Reviews (3)

Three Good Stars Do Not a Hit Guarantee
Well, I don't usually say this, but I agree with review karen kullers, who really pans this film--it really isn't a good picture at all. It should have been, though, with Colman as a beggar pretending to be a prince, Dietrich as a harem lady, and Edward Arnold as the wily villain.

You can also tell it was an expensive movie, with costly sets and costumes, but it is ineptly directed and negligently cast in its supporting roles. Colman makes repeated statements about the magnificence of his daughter, and the shame is that his boasts would be completely unfounded. The daughter is played by the same actress who appears in "Casablanca" as the young wife that Claude Rains almost seduces in exchange for transporting her and her husband to safety. She is really not much to write home about. A sweet-looking girl in some shots, but without any star appeal at all. She struck me as the REALLY poor man's Linda Darnell. And the caliph, her lover who disguises himself as a gardener's son, has no bearing and no talent to boot. He isn't even handsome.

Ronald Colman has long stretches where he doesn't encounter the other two talented stars, but must instead interact with the bad supporting cast. This strain is too much to be borne. Marlene Dietrich turns in possibly the worst performance of her career. And as for the gold paint on her legs, I thought that missed by about a mile. Her legs looked heavy and dirty consequently--and the choreography looked like it was for a WPA mural. Only Edward Arnold made out okay (he even looked slimmer, thanks to the unusual tailoring), but the final climactic grappling with Colman drew hoots from me and the other watchers, one of whom remarked that it looked like two fathers-in-law fighting at a wedding reception. Very undignified and unconvincing.

Perhaps my brother said it best: "TutorGal, this ought to teach you--there are no forgotten masterpieces."

You have heard of the word, now see the movie "Kismet"
"Kismet" is an Arabian Nights fantasy about Hafiz (Ronald Colman), a scheming beggar in the court of the Caliph (James Craig), who wins the hand of the dancing girl (Marlene Dietrich), the mistress of Mansur, the Grand Vizier (Edward Arnold). There are all sorts of palace intrigues going on, but Hafiz has an edge because knows magic. This 1944 film, directed by William Dieterle, cost $3,000,000, which was considered by many to be extravagant given the wartime shortages. "Kismet" had been filmed three times previously and while it is a luscious production, the main problem is, surprisingly enough, the two stars. Colman is not well suited to this particular role and Dietrich does not really have much to do besides dance and look good. Not that there is anything wrong with that. The musical version, featuring the song "Stranger in Paradise," was filmed in 1955. It is a toss-up as to which one is better.

The shame of Marlene
In this picture Marlene looks stupid. The costumes and the dance are silly. The story is not original and the script is bad. Only the colors are good. Just for Marlene's lovers. ... Read more

Reviews (13)

My very favorite film.
Though it is not exactly a film classic, the movie has a great feel to it -- and rather transports you to the city of Kuma. I found all the actors wonderful, especially Ursula Andress. Anyone who loves ancient Egypt, stories about the re-incarnation of lost loves, and a slightly twisted ending will love this.

They Don't Make 'Em Like Ursula Anymore
The sight of Ursula Andress alone makes this movie worth viewing. She has to be the most gorgeous actress to ever grace a movie screen. British horror vets Peter Cushing and Christopher Lee lend capable support.

Blech to Warner
4 stars for the movie. 1 star to the studio. OK, Warner, where's the DVD of this? C'mon, guys, this is an important release. And be sure to give it a spruce-up before releasing. Wide screen, remastered, anamorphic. You know, the video works. You can keep the special features.

Lavish Hammer Version of Immortal Story
Hammer Studios went all out in the filming of their 1965 version of the acclaimed novel "She", by Henry Rider Haggard. While there has been disappointment with the way the source material was adapted for the screen it nevertheless makes a rousing and highly entertaining story in this film version and offered Hammer legend Peter Cushing another type of outdoor action role that he had not tackled for some time. The film benefited by a larger than usual budget which made it Hammer's most expensive film to that date. The extra expense was essential for the many scenes taking place in the sweeping desert regions mentioned in the story, many of which were photgraphed on location in Israel. Despite the changes made in the story "She", is best enjoyed on its own merits and makes great old fashioned "Boy's own" type entertainment.

Set in Palestine in 1918 "She", relates the story of three wartime buddies Maj. Horace Holly (Peter Cushing), Leo Vincy (John Richardson) and Job (Bernard Cribbons), who at the end of the war find themselves at loose ends in the Middle East with no real desire to return home to England. Encountering a beautiful and mysterious woman called Ustane (Rosenda Monteros), one evening in a nightclub Leo is lured away and then knocked out. When he comes to he discovers himself in a strange house where he encounters another beautiful woman who calls herself Ayesha (Ursula Andress). She reveals the purpose of why he was brought to her, which is that he is the reincarnation of her lost love Killikrates from two thousand years previously and that if he can find his way to her mythical city of Kuma he will not only possess her but all the riches and glory he could ever want. Seeking adventure Leo enlists the aid of his two friends and sets out with the aid of a map given to him by Ayesha to find the lost city of Kuma. Along the hazardous desert trail they encounter desert fighters who steal their water and camels and finally they are captured by the hostile Amahagger tribe who believe in human sacrifice. Just as the sacrifice of Leo is to take place since he resembles a portrait of Killikrates on a gold medal, they are rescued by the soldiers in Ayesha's army led by the mysterious high priest Billali (Christopher Lee). Led to Kuma they are finally brought into the presence of the mysterious Ayesha who it turns out has discovered the secret of eternal life by bathing in a special blue flame that keeps her young and beautiful forever. It is revealed that in a jealous rage two thousand years previously Ayesha killed her lover and has been waiting for his return ever since. Ayesha seeing that Leo has survived the test of reaching her city becomes determined to share her secret of eternal life with him so that they can rebuild the glorious civilisation that she once presided over as Queen. Despite her cruelty to those that oppose her which includes the unfortunate younger men of the Amahaggers and her servant Ustane who are thrown into a flaming pit, Leo becomes bewitched by Ayesha's beauty and promise of eternal life. As Holly and Job are preparing to leave however the remaining Amahuggers break into the city led by Haumeid (Andre Morell), who was also Ustane's father. In the fighting Billali is killed and just as Leo joins Ayesha in the sacred flame suddenly the process is reversed and Ayesha reverts to how she would look after two thousand years and dies. Leo elects to remain in the city in the hope that the blue flame will return one day so he can reverse the process which has now given him this unwanted gift of eternal life.

Visually this film is probably unequalled in the productions to come out of Hammer Studios. The stunning desert vistas, beautiful cinematography and well staged actions sequences all rank with the best Hammer work past or present. Peter Cushing has a more rogueish character to play here and as always his teaming with fellow Hammer veteran Christopher Lee is excellent with the two squaring off in one vivid scene set in a room full of mummified high priests. Ursula Andress has been critised for her limited acting ability however I feel she is perfect for the role of the mysterious, cool and cruel beauty Ayesha who never grows old. Her delivery is perfect in both the romantic and brutal scenes and rarely has an actress looked more the part of the eternal beauty than Andress does when garbed in her flowing white robe billowing in the breeze. Production on "She", was not an easy thing with troubles in Israel during filming and also the record temperatures on the desert locations proving a real trial for all cast memebers involved. The musical score used for "She", composed by James Bernard is also breathtaking and in the Ayesha scenes in particular has a lyrical haunting quality to it that heightens the romance of her pursuit of a lost love over two thousand years.

