lovers one of the best of the Hammer flicks and vampire films in general. Quality of the print is excellent also. This review is based on the MGM VHS version. ... Read more

Reviews (46)

The House without A Christmas Tree
I was 13 when this movie first came out. It touched me deeply and still does. I noticed one reviewer said the filming was terrible. You have to understand that this was filmed inexpensively, in the 70's as a childrens special.It was based on the book by Gail Rock and so it was as though looking at the illustrations in a book. We didn't have all those fancy technical affects they have now. And, even if they did, that's not what the movie was about. It was about family, emotions, the simpler times. That's what touched us.It tugged at our emotions and our heart strings. We didn't need great technical affects to entertain us. And if the feeling isn't there when you view it. It never will be. So, if you're looking for fantastic special effects, this isn't the movie for you. There are plenty out there, devoid the emotions. If your looking for a movie,that will touch your inner self, then this is the movie for you. I also am pleased to have the video sequels "The Holiday Treasure" and "The Easter Promise". I only wish they'd make available on video. "Addie and the King Of Hearts". I'm hoping it can be done as there are many of us that would love to own it on video.

Gifts from the Heart
I'm another one who has waited a very long time for this nostalgic feature to be released to video. This film illustrates the true spirit of Christmas in a multi-act live drama/play form. It's not about the gifts that are bought, wrapped and boxed but rather the gifts of the spirit and the heart. It's a real tear jerker about a family and the power of Christmas gifts of love, compassion and understanding (remember those?) in a time of holiday grief. Excellent performances by Lisa Lucas, Mildred Natwick and Jason Robards as the "Grinchy", sour and emotionally distant father.

In additon to excellent acting and a heart warming story, this movie is also very well presented. There are some very artistic, yet simple visual transitions that separate each act as the narrator recounts her story of a Christmas so memorable. The painted pictures and real life image transitions creatively bring this story to life and also capture the memories for all generations to enjoy during the holiday season and all year round.

You will feel the empathic power of this holiday treasure.... and even more if you have ever lost someone you loved. If you have any Grinches in your family, this is the perfect gift.

A Warm, Televised, Childhood Memory!! I Love Gail Rock!!
This is a WONDERFUL movie...!! I remember this movie from my childhood. The watching of this movie was as much a part of our family traditions as was trimming the tree or waiting in our jammies (anxiously in bed), for Santa.

Ms. Rock has given us a tender (and sometimes bitter), look into a "yester-year" Christmas..one that was real, alive, simple and without all of the high-tech trappings of today.

It was a wish of mine that someday I would be able to watch this wonderful movie again and was THRILLED when I was able to purchase it...by the way, two other movies were released as well 1. The Holiday Treasure (purchased from Critic's Choice Video) 2. The Easter Promise (Look For Used Copies At Auction Sites Or You Can Try Critic's Choice Videos. The Holiday Treasure was originally named The Thanksgiving Treasure when it aired on television..this was Ms. Rock's title for the Thanksgiving offering. Another wonderful addition to the life of Addie (Gail Rock), Mills is a sweet offering titled Addie Mills And The King Of Hearts...This has never been released for consumer purchase....I wish it was!!

These stories are so warm and real....I am collecting the videos, the first-issue hardcovers and paperbacks of as many of the titles as I can find...I suggest that you do the same!!

Wonderful material for the entire family!! THANK YOU GAIL ROCK! WE LOVE YOU...AND ADDIE!!

A Place I love to go to
I have owned "A House Without A Christmas Tree" for several years and I watch it year around.I just watched it again.
I feel like I have gone back to my house, as a child. I was born in 35 and Addie was born in 36. Her home and school look much like mine did.
I liked the post war years and the simple Christmases that we had.
I have watched this with my grandchildren and they compare me with the grandmother and call me a smart old character.
I love everything about the movie. I love the home, the family, the Christmas season, but, my favorite part is the relationship that Addie has with her grandmother.
Who is narrating this movie?