"She", makes very interesting viewing and as long as you dont expect a close following of the original novel is sure to entertain. Seeing the unique talents of Peter Cushing and Christopher Lee together in the one film regardless of the size of their roles is always a treat but I think it is the mysterious image of Ursula Andress that will stay in viewers mind. She most definately becomes "She ...Who Must Be Obeyed", enjoy!

Ursula Who must be in DVD...
I've enjoyed very much this movie, since the very first time I saw it in a late show. I would like have it in DVD but, at the present, I've found it in a Region 2 PAL british version only. Anybody knows when I can get it in a Region 1 NTSC format? ... Read more

Reviews (7)

Beautiful Rita Hayworth Shines In Legendary Bible Epic
"Salome", has really come in for it's fair share of criticism in the years since it's 1953 release. Criticised for it's blatant altering of the New Testament story that depicts the beheading of John the Baptist, it has been called everything from a campy mess to an insult to scholars of the Bible. However I always just appreciate the film for it's many outstanding qualities that well and truly earn it a place in my personal pantheon of great 1950's Biblical Epics. Lacking the wide scope of for example "The Ten Commandments", "Salome", takes a short incident in the Bible and turns it into a highly entertaining and at times tragic story. It certainly succeeded in provided an eye filling showcase for actress Rita Hayworth, only recently arrived back in Hollywood after an unsuccessful marriage to Prince Aly Khan. Despite the break from Hollywood she has never been more alive and sensual as in this role and her justly famous rendition of the notorious "Dance of the Seven Veils", is the dramatic and indeed sensual climax of the film. If for nothing else Rita Hayworth will always be imprinted in viewers minds as the Princess Salome seductively performing this dance before an obviously besotted King Herod just prior to John the Baptist's head being brought into the room on a platter.

We have all read about John the Baptist as children and how Princess Salome agreed to do the "Dance of the Seven Veils", in return for the Baptist's head. Hollywood being Hollywood, has altered the story and Salome is now not the total wanton of the Bible story but a basically decent girl surrounded by total corrupting influences. This artistic licence aside the story is an affectivly told one and includes some terrific actors having the time of their lives with their colourful characters. The story opens with young Princess Salome residing in the Rome of the Emperor Tiberius (Cedric Hardwicke). She has been sent there by her mother Queen Herodias (Judith Anderson), who is intent on keeping her away from the incestuous attention of her step father King Herod (Charles Laughton). Salome however runs foul of the Emperor when she falls in love with Marcellus a relative of the Emperor. Refusing to allow his family to marry "barbarians", Salome is sent back to her parents in Galilea. On the journey over she is placed in the care of Roman Commander Claudius (Stewart Granger), and the two begin a definite love /hate relationship. Upon arriving back in her homeland Salome discovers all is not well as her mother Queen Herodias, who is trapped in a loveless marriage with Herod, has consuming ambitions for the throne and rather disturbingly King Herod takes an unwelcome and decidely unheathy interest in his beautiful step daughter. The kingdom is rife with unrest and John the Baptist is constantly speaking out against the corruption and godlessness of the ruler and his court. When he speaks out at the Queen as an adulteress Salome goes to find out more about this outspoken preacher and discovers that Claudius who she now realises she loves, is actually one of his followers. Queen Herodias makes plans to have the baptist assassinated however it fails and Herod takes him into his custody to keep him out of the way. The people meanwhile begin to rise up in protest at John's imprisonment and Salome learns the true nature of her evil mother when she asks her to perform the Dance of the Seven Veils, before Herod in return for the Bapist's head. Dancing before the King is simply another word for prostitution and Salome decides to leave the Palace. A visit with Claudius to the imprisoned John makes her see the power of what he is preaching about the Lord's word and she decides to save him by appeasing her father in law and performing the dance. However Herodias has her way and John is beheaded much to Salome's horror who now sets out on her own life as a Christian with Claudius.

Glitzy hokum? Perhaps, but highly entertaining nevertheless. "Salome", was for a long time a project dear to the heart of Cecil B. DeMille who would have been in his element with such an exotic story. He envisioned using Rita Hayworth as the legendary Salome however it never came to be. It was finally up to Columbia chief Harry Cohn fifteeen years later to finally put this project into reality. No expenses was spared on talent both in front of and behind the camera and it shows in the final film. Luscious costumes designed by Jean Louis, breathtaking colour photography and the typical trademarks of 1950's Epics, lavish sets and intrigue are poured on thick in "Salome". Rita Hayworth despite not resembling a Princess native to the Holy Land does well in the role and in her famous dance shows off the skills that served her well as a dancer earlier in her career. Judith Anderson as the evil Queen steals every scene she is in in another classic nasty performance and Charles Laughton performs to his hammy best as the decadent King Herod. These two veteran performers by their colourful playing really bring "Salome", alive in their scenes. "Salome", benefits from some truly superb camerawork for both the palace scenes and also for the actual locations in the Holy Land which were used for the first time with this film. These locations give a rich and realistic look to many of the outdoor scenes in "Salome", recreating the times of the New Testament perfectly.

Being a huge fan of these lavish biblical epics produced in the 1950's I can still see the obvious holes in this film version of "Salome". Rather than seeing them as faults however one has to just take the film at face value, not take it too seriously and just enjoy it for the great production it is. It has romance, intrigue, gorgeous sets and costumes and enough action to satisfy most epic movie lovers. For a "refashioned", look at one of the Bible's more famous stories you are sure to love Columbia Studios lavish "Salome", starring the legendary Rita Hayworth.

Of couse it's bad BUT
It's great fun to watch! Everything about this is wrong -- te story of Salome is changed to make Salome a victim of her evil mother Herodias. Rita Hayworth looks more like 1950's Hollywood -- complete with gold hair, -- than a first century Jewish-Mediterrenean princess. But the prize for giving the most unintended laughs goes to John the Baptist in the hammiest, most overacted role ever in ANY Biblical film -- and indeed Hollywood has dozens of overacted Biblical films them. This film is enjoyable, pure kitschy entertainment - don't expect any deep theological interpretations of the Gospel account. Don't even expect an accurate interpretation.

There will never be another Rita Hayworth
If there is one benchmark film that displays the timeless, ravishing beauty of Rita Hayworth then Salome is it. Salome serves more for its artistic as opposed to historical value, but what's wrong with that? (If you want to know the facts then read the Bible.)
The Dance of Seven Veils rivals any scene in filmdom for pure sensuality without need for gratuitous sex. (A close second might be the Holden and Novak dance in "Picnic".) Please treat yourself to an evening of lovliness.

Hayworth was made for color film!
Religious epics from the 50's ran the gamut from well-made and reverential films like "The Robe" and Academy Award-winning champ "Ben-Hur" to the camp entertainment of "The Ten Commandments" to downright awful productions like "The Silver Chalice"(Jack Palance at his overacting best).

Well, "Salome" falls somewhere in the middle. It is both historically inaccurate and captivatingly seductive while attempting to be as pious as audiences of the decade demanded in their Bible-based dramas.

This Rita Hayworth vehicle does well as a showcase for the actress/dancer whose natural beauty was enhanced in glorious Technicolor. As the daughter of King Herod, Hayworth's Salome is a study in contrasts: one that is torn between her duty to the monarchy and to the romantic advances of Christian-convert Stewart Granger.

Charles Laughton is somewhat hammy as Herod, but all great actors have their occasional over-the-top roles. Dame Judith Anderson adds another evil matriarch to her long line of "bad girls" as Heroditus, wife of Herod and chief catalyst behind the beheading of John the Baptist (Alan Badel).

Hey, the flick ain't Shakespeare, but it does hold the interest especially Hayworth's "Dance of the Seven Veils".

Salome
The screen play was very good. You will not waste your money on this vidio. The costumes are opulant and the scenery is good. Rita Hayworth put on a very good performance ... Read more

Amazon.com

A tense psychological thriller, Apartment Zero concerns the intertwining of a loner, film buff Colin Firth (The English Patient) and his new mysterious boarder (Hart Bochner) in present-day Argentina. The new roommate is enigmatic and outgoing, befriending everyone that the poor loner could not. But Firth soon suspects a connection between his boarder's appearance and the reports of bodies in the streets murdered for political reasons.

The heart of the film lies in the increasingly bizarre relationship that develops between the two opposites, breeding the seeds of mistrust. An original and offbeat noir-type drama, the film, cowritten by David Koepp (Jurassic Park), proceeds at a slow and deliberate pace, gradually drawing the viewer deeper into the intrigue and isolation of Firth's tortured soul. Some genuinely creepy moments and an all-around macabre mystery make this film worthwhile viewing for mystery fans everywhere. --Robert Lane ... Read more

Reviews (14)

CULT CLASSIC - GREAT ACTING - DON'T MISS IT!
"Apartment Zero" is one of the best psychological character studies ever put on film. Colin Firth (in an amazing performance) portrays Adrian LeDuc, a lonely movie theater owner in Buenos Aires whose mentally ill mother is in the hospital.

Adrian and the other misfit tenants in his apartment building (a transvestite, two elderly British alcoholic sisters, a lonely housewife starved for attention, et al) are all smitten by Adrian's charming new roommate, Jack Carney (played by Hart Bochner, who smolders with every close-up). Adrian feels Jack "has a certain James Dean je ne sais quoi," but he soon finds out that his gorgeous roommate is not all he appears to be.

Great acting by Firth and Bochner. Lots of suspense, double-entendre and sexual innuendo, plus an over-the-top ending you'll never forget.

Atmospheric, haunting, compelling
Hollywood could never pull off a movie this hard to define. Set in Buenos Aires, it stars British Colin Firth, whom everyone is seeing stars over due to the new Bridget Jones film, and American Hart Bochner, the definition of attractive leading man if there ever was one. We need more movies with Hart Bochner's face filling the screen! When he rescues the cat on the ledge, it is movie-making magic. Bochner is a mysterious character who shows up and is taken in by Firth. While the film's ending is quite unexpected and, frankly, a little on the weird side, the flow of this film is gorgeous, careening between humanistic character study and slightly gory crime scenes. At its core, it's about a male friendship between two men who are unstable in different ways -- fascinating to watch. Why more people haven't seen this movie, I have no idea ....

decent thriller in a bare-bones dvd edition
This 1988 thriller, written and directed by Hal Hartley alum Martin Donovan, is set in Buenos Ares and stars Colin Firth (Pride and Prejudice, Valmont) as a lonely young man whose mother has been institutionalized and Hart Bochner (Say Nothing, War and Remembrance) as the lodger he takes in. Firth and Bochner are both very good, and as the story unfolds, one is hard-pressed to know which one is creepier. Is one of them a killer? Not too much gore, and Donovan shows he has a good eye and a feel for atmosphere.

One of my all time faves!
What makes this film so good is how dangerous it is. It teeters on the edge of homosexuality and true friendship and at the same time casts Colin Firth as almost a damsel on the edge of madness to Hart Bochners rogue character. This movie is set in Buenos Aires and and creates a political climate, a delicate madness and an under current of so many divergent sexualities that fuel the film and keep pulling the rope taunter and taunter.
What makes this film so good is how eventually Firth's character expresses his love for a man who is a ne'erdowell and always will be. He goes to the brink of madness and violence but never of sexuality which is what twists this fikm in upon itself. Eventually it seems as if the relationship between the two becomes too fraught with peril for sex but all of there actions for each other are sexualized.
What I find interesting about this movie is that it in no way compromises its sexuality to be politically correct and instead challenges the watcher to stick with it thru a byzantine plot of identity that switches the nerd for the rogue and then the rogue for the nerd. Both men ultimately have no identity. firth's character by harsh abuse racked upon him by his family and currently dementia trapped mother and Bochner thru the way he must live for his terrorist lifestyle.
In the end Firth learns to absorb Bochner's character to have an identity and Bochner hesitates and theefore loses his own. The best movies are about things that are intangibly exchanged thru the physical world of actions representing so much more.

Absorbing Thriller
I should probably see this one again, to sort out all the details, but a first viewing was enough to have me hooked on the story and characters, and left me thinking about them for days afterwards.
As a thriller it is superb, drawing you in slowly, building tension by what is left unsaid, by limiting your knowledge of the characters, and also by making them both thoroughly likable and somewhat detestable. A long, musical scene where the immensly attractive if somewhat sinister Jack rescues a cat from a ledge is a perfect example--he's irresistable to everyone, including the viewer, but we also see the way he stares down the cat and don't quite trust him. Colin Firth's lonely, film-obsessed and alienated loser Adrian is fascinating in his own right.
The heart of the movie lies in the many difficult relationships-Adrian's dislike of the other tenants, their adoration of Jack, and the marvellous, tense, sexually charged relationship between the two, sort of Withnail and I meets Vincent and Theo, meets The Talented Mr. Ripley.
If I have a complaint, it's that all this is carried a little too far, and I think it might have ended a bit better with that plunge from the balcony. Still, that's only a small quibble for an original and daring film like this. ... Read more

Amazon.com

This smart, funny episode finds the Enterprise visiting the planet Iotia, where the starship Horizon accidentally left behind Earth materials a century before. During that time, as Captain Kirk (William Shatner) discovers, the Iotians have made much of one of those items, a book called Chicago Mobs of the Twenties. The planet's population has divided into rival gangs who dress, speak, and do violence like the spiritual descendants of Al Capone, plunging Kirk, Spock (Leonard Nimoy), and McCoy (DeForest Kelley) into a facsimile of Earth's colorful and dangerous past.

The episode is played for comedy: Kirk and Spock keep getting kidnapped by the warring hoods, each of whom wants the Federation team to use their technology to defeat the other side. The big payoff, however, is a summit meeting of bosses, where Kirk employs plenty of gangster-movie jargon to get matters settled. --Tom Keogh ... Read more

Reviews (6)

Except on Tuesday
This gangster episode, and Tribbles, were the two Trek comedies that really worked. While I wouldn't exactly call the humor here subtle, it is intertwined in a fairly traditional action plot. We are able to enjoy Kirk and Spock's thuggishness for its own sake while simultaneously staying focused on the plot, for the simple reason that their behavior is called for by the story, rather than being a gimmick. The idea of a highly impressionable alien race who's cultural evolution could depend so thoroughly on a random event (the leaving behind of the book) is an interesting one as well. This episode is also helped by strong guest acting, most notably from Tayback.

The funniest of the original series
This is without question the funniest episode of the original Star Trek series. There is no funnier deadpan scene anywhere in television than the one where Kirk is "explaining" the fizzbin card game and asks Spock what the odds are against getting a royal fizzbin. His deadpan, yet truthful answer is, "I have never computed them." I laughed out loud the first time I saw that and still smile when I see it, even though I have seen it over fifty times.
The main premise is that a Federation vessel visited a planet before the Prime Directive was imposed and members of the crew interacted with the planet's inhabitants and contaminated them. Therefore, the primary task of the Enterprise is to repair the damage. The earlier Federation vessel left a book that described the Chicago gangs of the prohibition era and the inhabitants have modeled their entire culture after the book. Their clothing, buildings, speech and social structure are all modeled from the gangster movie cliches.
After many trials and errors, including Kirk trying to drive a car, there is a climactic scene where Kirk takes charge and unifies the government under one of the gang bosses. His pacing on a pool table while brandishing a machine gun and speaking one gangland cliché after another is one of the best scenes in the entire original series. His solution, where the Federation is described as an interplanetary gang, is funny and original. I have always wondered what the reaction of Star Fleet command was to his report of how he solved the contamination problem.
Funny, and essentially a spoof of a movie genre, this is one of the best Star Trek episodes ever, original series and beyond.