A special place in my heart and on my video shelf
I was thrilled to get a copy of this video. It was filmed at a house across from my grade school. I remember we got to sit outside and watching filming...but our teacher told us we had to be as quiet as mice. We were. My school is also featured in the movie. I'll never forget the experience, or the movie. ... Read more

Description

The Master stows away on the Tardis as the Doctor embarks for Logopolis in search of a new Chamelon circuit. ... Read more

Reviews (30)

The Best
Logopolis is my second favorite Doctor Who episode. The Doctor decides to repair the TARDIS's chameleon circuit so the TARDIS will be able to change its shape again. He goes to the planet Logopolis but on the way he is chased by the watcher, a ghost figure. The Doctor is also being chased by the Master. The Master plans to take over Logopolis but his plan backfires and he and the Doctor half to team up to save Logopolis. The Doctor and the Master return to Earth, to the Pharos Tower to save Logpolis. But to put a long story short, The Master tricks the Doctor, and the Doctor falls from the Pharos Tower and hits the ground. The Watcher appears, and Adric, Nyssa and Tegan realize that the watcher is the Doctor's fifth body. This four part episode is Tom Baker's last episode in Doctor Who. The next episode is Castrovalva with Peter Davison as the new Doctor. This is a tape worth buying if you are a big Baker fan

Entropy increases
Contrary to the last reviewer, I cannot stop watching Logopolis! I'm already on my third viewing after buying it only a week ago. Tom Baker's final story as the Doctor was a very good one to go out on - it's a dark, ominous tale with good performances all round! Anthony Ainley makes his first full-fledged appearance as the Master (if you don't count his brief debut as the character in The Keeper of Traken), and he doesn't even laugh too often as he begins to do later in the series. Janet Fielding stumbles into the TARDIS as Tegan in a way reminiscent of Ian and Barbara in An Unearthly Child, the very first Dr. Who story - although it bothers me a bit that Tegan seems to accept the TARDIS's time travel abilities virtually without question. Tom Baker shows a great range of emotion, particularly when he must tell Tegan about the fate of her Aunt Vanessa. The closing scenes are good, giving us a final curtain call for not only the Fourth Doctor but also all of the companions of his era, and many of the enemies. And the incidental music maintains the story's ominous atmosphere admirably. Not one to be missed. The moment has been prepared for.

thank god he's finally gone!
I thought Baker would NEVER leave...his era is interminable, it just goes on and on and on and on....argh!
With this story, second in the brilliant Master trilogy (the first really deacent thing in Tom Baker's era in four years!!!)
we finally get rid of him. The story is so cool and does such a good job that we actually almost feel sad for a minute there, but its a massive releif when the sod fianlly pisses off once and for all so a good era can begin and the brilliant Peter Davison takes over. No more pulling faces, forced grins, bad puns, unfunny attempts at humor "Don't wana lose my arm, rather attached to it, so handy!" (yeah, right!) just a cool hero with real emotional depth and an occasional dangerous edge (shoots door open with flintlock and says "I never miss.."). And no more shouting at Leela and K-9 to "shut up" every five minutes to remind us that he has "authority". Yup, authority! "Leela, tell your friend to shut up!" "Leela, order K-9 to tell you to shut up" "No, shut up, K-9, listen... we'll finish that game of chess now." Yeah, I'm glad to see the back of him, good bye Thomas, don't let the door hit you in the ass on the way out! Peter Davsion has finally arrived, long live Peter Davsion, the real King of Dr.Who!