"A Piece of the Action," the 2nd funniest Star Trek episode
"A Piece of the Action" has the Enterprise visiting Sigma Iotia II, where a hundred years early the USS Horizon visited. Apparently this was before the Prime Directive, because one of the Horizon crew left behind a book: "Chicago Mobs of the Twenties." Now, once you get past the fact that (a) someone was toting a book into Deep Space and (b) it happened to be that particular book, you can really enjoy this one. Bela Oxymy wants the Federation to supply his gangsters with weapons so he can take over the planet, taking down Krako and the other bosses. My favorite part is when Kirk makes up a very complicated card game to play with the gangsters holding him hostage and Spock has to admit having never calculated the odds on the rarest of possible hands. Then there is also the bit where they try to drive an automobile. In the end, Kirk decides if you cannot fight them, join them. "A Piece of the Action" may well be the second funniest Star Trek episode, after "The Trouble With Tribbles," of course.

Excellence
In my opinion, A Piece Of The Action is in the top 3 episode category along with Mirror Mirror and the Corbomite Manuever. The whole episode is very deep and never uneventful. The action never stops. It employs humor in the form of "slang talk" which people like Spock and McCoy dont understand. I cant explain it all here, but I will tell you it is a very good episode.

One of the funniest and best Star Trek episodes
"A Piece of The Action" is one of my five favorite episodes of Star Trek. In "A Piece of The Action," Captain Kirk, Spock, and Dr. McCoy beam down to a planet whose landscape is similar to that of earth. The boss of a bunch of gangsters demands that the trio from the Enterprise make a deal with him which would help him ward off some of his enemies. To put it short, the Enterprise crew has been tricked. There must be a way for Captain Kirk, Spock, and Dr. McCoy to escape the planet alive, but they have a little bit of fun first.

"A Piece of The Action" is a great episode of the original series of Star Trek. It is well written and some parts of it are hilarious, especially the part when Captain Kirk drives a car for the first time. It's also amusing the way that Kirk talks in slang and has to repeat himself for the others to understand him.

William Shatner and Leonard Nimoy both give one of their best performances to make this one of the unforgettable episodes of Star Trek. I recommend "A Piece of The Action" to anybody. ... Read more

Reviews (1)

Remember Spanky doing "Friends, romans, countrymen..."?
Volume 1 in the Little Rascals collection features four of the Our Gang comedies from the Hal Roach-MGM years, at least one of which is a certified classic while the rest are at least well above-average. Leonard Maltin introduces the two-reelers, although I am not exactly sure why. It is not like the Rascals are performing Shakespeare (just a speech from one play).

Actually the central character in "Fly My Kite" (1931) is Grandma (Mrs. Margaret Mann), who reads the gang pulp stories, gives them friendly advice, and even puts on the boxing gloves to spar with them. But her son-in-law Dan (James Mason; no, not that one) wants to send the old lady to the County Home so he can move into her house with his new bride. But then it turns out Grandma has some gold bonds now worth $100,000. Dan wants to steal the bonds but Grandma has tied them to the tail of Chubby's kite. This one features Farina, Chubby, Mary Ann, Stymie, Wheezer, and Pete the Pup, as well as some fun stunt work by Grandma's double.

In "Honky Donkey" (1934) Wally's mom sends him home with chauffeur Don Barclay, but the lad wants to meet with his friends at a vacant lot, where they have made a merry-go-round powered by Algebra the mule. Chased from the lot the Barclay drives the gang (and their mule) to the mansion where Algebra engages in predictably but hysterical destructive behavior. It seems Algebra will only move if you sneeze, at which point he chases the offender, and only tops if he hears a bell ringing (Remember, this is supposed to make sense to KIDS). One of the nice touches by director Gus Meins is how he uses Spanky and Scotty to react to the antics of Barclay and the mule. This one also features Stymie, Tommy and Buckwheat.

"Beginner's Luck" (1935) is the classic two-reeler where Spanky is entered in a local amateur contest where he will recite Mark Antony's funeral oration from "Julius Caesar." Of course, Spanky knows "all actors are sissies," and gets the gang to promise to heckle him big time. But then he meets Daisy Dimple (Marianne Edwards), who wants to win so she can buy a new dress. When she gets stage fright Spanky decides to win so he can give her the money. This sets the stage for one of the great scenes in "Our Gang" history, as Spanky has to put up with the verbal and spitball assault from his friends and the frantic attempts by his mom to get her little darling off the stage.

A fitting companion piece to that classic is "Reunion in Rhythm" (1937), where the gang stages a musical show for the Adams Street Grammar School class reunion. The entertainment consists of Darla singing "Baby Face" to Porky, Spanky leading a chorus line singing "Broadway Rhythm," Alfalfa singing "I'm Through with Love" after failing to impress Georgia, and Buckwheat trying in vain to recite "Little Jack Horner." There is some introductory footage of an actual Our Gang reunion, which is rather awkward; but we do get to see "Stymie" with hair.

This is a solid first volume and if the idea here is to parcel our one classic along with several above-average Little Rascal comedies, that is certainly going to work. ... Read more

Reviews (14)

A great story from Hollywood's first "brat pack"
A lot of people forget that there was a stable of youthful actors during the late '50s/ early '60s, which co-stars Troy Donahue and Connie Stevens were were part of here. This film deals with the Conneticut tobacco planting industry, a woman (Colbert) who is hired as governess for one of the planters' daughter, her iconoclastic son (Donahue), his girlfriend (Stevens) the region's largest landholder who wants it all (Karl Malden) and his personable sweet-natured dauhter (Sharon Hugueny). There are family struggles in this film which are a lot like later TV series like "Dallas" and "Dynasty". Another point of interest is the work songs sung by the migrant Jamaican workforce; "There's a wheel spinnin' round and round/ puttin' tobacco in the ground", and other such chants. This is no Oscar winner, but it's a lot better than just about any other generation-cult film.

Parrish-The genius of Delmar Daves and Max Steiner
My wife and I saw this film at a drive in central coastal caif.when first released.I believe the musical scores of Daves films lifted them higher than the scripts alone would allow.Each character or relationship had it's own theme music which would swell as a new scene faded in from black, it was very subtle,but very effective.It put the audience back in contact with the characters without using additional dialog.In the first viewing you may not even be aware of what Daves and Steiner are doing.The same thing happens in A Summer Place,Rome Adventure,Susan Slade It really adds to the enjoyment of the film.Of course it only works when someone of Max Steiners talent scores the films.Delmar Daves,best known perhaps as a director of westerns certainly had the touch to direct romantic films with a message.The skill to get the best performances out of young and inexperienced actors,and the most beautiful visuals and photographic work of that or any other era.His films leave you feeling good,a smile on your face,and your faith in mankind restored.THAT'S ENTERTAINMENT!

Not yet on DVD?
I consider this movie a classic for it's time period. I am astounded it's not yet on DVD and that we have to "vote" to convence the studio to release it. Ever bit of nonsense that's newly relased makes it to DVD. It's a shame such movies as Parrish and Splender in the Grass are not available.

The Characters Have Depth, Nothing Was Spared In Its Making
Max Steiner's musical scoring, the brilliant performances by the entire cast, and the great directing and editing will put this film in the Gone With the Wind category. I recommend it highly to those who want to see filmmaking at its best.