"'Standing on their heads', is an expression!"
OK, I've watched this episode a million times and love it! However, I still have a number of unanswered questions... Did "The Watcher" arrive in a third TARDIS that materialzed around the London Policebox, and simultaneously, the Master's TARDIS, causing the gravity bubble and an almost infinite regression of time machines? Or, was "The Watcher", simply a projection of the Doctor's future self? If the latter, was indeed the case, why did he look so freaky? OK, back to the infinite regression deal... How in the world could the Doctor enter into the last TARDIS and then be on the outside of the Policebox? Now, I could see, if the TARDIS he was in, dematerialized back around the original Policebox, subsequently, allowing the him to exit the main doors back to the outside. Some have speculated, the Doctor exited through another door, but that would've only brought him out the other side of the TARDIS Adric was standing outside of. And, even if that were possible, how could Adric possibly heard everything that was going on? Then, to top it all off, Adric goes inside the last TARDIS, leading him to the outside of the Policebox, where, upon re-entering with the Doctor, the last TARDIS has dematerialized and the Doctor's is there instead!! What the heck kind of circular reasoning is that?? But, as for the stuff I can fathom... I really like this episode, because it gives a peak at other areas of the TARDIS, such as the cloister room. I did, however, think the one in the 1996 Telemovie was way more cool! Of, course, being that they weren't on BBC's shoe-string budget helped out, I'm sure. So, I hope they release this one on dvd, with updated special effects. And, by that, I don't mean the McDonald's, soft, icecream effect in "The Five Doctors". C'mon guys, get real! We're in the 21st century, here! I hope, too, the audio will be remixed into 5.1!

Singing the Language of Numbers
Most regeneration stories are specifically meant to wrap up their era. It had to be in "The Caves of Androzani", for example, that we learn why Peter Davison wears celery on the lapel of his blazer. It's why we could only learn of the Doctor's origins in "The War Games". However, for my all-time favorite "Doctor Who" story, I make the argument that "Logopolis" worked just as well as the pilot for a new series of Tom Baker adventures.

If you had to isolate one image to explain "Doctor Who"'s fall from grace in the 1980s, it's Anthony Ainley. The final actor to play the Master on the BBC also held on to the role the longest, dragging his hammy character kicking and screaming alongside four different Doctors, until he was fat and possessed by the spirit of the Cheetah People. Although this may have been a fitting end for the character, some of us preferred Roger Delgado, all dignity and cigars.

In 1981, though, Anthony Ainley was magically new. In "The Keeper of Traken", he played the Doctor's friend, good guy Tremas, whose body was stolen by the decaying Geoffrey Beevers. A rejuvenated Master sneaks away into his TARDIS, chuckling, whispering, "A new body, at last. A new body. At last". That disembodied chuckle is all that remains, fading into the electronic scream of the end credits. More, please!

Director Peter Grimwade, who showed up with a zillion directorial flourishes, wisely kept the Master off-screen for more than half of Tom Baker's swan song. Menace is restored to the character for the first time, since, oh, "The Mind of Evil", because we can't see him, just hear him off-camera, as another character dies, shrunken to a corpse. Music composer Paddy Kingsland, the best there was in 26 years, punctuates the revelation of each doll-sized body with another mini-electronic scream.

When the Master finally does appear, in Part Three, we learn he's been working to a plan even since before Part One: follow the Doctor to Earth, leave deadly calling-cards, and then stow away on board to Logopolis to steal the Monitor's secrets for himself. But it's there the Master is beaten: for Logopolis is the keystone of the Universe, holding the moment of heat death at bay through sheer force of chanted numbers. And the Master's technological interference has caused the city to crumble to dust, unleashing an entropy field that will reduce the Universe to ash within hours. It's the Doctor's utterance that the Master is "mad... utterly mad" that finally convinces us this is the most dangerous Master we've seen in years.

But Ainley's not the only revelation in this story. There's Tom Baker. Just listen to his dialogue, especially in the early TARDIS scenes alone with Adric It's so dense, and delivered so rapid-fire, so naturally. We are now a million light years away from the Tom Baker who worked with Louise Jameson and Mary Tamm, trampling all over the script, clearly bored with proceedings. This Baker loves the script, giving the dialogue all sorts of inflections, loaning the Doctor a whole new scared dimension. "Nothing like this has ever happened before." It's something to say that a man could so compellingly reinvent the character in his final hour, when he could well have gone through the motions as if this were "The Power of Kroll".