Parrish
I was a kid when my mom took me to the "burning of the barn" scene and the scenes in Old Saybrook. Then i saw the finished product and even today i still watch that film. Even though now it does seem a little corney, it's just plain fun to watch. I also was a big Troy Donahue fan and saw all of his other movies. "Rome Adventure", "Summer Place", and "Susan Slade" which for some reason was never transferred to tape, at least i have never been able to find it. Of course the music by Max Steiner is the greatest and it's a shame that we do not have any composers like Max anymore. Parrish is and will always be a great classic in my eyes. ... Read more

Amazon.com

Perhaps best known for its faux Springsteen soundtrack, the 1983 Eddie and the Cruisers is a rock lover's fantasy run wild. The story finds a reporter (Ellen Barkin) tracking down rumors of an unreleased album by a band whose charismatic leader (Michael Paré) allegedly died years before. As she approaches surviving members--who have since gone on to other things--she gets different points of view on Eddie's life and artistic drive, and the mystery about that album deepens. The trouble with the film is simple: it's impossible to accept. Michael Paré is far from suitable to play a Jersey shore rocker with thematic pretensions toward Rimbaud that go back to the '60s, and the soundtrack by John Cafferty sounds like a hack's rendition of E Street Band magic. An all-around embarrassment. --Tom Keogh ... Read more

Reviews (68)

Mark, from an era forgotten
I do think something is lacking here. The sequel is not available. Uh, would you by Star Wars and forget about the Empire Stricke Back, I think not. To the distributors, get II on the street, it will sell especially to those of us that not only like it, but also belive a set should be complete. Get the DVD to the fans.

Having read all the reviews I agree this is a great movie and I think some modern so-called musicians should take a hard look. Eddie was all about the music and the way it was created and played (even in the sequel). He wrote it and performed it as a real musician should. It had nothing to do with the show and everything to do with the quality and message the music was relaying. It may only be a movie, but it realys music of its time. Modern singers (most at least)--not musicians-- have lost sight of the meaning of musical creativity. Now it is all about putting on the show. I may be out of touch, hey I have seen STYX 5 times since they regrouped--they still get large crowds and still make music. Bands like that don't take their clothes off, don't have dance numbers, don't kiss on stage, don't have plastic surgery to attract a crowd, and don't hide behind someone elses skill. Bands like that write, create, and perform their own music. They don't hire bands and writers, they are the bands, they are the writers/creators of their own music. Maybe that is why we still listening to the Beatles and Led Zeplin and for the most part forgotten about performers like Britney and Christina. Once the get older and the appearance/persona has gone so have they.

One of those nostaglic gems that captures the times
As the Cruisers walk into Tony Marts in Somers Point NJ and tell Tom Bereger to tell the manager, "The cruisers are here," I did a double take. From the age of 16, Tony Marts was my favorite hangout! (Yeah, the drinking age was 21, but I was a tall kid and no one asked for ID). So, you know I love this movie. I have probably watched this movie two dozen times and shown it to all of my friends and dates. To a person, they fell in love with in (and not surprisingly Eddie Lives the sequel, charming for its own music. Michael Pare captures the role and until one night that I watched the movie and then went out to see Beaver Brown (the real band) perform the same music, I was convinced he was singing and still don't get distracted by the lipsynching. Enjoy this wonderful movie, don't over analyze it and, well, if you spend your childhood on the South Jersey shore (Ocean City across from Somers Point) in the 1950s and 1960s as I did, it's real special.

A Really Great Movie!
I'm guessing that this was a B-Movie which grew into a cult film, and I'm glad that it did!

This movie really manages to pull you into a fantasy- where Eddie Wilson was 15 years ahead of his time...and nobody can find the missing tapes, of what WOULD have been his next album- had he lived.

A news woman interviews the remaining members of Eddie's old band, to try and shine some light on the mis-understood stories, the blurred memories and complex ideas.

To enjoy this film, you have to ignore the REAL history of rock n'roll and pretend that THIS is how it went. It was well paced, the acting was good and the music fits!

As for DVD extras...you don't get very much, but that doesn't ruin this classic movie, now does it?

ROCK ON, EDDIE!!!!!

Disagree with Amazon Review!
This film is a fantasy!! Pretend! And.. wonderful! Have seen it countless times and it always manages to evoke so many positive feelings, it's impossible to list. The "Editor's Review" says the story is impossible to accept- I disagree!! It's fun and I love it..again and again! No problem here!

Also have to put in my vote to those who are holding up the release of Eddie and the Cruiser's 2...what's in the way of this release? Work it out!!

Eddie and the Crusiers II Eddie Lives
I totally agree VHS is old school DVD is the new way to go.I have the original Eddie and the Crusiers on DVD and would love to have Eddie Lives on DVD. If the original can be on DVD why not Eddie II...Bring it out on DVD ... Read more

Reviews (11)

Intelligent, Idealistic, Lush
"Whatso it profiteth a man to gain the whole world but lose his soul?" *Love Letters* follows nearly every permutation of this question. What is to be gained if you *lend* your soul to another man, by writing love letters for him? What does one gain by covering one's soul with another's, to win a woman? And what is left to seek in the world, when one discovers one's only value in the world to be a fraud?

These are some of the classic Ayn Rand bits that saved Chris Massie's original story.

But if the story isn't clever enough, the dialogue is inimitable Rand. "We commit unspeakable crimes, we kill each other, we go to war, we blast our cities to rubble, we blast all sense out of our brains. And yet, always there before our eyes is that vision of beauty--a beauty we've never seen, but which makes everything we do see, unbearable." Or: "When a man's been hurt pretty badly, and all open wounds inside, if he can say 'mine'--about anything at all--the wounds are healing." Or: "Thank you for seeing life, not as a burden or a punishment, but as a dream of beauty which we have made real."

In other words, here's a great love story. The people in love are actually smart and admirable. The villains have motives beyond "be bad." Suspense, mystery, and ideas charge the plot from start to finish.

AYN RAND SCREENPLAY!
"I think of you, my dearest, as a distant promise of beauty untouched by the world'-a promise to be reached in spite of the terror and ugliness around me. If I never see you again, my last thought will be that I had fought for you and lost'-but I had fought." So reads a letter penned by a British officer on the Italian front, in the 1945 movie "Love Letters." The story was based on a little-known novel by an obscure author, Chris Massie. The screenplay was written by Ayn Rand.

The movie, directed by William Dieterle, stars Jennifer Jones as the mysterious Singleton and Joseph Cotton as British officer Alan Quinton. Victor Young composed the lush, romantic music score, which was nominated for an Academy Award.

"Love Letters" contains scenes of an emotional intensity found in no ordinary story-'scenes that no one short of a Victor Hugo or an Ayn Rand could have conceived. I can never forget Jennifer Jones seated before her cottage fireplace, dazed, as the love letters she treasured go up in flames'-a knife in her hand, blood smeared across her dress, and her husband dead at her feet. Or her scream, years later, as she sees red berries crushed against her white dress, and remembers.

Seeing "Love Letters" is like discovering a new work of fiction by Miss Rand'-for the movie departs so radically from the unfocused novel it was based on that it almost constitutes an original work. She took a few suggestions and situations from Chris Massie's sprawling, unfocused book, and developed them entirely along her own lines: intensifying the moral conflict inherent in one man writing another man's love letters, and building events logically to a stunning climax.