The sense of newness is also borrowed from the supporting cast. Matthew Waterhouse, surprise of surprises, is compelling; witness his constant questioning of the Doctor in Parts One and Two. He even pulls an audience, getting thoroughly confused by the script: "We're going to measure Logopolis too?. When Tegan and then Nyssa arrive in Part Two, Adric starts to exhibit the bossy I'm-in-charge nature that made him so unbearable for most of Season 19, but one senses that Baker would have kept him in line. Even working with Janet Fielding, an actress he really didn't need to know at all, Baker planted the convincing seeds of a Doctor who really wanted to time-travel with this young flight attendant. It's a shame he never worked with either of them again.

And then there's the script. Chris Bidmead, with his emphasis on hard-sounding science, helped mold the "Doctor Who" of not just the 1980s, but the '90s as well. But his script in "Logopolis" far exceeds in quality any book out of the technobabble-drenched Simon Bucher-Jones oeuvre. Not only is "Logopolis" full of phrases like "unraveling the causal nexus" and "my biomechanisms are unaffected", but it's also got poetry: "And now the world I grew up in, blotted out forever"; "We are beyond recriminations... beyond everything", and my understated favorite: "Time has changed little for either of us, Doctor. You continue to roam the Universe, while we persist in our humble existence on this planet."

Special praise must be reserved for John Fraser, who, as the Monitor, played quite possibly the smartest, least hammy character in 26 years of "Doctor Who" guest turns. He has no rants, no over-the-top bursts of comedy. He's just a smart guy who knows more about what's going on than the Doctor, and actually saves the day with his computer code: he just has the good graces to die early in Part Four. That's done so Tom Baker can save the Universe and then fall to his death. Just when we were looking forward to at least another season of this exciting new Doctor. ... Read more

Reviews (17)

An American Classic
For my money, this "save the farm" feature was the best film of 1984, edging out The Killing Fields, The Terminator and Stop Making Sense. Nominated for seven Academy Awards (including Best Picture), this box office sleeper earned two statues: Best Actress for Sally Field and Best Original Screenplay for Robert Benton (who also directed). Still, how Nestor Almendros' gorgeous cinematography failed to score even a nomination remains a mystery.

Alot of Heart
Places In The Heart is director Robert Benton's look back at life in Depression era Texas. Sally Field stars as Edna Spalding, a recent widow who struggles and fights to keep her family together by raising cotton. She enlists the help of a drifter named Mose who knows the in and outs of growing cotton. One hurdle is that Mose is black and the locals make it rough on them. Danny Glover is superb as Mose as is John Malkovich as a blind boarder, Mr. Will. Lindsay Crouse and Ed Harris are Edna's sister and brother-in-law and Ms. Crouse is excellent as she struggles with the philandering ways of her husband. But through it all, Ms. Field carries the film. She perfectly conveys the determination of a woman facing tremendous odds. she shows a strong front, but a touching vulnerability when facing set back after set back. Ms. Field deservedly won her second Best Actress award and yes we really do like her.

"Places in the Heart" Wins Hearts All Over Again
Now that "Places in the Heart" has been re-released on VHS and DVD, many more people will be able to experience this 1984 classic. Starring some of the acting greats like Sally Field, John Malkovich, Ed Harris, and Danny Glover, "Places in the Heart" is a realistic look at the lives and views of people in the 1930s. This movie tackles issues such as racism, adultery, and people learning to "live again" after they've had to overcome many obstacles.

Edna Spalding (Sally Field) plays a woman recently widowed who suddenly has to figure out how to support herself and two children during Depression times. Moze (Danny Glover), a black man looking for room and board, offers the "crazy" suggestion of growing cotton and, desperate to try anything to keep her family together, Spalding steps up to the challenge. More important than Spalding's need for money, she must prove to herself and those around her that she can take care of her family. She had always just been a wife and a mother and nothing more had previously been asked of her. A blind boarder, Mr. Will (John Malkovich), "sees" the harshness and bigotries of life and is a quiet yet interesting observer of what's going on around him. Also added to this mix are Spalding's brother-in-law Wayne (Ed Harris) and sister Margaret (Lindsay Crouse) who go through marital struggles when Wayne becomes involved with another woman (Amy Madigan). They fight the basic human problem of being good people but making bad decisions.