It was she who conceived of the central event of the movie, the horror of which Alan Quinton first learns of in the basement of a London newspaper. Following up mysterious hints about the woman he is trying to trace-'the unknown woman he wrote love letters to'-he searches through the back issues that the office boy brings him, until he finds the article he is looking for, yet dreads to find: "Officer Murdered; Wife Held." He sits there for hours, reading it over and over, stubbing out one cigarette after another in dead silence. "Who was the murderer?" the office boy asks him, as he finally walks away. "I was," he says.

It was Ayn Rand, who in 1945 was just mapping out the plot of "Atlas Shrugged," who invented the central situation of the screenplay: the irony of an impossible love, in which a woman cannot be told that she is her own rival who is stealing her husband's love away. And it was Miss Rand who invented the horrendously powerful climax-'in which we see the murder of the man who "tried to get happiness by stealing another man's soul"-'with Singleton sitting before the fireplace, staring dazedly at the knife in her hand, her hands and dress smeared with her husband's blood-'as the camera zooms in on the words of a burning letter: "I think of you, my dearest, as a distant promise of beauty untouched by the world ..."

Miss Rand, believe it or not, brings this tragedy to a benevolent conclusion.

"Love Letters" is full of joy, tragedy, idealism, and ultimate triumph. I urge everyone who wants to preserve a glorified view of life, to try to see it.

One of the best romantic movies ever made.
Love Letters is one of the best romantic movies ever made. The plot, though simple, is ingenious and quite moving, and the writing is excellent. Jennifer Jones is as beautiful as I've ever seen her in films, and she and Joseph Cotten convincingly play the roles of two tormented people who slowly come to realize that they are each other's ideal lover. I suppose that to some people Love Letters will be hopelessly romantic mush. However, to everyone with a sense of romance -- including me -- Love Letters is a classic to be savored over and over again. I hope it will be released on DVD soon. It certainly deserves to be readily available in the latest format.

Another Cotton/Jones Classic
Josephy Cotton and Jennifer Jones appeared together, I believe, in either four or five movies. This is probably the least known of their movies together. As I once heard a TV reviewer remark, Cotton brought out the best in Jones, who was twice nominated for the Best Actress Oscar when teamed with Cotton.

Cotton plays a sensitive, sincere WWII soldier who, while in France, writes love letters on behalf of a shallow, callous fellow soldier. The Cyrano-like gesture brings only torment, madness, and death after the woman falls in love with the latter soldier.

After being wounded in combat, Cotton is sent back to England for the duration of the war. He quickly finds out that the soldier he wrote the letters for was killed shortly after marrying the girl to whom the letters were addressed. At that point, the movie shifts gears into a murder mystery, with the guilt-ridden Cotton attempting to discovery what happened--and what role he played in the events.

While Cotton is a bit stiff in the role of Alan Quinton, he does ably exude a quiet, calm determination to piece together the truth. The ever-radiant Jennifer Jones plays a mysterious woman known only as Singleton, who may or may not be the key to unraveling the mystery.

Highly recommended for fans of an old-fashioned murder myster/love story.

FOR THE TRUE ROMANTICS!
This was Jones' third major film and she is ethereal and breathtaking! She is starred with Cotten who would be co-starred with her more than any other leading man and they do make a fine team!

The film is a 'moody' and 'gothic' piece which is enhanced by the performances of the leads. Particularly refreshing is the fact that Jones' performance holds none of the 'facial contortions' that marred many of her later portrayals. She truly deserved the Oscar nomination that she received for this film and in my opinion, should have won over Joan Crawford's tepid and overrated portrayal of "Mildred Pierce" that year.

This film is great to watch on a rainy day, cuddled up in front of the fireplace with your sweetheart. Truly a film for the true romantics....from its cinematography to the 'haunting' musical score.

It is one of the best from the "Golden Era" of Hollywood! ... Read more

Reviews (14)

Part Hitchcock, Part James Bond, All Escapist Fun!
Another fab Universal romantic thriller in the grand CHARADE tradition, including some of the same personnel! If director Stanley Donen's classic 1963 comedy-thriller CHARADE is Hitchcock Lite, then ARABESQUE is Hitchcock Lite after taking a few classes in James Bond 101 (including an opening title sequence by Maurice Binder, who also did the honors for CHARADE as well as for most of the Bond movies). As the hieroglyphics expert embroiled in Middle Eastern intrigue while decoding the cipher everyone's after, Gregory Peck's usual woodenness is oddly effective as he tries to deliver Cary Grant-like witticisms (from co-scripter `Pierre Marton,' a.k.a. the late, great CHARADE alumnus Peter Stone). Peck may not be Mr. Glib, but he seems so delighted to get an opportunity to deliver bon mots after all his serious roles that he's downright endearing, like a child trying out new words for the first time. Co-star Sophia Loren, at her most alluring as an Arab femme fatale, can make any guy look suave and sexy! Christopher Challis's dazzling, inventive cinematography won the BAFTA (the British equivalent of the Oscars), and Christian Dior got a BAFTA nomination for Loren's elegant costumes. Suspenseful and sparkling as this twist-filled adventure is, ARABESQUE's biggest mystery is why it's still only available in VHS format. If this gem ever gets deluxe treatment as a DVD (including letterboxing, please!), I sure hope they get Donen to do the kind of entertaining, informative commentary he did with Stone for Criterion's CHARADE DVD -- perhaps they could even get Loren to put in her two cents!

Reading between the lines
"Arabesque" has star appeal, fine chase scenes and a jaunty music score but a rather confusing plot about deciphering a coded message that everyone in the film is trying to get their hands on. Suave Gregory Peck and pretty Sophia Loren pair up to supply the romance while trying to escape from dangerous situations as they flee their pursuers through the streets of London, a zoo and a racetrack. The cipher and an assassination attempt are at the heart of this story and even Peck's Oxford professor can't figure out which side Loren's Yazmin is on as she tells Mr. Pollock one tale after another while they try to rescue an Arabian Prime Minister from grave danger. Sexy Sophia is not believable as a spy but nevertheless is a fine compliment to Peck in this enjoyable spy caper that parallels 1963's "Charade" but is not in the same class as that film.

Son of Charade!
This movie is ALMOST as good as its immediate predecessor with Grant and Hepburn. It's without a doubt Gregory Peck's best comedy, Roman Holiday or no. Stanley Donen again pairs two mega-stars who normally don't make movies together, (though in the case of Grant and Hepburn, they SHOULD have!) and produces good chemistry. Peck has great, clever lines and so does Loren in spots. However, there are a couple of scenes in the movie that keep me from giving it the full five or four star treatment.

This is a Peck, may he rest in peace, that you haven't seen before. His flippant, tossed-off lines suit the situations the writers have put his character in to a tee. He plays a professor reluctantly helping a slimy character, who KIDNAPS him to acquire his services, to decipher a piece of paper with a hieroglyphic inscription on it that a lot of people seem to be after. That hieroglyphic ISN'T exactly what concerns them, though!

Loren and the general intrigue, drag the poor man through being drugged out of his mind on a well-used freeway riding a bicycle, being abducted by yet more shady types, (a short-haired hipster and his gang), and evading armed arabs in a helicopter on horseback. Peck's character, however, dilutes any sympathy he'd get for all this by holding a knife to the exquisite Ms. Loren's throat early in the film! What's even weirder is that Loren SMILES at him after he does it since they were both trying to escape the mansion Loren was being held in. The whole thing was HER idea!

All the while, Peck throws out bon mots like there's no tomorrow, making you wonder why he didn't make more comedies, (Peter O'Toole, George Hamilton and Candice Bergen would make you think the same thing in breakout comedies THEY'VE made!) Loren is absolutely GORGEOUS with those almond eyes, incredible figure, sculpted upper lip, magnificent tan and body by Fisher! She has a couple of great scenes in the movie, one where she tries to distract a Palace Guard in England and another where she's stuck in a shower, nude, where Peck has hidden to avoid being nabbed by her extremely possessive and decadent "keeper" in the beginning of the film.

Though people might argue to the contrary, this film really doesn't resemble "Charade" all that much, except for the fact that two stellar actors are doing a glamorous mystery trifle. The theme involves international intrigue, rather than a murder mystery and you know who Peck is from the beginning. It's actually LOREN who's the iffy one of the two....in the back of the van in the middle of the film, just before Peck goes on the comical bicycle ride on the freeway, it really looks like she's one of the bad guys as she cuddles with the character that first batters then drugs Peck.

Like Charade, however, the O. Henry machine is in overdrive as you never know who's who or what's what, except for Peck. One British government agent even surprises you!

There's a teaser scene, just before the credits run, that has one of the employees of Beshravi, the man keeping Loren, actually dropping ACID in some poor, unsuspecting soul's eyes. This, along with the knife scene with Loren and Peck, are the two scenes that keep me from giving this film a full family recommendation....However, if you have a strong stomach, it's one of the more entertaining 60s spy spoofs and definitely one of the better comedies for both Peck and Loren.

Great Movie
Arabesque is an extremeley entertaining and amusing movie. Peck and Loren are an excellent pair and their relationship kept me laughing throughout most of the movie. If you like spy movies and comedies, or if you just like Gregory Peck this is a movie for you. Anyway, I just liked it so much that I wanted to write a review for it, so I hope this helps.

RACIST YET DECADENT FLICK
Even though I am not Arab (just an advocate of human rights), this sumptous movie would have gotten 5 Stars if it weren't for the offensive and mistaken portrayal of Arabs and Muslims. Especially the name, "Arabesque" must be truly offensive to them ....

OTHER THAN THAT, if you can take this movie lightheartedly, non-judgementally and tongue-in-cheek (although we can't expect Arabs to!) than it is great entertainment with tonz of wit, TONZ of DRAMA!!!, decedant fashion scenes (of Sophia Loren trying on shoes!), and the chemistry between the two is pure romance. Although you wonder how they can ever top what they've been through - adventure-wise!

All in all, WORTH the money. Decadent close-ups of Sophia's make-up and a nice amount of outfit changes. An inspiration to women with inner glamour. ... Read more

Reviews (5)

A DUD FOR DAVIS.
A mysterious woman, Valerie Purvis (Davis) hires Ted Shayne (Warren William), a private detective to locate a certain Mrs. Barrabas (Alison Skipworth) but she won't tell him why....I finally watched this obscure little flick out of sheer curiousity: it really isn't very good. This is the second filming of Dashiell Hammett's classic detective story THE MALTESE FALCON which was filmed priorly in 1931 with Ricardo Cortez and Bebe Daniels. It was a good adaptation, but certainly not up to par with the 1941 classic with Humphrey Bogart, Mary Astor, Peter Lorre and Sidney Greenstreet. This middle version is the bad apple of the bunch which is played largely for laughs: it concerns a ram's horn filled with valuable jewels. As an interesting footnote, Davis had just finished her role in the critically approved THE PETRIFIED FOREST when Jack Warner thrust this ill-scripted mess at her. Davis was adamant that the part was an inconsequential one and that she needed a rest. Warner had a doctor examine her, and Davis was forced to relent as she couldn't afford to take a suspension due to piling bills and increasing debt. Davis was correct about the film however: it never found an audience, and it was thoroughly dismissed as trash by the critics upon its initial release in 1936.

Hilarious!
This is a MUST for the total fan of Bette Davis. Her entrance is just great--in trenchcoat and spectacles. You can't miss her as she slinks into her chair. The movie itself is rather uneven, but well worth watching. Were these people all drunk while making the film? Warren William surely was. And really, he looked much more like Sam Spade from the original book "The Maltese Falcon" than Bogie did. Personally, I think this film has a more West Coast feel than the later movie, with all the unstable characters. Don't get me wrong, I think the Bogart/Astor version is definitely superior, but this movie is a lot of wacko fun.

An Offbeat Mess
Something went very, very wrong when Warner Brothers decided to do this version of the Maltese Falcon. It appears they decided to lighten it up, although I'm not sure if they were going for full out comedy. The result is a strange mess that succeeds neither as comedy or as detective mystery. Warren William overplays the detective hired by various people to locate a horn full of jewels. Bette Davis overplays the femme fatale, and various character actors overplay the rest of the gang looking for the horn. The mystery is a bit confusing, despite the fact I have read the book and seen the superior 1941 version. I guess you could kindly say this version is offbeat. It was too offbeat for me!

Too bad Satan didn't meet a director
I have tried to watch "Satan Met a Lady" quite a few times now, because I have seen some good performances by the lead, Warren William, but this is one bad movie. I don't know what happened, but William just weirded out on this awful version of "The Maltese Falcon". Bette isn't much help, Arthur Treacher slightly better than Bette. Those who made this picture must have had some vision in mind, but the message remains arcane. I don't understand why Warren William is directed in this bizarre way--it seemed a suicide mission in terms of outlandish histrionics. I don't think I shall ever sit through this in its entirety, so one star is the best it can get from me.

Bette Davis and the Maltese, ah, Ram's Horn?
"Satan Met a Lady" is based on "The Maltese Falcon," which is probably going to come as a surprise to a lot of people watching this 1936 film directed by William Dieterle. Warners had made "The Maltese Falcon" in 1931 and would again in 1941. "Satan Met a Lady" is more of a screwball detective story, where the object of desire is a ram's horn encrusted with precious gems that is supposedly the horn from the Song of Roland (nice literary touch). On a train to San Francisco, eccentric private detective Ted Shayne (William Warren) meets up with shapely blonde Valerie Purvis (Bette Davis), who hires him to locate Madame Barabbas (Alison Skipworth), who in turn sends one of her agents (Maynard Holms) to find out why Shayne is snooping around. The Madame makes a counteroffer for Shayne, claiming Valerie was one of her agents who has made off with the valuable ram's horn. The story should be starting to sound somewhat familiar to you by now, and there is certainly something to be said for turning Gaspar Gutman into Madame Barabbas.

There is every reason to believe that "Satan Met a Lady" is intended to be a spoof of detective films, at least in part. The only other reasonable explanation is that everyone just through up their hands trying to make sense of the convoluted plot and the cartoonish characters. Davis is fine as the femme fatale and certainly William is no Bogart, but if you want to really judge the gap between "Satan Met a Lady" and the classic "The Maltese Falcon," just compare this film's scatterbrained secretary Miss Murgatroyd (Marie Wilson), with Effie Perine (Lee Patrick). This film is an interesting curiosity, more of interest to fans of Bette Davis than of Dashiell Hammett. ... Read more

Amazon.com

Most of this second volume of stories from the 1985-87 televisionanthology series is a middling offering from former Steven Spielbergprotégé Robert Zemeckis, who later won an Oscar for directingForrest Gump. (Spielberg was the creator of Amazing Stories.)Zemeckis's episode is a bit of schlock horror called "Go to the Head of theClass," and while itstars Christopher Lloyd in a fiendish role as a decapitated teacher, and an atypical part for Mary Stuart Masterson as a manipulative teenage babe, there isn't much that sticks to the ribs.