Field's performance as Spalding is a great one--evidenced by her Best Actress Oscar for the role. Another Oscar was rewarded for Best Overall Screenplay and nominations were made for Best Picture, Best Director, Best Supporting Actor (Malkovich), Best Supporting Actress (Crouse), and Best Costume Design. Though "Places in the Heart" is often overlooked, it's a wonderful film overflowing with love, bravery, friendship, and strength of character.

OF LOSS, LOVE AND HOPE
Few movies hit you so unabashedly in the heart with a melodramatic wallop as Benton’s Places in the Heart, yet manage to avoid feeling cheap. A deeply touching slice of the depression era, worthy of all the Oscars it bagged (screenplay, best actress for Fields) plus several nominations.

Sally Field weilds absolute acting prowess as Edna Spaulding, a wife and mother of two kids who becomes widowed after a drunk accidentally shoots her husband. So she decides to make some money by planting cotton. She takes in a very friendly black man (wonderfully played by Danny Glover) who helps her get and plant the cotton, and a smart blind man (played by John Malkovich in an Oscar-nominated performance) who's a paying boarder.

These three adults and the two children form a little family together, and this is the part of "Places in the Heart" that works best.

Other characters add to the story. Lindsey Crouse was also Oscar-nominated for her portrayl of Field's sister who comes to help out after tragedy strikes early on. Ed Harris plays Crouse's husband who's having an affair with another woman, which makes for a somewhat inessential subplot. But that's a minor grouse.

Apart from the top-notch performances, the film's stunning finale is an unforgettable cinematic statement about hope. Had everyone in the room jerking a tear.

On DVD the film doesn't really look like an old movie (1984) if that bothers you. A highly recommended gem for any collection!

I WISH THERE WERE A SEQUEL!
This movie is great! I used it for a college paper on prejudice and the hardships of life. You can really feel what these people are going through. I wish there were a sequel about 10 years later, where Moses comes back with a family and buys a piece of Edna's land. I wish he could really overcome being black during a miserable time in history. I wish Will and Edna would fall in love and help complete the missing part of each other's lives. Possum would be a teen, with high hopes and great dreams. Frank would be a strong, honest man that is a representation of the type of person it takes to change an entire country's idea about prejudice. They would become happy once again. I want their lives to finally be worth something. I WANT MORE OF THEIR STORY! ... Read more

Reviews (35)

Powerful performance from Lauren Holly
"No Looking Back" is an uneven, but engaging movie. Lauren Holly is luminescent as Claudia, a small-town waitress who gave up her dreams of a better life in the big city a long time ago. Now she's trapped in a pointless relationship with Michael (Jon Bon Jovi-surprisingly good), and her life is complicated when her old boyfriend, Charlie (Edward Burns) returns to town. Lauren Holly's performance and Edward Burns' script really bring Claudia to life. There's a little bit of Claudia in everyone, and it's hard not to become involved. The few dull spots are well worth the feelings you'll get when you remember this movie.

NO LOOKING BACK
No looking back was very realistic. The cast was especially convincing. Today I met Edward Burns while filming his new movie Ash Wednesday outside of my house.

He is even more attractive in person, he agreed to take a picture with me. I didn't shake that bad on my wedding day, this man is just too much! Edward Burns is an outstanding actor, director and fantastic man.

If you haven't seen any other of his films get to your video store and rent She's The One, or Brother's McMullen. He is brilliant....

Laura

not nescesarally his worst
five years ago, my wife brought this video home for us to watch,-after having brought the first two home for us to watch. this movie seemed somehow prophetic at the time. it was. she left me a month after we watched it. I found it dreary and depressing at the time,- and needless to say; - Ive had no desire to watch it since. but along with ALL his other movies, Ive ordered it on DVD from amazon[.com]. what I take away from it is that no-wheresville small towns CAN have attributes [its POSSIBLE], and edward burns himself. he plays more or less the same character in all of his films,- cool, detatched yet involved, and AWARELY EXPERIENCING life. above all-solid. his character in every film thinks and feels, yet at root, theres nothing thats going to DESTROY this guy. a man engaged in life for the long haul.

Classics, all three of Ed Burns movies.
If your hesitant in spending $50+ on these three movies all I can say is DON"T BE. It will be the BEST money you spent on entertainment in a long time.

Burns movies are the kind that make you think about the human tragedy. These are movies that you drink coffee and discuss in extreme detail.

My sister sent me the book "Three Screenplays by Edward Burns". I started reading the plays and knew I had to see the movies. What stories, what writing.

I feel his screenplays will become classics, with such plays as Millers, "Death of a Salesman." I can't wait for his next play.

Thank god for Sundance and the opportunity given to let the public have the pleasure of seeing such fine work as Ed Burns.

Being from Rockaway and leaving to make something of my life I can honestly say Burns depicted life in Rockaway in "No Looking Back" true in every detail. Even got the colors in the homes exactly as I remember them. These movies will have a permanent place in my collection.

No Looking Back
Please, please, please release a soundtrack for this excellent film. ... Read more

Reviews (303)

Landmark in US filmmaking
----
Don't be fooled. "Big Fish" is not the classic want-to-be "surreal" tale with random psychedelic elements. "Big Fish" is not a movie that "tries to hard" to be different or bizarre. "Big Fish" is *real*. It embodies much more than what it may seem at first glance.

After a somewhat decline during his last movies (since his masterpieces "Edward..." and "Ed Wood"), Tim Burton finally decided to explore two more realistic subjects: first; a father-son relationship and second; the story of ones life. "Big Fish" is left to the viewer to be understood, analyzed, and interpreted. Like any other film, the final interpretation lays on the viewer. However many directors are often biased and leave little room for personal interpretation making their own. Burton, on the contrary, leaves a universe for multiple interpretations. One can wonder how he managed with such a solid plot. Nonetheless, he succeeded.

The beauty of the profound subject, the imaging, the style, and the meaning and purpose of "Big Fish", makes it a film to be remembered by many generations to follow. Tim Burton has delivered a masterpiece like never before: a landmark in US filmmaking.

5/5 - "Big Fish" is huge.

Wow
I've been a big Tim Burton fan for years, so when the combination of his imagination with the heavenly creature that is Ewan McGregor are combined - it's a match made in movie heaven.
The story revolves around a man who feels disconnected from his father and all of his "tall tales" of growing up. When his father falls ill, he returns home with his pregnant wife and tries to get to the truth of the matter when it comes to his father's life.
I loved how the story kept going back and forth between the present day and the past. Burton's imagination is one of the things I love about his films and he didn't cease to amaze me with this project. Plus, all of the interesting characters brought into the story made the movie even more enjoyable. (My particular favorite was Karl the Giant.)
Albert Finney and Ewan McGregor's performances were amazing. I'm surprised and a bit disappointed that this movie didn't get as much credit as it deserves. Another aspect I loved was the relationship between Bloom and his wife. That scene where he is in the tub in his pajamas and his wife joins him just about brought me to tears. You could still feel the love between the two characters.
Go see this movie. It may just be a movie about tall tales, but it you'll leave feeling better about life.

Greatest Movie Ever
This is the greatest movie I have ever seen. And for all of you people that thought it was terrible, you are either one of three things: mentally handicapped, void of any emotion, or just plain stupid.

Just Plain Awful
After seeing the movie, I was without words to describe my disappointment with the movie. Seeing the comments and reviews on Amazon, I am without words as to how people could be giving such an awful movie 5, 4 or even 3 stars. It is phony from start to finish, with a terrible plastic feeling throughout. It has the most stupid script ever, jokes that are simply not funny, and the bottom line is the I just could not believe someone actually released this movie to the theaters. I simply cannot put into words how deep my disappointment is.