The real treat on Book 2, however, is the animated "Family Dog,"directed by the little-known Brad Bird but supervised by Tim Burtonlong before he became a household name. A witty and observant satire on familydysfunction as seen through the eyes of a pet pooch and perennial scapegoat,"Family Dog" follows the misadventures of a sweet-natured mutt just trying tofit in with his human housemates but betrayed at every turn. Tormented by abratty boy, prodded by an exuberant toddler, and an easy target for an unhappymom and duplicitous dad, the dog can't get a break. Burton's dark sensibilitiesare certainly in play, and the animation--while owing something to Warner andDisney--is novel and expressive. One needn't worry about young viewers watchingthis one: there's no physical brutality and the comedy always prevails. Plus,the ending proves, definitively, that every dog does indeed have hisday. --Tom Keogh ... Read more

Reviews (10)

Family Dog Takes the Cake!
The Family Dog is absolutely the funniest cartoon I have ever seen. We wore out our copy years ago, and I'm so grateful to find that it's here for sale. Although we haven't seen it for eons, my family still quotes from it, and we never fail to crack up in giggles at even the memory! I can't speak for the Christopher Lloyd portion, but Family Dog is WELL worth the investment, for the youngsters as well as the adults in the family!

Family Dog is the head of its Class! But, Class is a Dog.
This tape consists of "Go to the Head of the Class" and "Family Dog." Team Robert Zemeckis with his 'Back to the Future I, II, & III' & 'Who Framed Roger Rabbit' star, Christopher Lloyd and you are bound to get a hysterically funny, creative tale. But, that did not happen here. Nothing of Zemeckis' (Used Cars, Contact, Forrest Gump) film making know how is evident here and Lloyd has never been more annoying. Additionally, this hour long episode has a half hour story-line stretched way too thin. Even Coffey and Masterson have no charm here. On the positive note, some of Stan Winston's (Terminator, Jurassic Park) headless effects are very impressive for 1980's television. BUT Family Dog!This could be the most successful of the entire series. After all, it spawned a spin-off series! (Very short lived). But, it is meritous. The animation is great fun. The dog's nose floating an inch off his face is hysterical and his reactions are obvious without being human. The stories themselves are smartly paced with 'real' dialogue and each is balanced with humorous music by Danny Elfman of Oingo Boingo fame. Enjoy!

OH MY GOD!!!
The cartoon was unbelievably funny! That rotten little boy and the smartass dog was too too funny for words.I RECOMMEND THIS MOVIE TO ANYONE WITH AN ATTITUDE PROBLEM BECAUSE THIS MOVIE WILL GET RID OF IT TEMPORARILY. JUST LONG ENOUGH FOR YOU TO FORGET WHY YOU WERE MAD IN THE 1ST PLACE

Amazing Stories Review By MaxS. McPike
When I first watched the Amazing Stories TV show I was just
stunned ,I loved it and I even thought it was better than
the Twilight Zone movie and also it was a lot different than other movies and TV shows . What I also liked about it was that it had a lot of famous people in it like: Kevin Kostner, Pat Hingle, Kiefer Sutherland, Mary Stuart Masterson,Christopher Lloyd, Rhea Perlman, and many others. I think it is fun for the whole family. P.S. I think they should put it on DVD.

THE BEST ANIMATION SHORT OF ITS TIME
BUY IT BUY IT BUY IT, just for the short, "Family Dog" I have been looking for this cartoon for years!! I knew of someone's household that was similar to this short! My family and I used to watch this everytime it came on cable, before the series came out. ... Read more

Reviews (3)

Not a true Best of Eddie Murphy video
The first thing one needs to know about this tape is that it is not a Best of Eddie Murphy collection by any means. This video contains the bulk of two SNL episodes hosted by Eddie Murphy: one when he, still a cast member, filled in for an ailing Nick Nolte, and one marking his return as host to the show he had recently left (oddly, they are shown in reverse chronological order). SNL just wasn't a very good show in those years; Eddie Murphy had basically been carrying the show on his own shoulders. Since all of the skits on this tape don't actually include Eddie Murphy, you get some pretty bad segments to go along with the good ones. Murphy even warned the audience in his first monologue that some things on the show would not be very funny, and he wasn't lying.

There are a few memorable skits on this tape, however. Buckwheat lives again to have an odd reunion with Alfalfa, Eddie delivers one of his vintage Stevie Wonder impressions, Mr. Robinson returns to the neighborhood, and Murphy goes undercover as a white man in his memorable documentary White Like Me. Throwaway skits such as Milestones (with Eddie as Desmond Tutu) and Hairem Skarem (with Eddie as an effeminate hair care professional) manage to dreg a few laughs out of the indifferent material. Gumby gets his own Christmas special, but the bad moments outweigh the good in this particular skit. The real highlight here, in my opinion, is Black History Moment. Eddie fudges his lines a couple of times and compensates with some very funny ad libs.

With the good comes the bad. Harry Anderson's eight minutes of comical magic seems to bring the video to a crashing halt. Lifestyles of the Relatives of the Rich and Famous, with Martin Short playing Jerry Lewis' niece, is bad; The Stairs, with Martin Short as a soldier who has no clue as to how to climb stairs, is even worse; Julia Louis-Dreyfus' A Christmas Message is simply atrocious. Eddie Murphy fans will certainly find some good material on this tape, but it comes with some pretty unfunny baggage. Don't let the title fool you: this is a far cry from a Best of Eddie Murphy video.

Best compilation of Eddie Murphy material
This video is probably the funniest compilation of SNL skits with Eddie Murphy. A college friend of mine had a copy and we spent many a night watching it over and over. Then we'd hit the bars and perform skits in our drunken stupor. I have been looking to purchase this video for the past couple of years, and would like to find it!!!

This video is HILARIOUS
If yuo want an insane laugh, go for this tape anyday. It is blatantly offensive and very 80's, but that is what makes it so much fun- and neat, that he was great then and is great now as well! ... Read more

Description

His life is on the road, his career is on the skids?but maybe a country singer's next song can take him out of the honky tonks and onto the radio hit parade. Rip Torn scores in this chronicle of show business backstage. Year: 1972Director: Daryl DukeStarring: Rip Torn ... Read more

Reviews (4)

Country and Western's "Almost Famous"
This movie never received the praise it merited. Rip Torn is fantastic as a sleezy second-rate C&W singer scrambling toward Nashville and not caring who he uses -- the scene in the car, you'll have to trust me, is exemplary of such lowlife individuals.

And what ever happened to Elayne Heilveil? She was as superlative in this flick as character Maury Dann was despicable.

CLASSIC BUT
THIS WOULD PROBABLY ONLY APPEAL TO AMC FANS WHO LIKE A LITTLE CHANGE IN THEIR MOVIE DIET...I DONT KNOW ABOUT BUYING IT CATCH IT LATE AT NIGHT ON BRAVO OR SOMETHING...

Maury Dann is a Golden God !
Incredibly good portrait of a mid-level country music star on a tour of the south. I mean if you're a musician and you've ever been on tour buy this. If nothing else the movie will crack you up. Maury Dann as played by Rip Torn is an irascible, dirty ... The beginning scene with the old time musicians (violinists, banjo players, guitars, etc.) in the hotel room is great in and of itself -- what follows only confirms this great scene. If you're a musician, if you like music, if you like movies, or you're a sociologist fascinated by the country music scene, you should check this movie out.
It's strange because i'm not a expert or nothing but, i think, in 100 years this movie will still be around. It is an expert, unflinching gaze at the degrading aspects of "celebrity."
Regarding the other reviewer's comment, I don't feel that Dann is evil -- the movie is much too realistic to fall into an easy moralistic framework. It almost runs like a documentary. You're here: buy it.

Rip Torn is never better!
This film is so great, but it's certainly not for all tastes. I saw it for the first time a few months ago(in a rare screening) and have recently acquired the v