Something's missing...
There are things worth seeing in Tim Burton's Big Fish. Some of the scenes are visually stunning. There are some colorful minor characters (especially the poet/bank robber played by the wonderful Steve Buscemi). And the ending is pretty moving.

Other than that, there seems to be something aimless to the film. It was difficult for me to get interested in what was happening to the characters; I never felt that I truly got to know them, and though perhaps this is part of the point, it was frustrating. Also, Ewan MacGregor's insistently upbeat performance would occasionally get on my nerves. ... Read more

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In interviews, Richard Dreyfuss often refers to Whose Life Is ItAnyway? as having been made at the nadir of his substance-abuse problem in the 1980s. Yet it's not too bad. Based on the hit Broadway play, it's a debate about the ethics of euthanasia and one person's right to choose whether to live or die. Dreyfuss plays a sculptor who, after a car accident, is left a paraplegic. Appalled at the prospect of a life in which he has no control of anything, he pleads with hospital authorities to help him die. When they refuse, he takes them to court. Dreyfuss brings great passion to a role in which he can't even use his body; the humor is often pitch-black, but it works, both as a script and as a cinematically opened-up version of a play. --Marshall Fine ... Read more

Reviews (11)

Paralysed man gives convincing argument for euthenasia
Another Richard Dreyfuss tour-de-force performance. He portrays a man in his prime suddenly paralysed from the neck down, who pleads with doctors and ultimately the courts to allow him to die rather than spend a long life in misery. Hospital staff and loved ones try to show him that life is worth living, but soon all are convinced that it's "his" life, and because of the extreme circumstance he should have the right NOT to live it out. -- I appreciated that "both sides" of the issue of eutenasia were heard, and that ultimately the viewer could make his decision. This is a moving film of timely relevance!

Dreyfuss at his cloying worst - Do not miss this film!
They don't make them like this anymore, folks. See, there is a reason to rejoice! Richard Dreyfuss as a quadriplegiac, unable to move from his hospital bed whilst whining and crying, preaching and pontificating, thinking he is without a doubt putting in the performance of a lifetime. Holy crump! What was this guy thinking (or snorting, for that matter)? However, this is not a film to be dismissed entirely, thanks to a solid John Cassavetes who provides a perfect counterbalance as the doctor intent upon saving the life of the malcontent, suicidal vegetable. Pay special attention to the scene when Cassavetes, the venerable warhorse, puts an uppity med student in his place and gives him an off-the-cuff lecture on the importance of the preservation of human life at any and all cost(particularly the bit about the allotted three score and ten). As Foghorn Leghorn would say, the message is "about as subtle as a hand grenade in a sack of oatmeal." Save this one for a rainy afternoon when your spirits aren't too high to begin with. But save it regardless.

Could have been much better
This film could have been great, except for some serious scripting and characterization problems. Many of the characters are stereotypical, wafer-thin portrayals, particularly the head doctor who wants to keep Dreyfuss's character alive. The "party scene in the hospital basement" is not only cliched, but nobody got fired or got in trouble (the Jamaican nurse in particular) for smoking dope in a hospital, and taking a quadraplegic patient out of their bed without permission in the middle of the night? Give me a break!

Finally, Dreyfuss's decision to "remain in the hospital to die" at the end... the judge's ruling was specifically that he be released (writ of Habeus Corpus), not that he be allowed to die without treatment in the hospital!

These serious problems (particularly the latter, where he decides to stay in the hospital) just about ruined the film for me. Never mind that there's never much of a real sense of suspense or genuine emotion here, and everything plays far too liberally off (melo)drama generated by the Dreyfuss character's decision. I'll give it 3 stars, and I feel like I'm being generous. Comes dangerously close to trivializing the issues portrayed in the film, and occasionally crosses the line... if it weren't for much more honest films with subject matter just as difficult (like "Dead Man Walking") I might be more forgiving and just chalk it up to the best Hollywood can do with this sort of material, but I know better.

Amazing - Very Thought-provoking!
I actually studied the play Whose Life is it Anyway? for a drama assignment at school. The movie really did justice to the original story by Brian Clark. Even though I was encouraged to do a different play, as this one is so hard to find information on, I stuck with this one because I loved it so much. The story really moved me, and I found myself crying at more than one point during the movie. This story brings up so many issues that are relevant to all humans... I would recommend it to anyone who loves a good story!

A Subject That Has So Much Controversy Even Today!!!!
This movie was excellent!!!!! I taped it years ago when it was on cable and I still take it out and watch it!!!! Richard Dreyfuss protrays a successful artist that has it all. Then, in a near fatal car crash becomes a quadrapalegic. His hope of ever walking, using his arms, creating art or having an intimate relationship with his girlfriend dimishes. While life goes on for everyone else, time for him stands still. He then makes a crucial decision and is caught up in the legal battle of his life.

While it is heartbreaking to watch this happen to any human being, Richard Dreyfuss does an excellent job portraying the emotional and physical battle that ensues this poor soul.

What would you do if this happened to you? After all, Who's Life Is It Anyway. ... Read more

Reviews (12)

The brutal reality of kids living on the streets of Seattle
Directors Martin Bell, Mary Ellen Mark and Cheryl McCall filmed teenage kids living on the streets of Seattle in this 1985 documentary. These kids are runaway, many of them abused, and "Streetwise" shows us how they live (and you can imagine the meaning you will attribute to the word "live" by the end of this film). These kids sleep till noon and then try to find money by panhandling downtown, turning a trick, or rolling a few homosexuals. The money goes for drugs, which invariably leads to a night of partying, all the while trying to find someplace to stay to survive another day. Not all of them do. All I want to say about this film is two things. First, it makes every Hollywood or TV movie about runaway kids on the street look like a complete joke. Second, I cannot imagine any kid ever wanting to live on the street after seeing this film.

Accurate depiction of "throwaway" youth
Well, the name STREETWISE says it all. This disturbing, heartbreaking and very accurate documentary about street kids is one of the best films I have ever seen. I have seen it many times, but every time I watch it, it blows me away. If you liked MY OWN PRIVATE IDAHO, you really need to watch STREETWISE, because STREETWISE is the real thing.

This film was made in 1985 and, as some of the other reviewers have asked, I too am curious about how these "children" are doing now, fifteen years later. Specifically, I want to know who is still alive. That's the kind of film this is. These "characters" get inside your head. How could they not? These kids recite the details of their lives so matter of factly as they go about their business of every day survival in the urban jungle; the "details" of their lives being the most unbelievable, heartbreaking stories of abandonment, prostitution, abuse and neglect. I always come away from this film asking myself, "how could these kids get so short changed so early in life?" Sometimes you get a glimpse of the parents of these children and it's equally horrifying. If I was a suburban mom with kids growing up in the lap of luxury, I would insist that they watch this film. I know people in their 30's who think they're tough, who never had to spend a single day the ways these kids live. These children have EVERYTHING going against them and yet they manage somehow to have simple hopes and dreams. Some of them want a life that other people are just born into. If you grew up in comfort, you'll see some things you may take for granted that these children were never told how to do. One child thinks it's perfectly acceptable that people in love should fight. Another girl has difficulty getting her mom to just buy her some Avon. One boy thinks he can change his personality by changing his hair color.

The most disturbing thought that this film leaves you with is that this is just a microcosmic look at ALL the throwaway children in the U.S. This is a problem that still exists. It's not going away.

I watch this film repeatedly, as it keeps me on my toes. Just when I start to get too comfortable, I remember the reality of the have's and have not's in this country and I am appalled. I recommend this movie to anyone with a pulse.

I was one of the lucky ones.
This documentary is as true-to life as any could ever be. I know because I