Description

Adventure, drama and romance of an outlaw ship and the people aboard her. Based on Andrew Geer's novel. ... Read more

Reviews (5)

The Duke playing a German......Pretty Neat.
Having John Wayne play a German Ship Captain (and an anti-nazi one at that) in World War Two made for an enjoyable change from his 'usual' roles, and underlined an important, though understated historical fact: that not all Germans in that time period were pro-Hitler, though they fought for their country out of love for country. That was so well shown when Wayne's character threw out the Swastika Flag and raised the World War One German Battle flag when his ship was challenged. This was a prime example of what made it an enjoyable film for me.

Strecthing the Boundaries of Credulity
John Wayne is a great actor who works best in Cowboy and Gung Ho American soldier roles. He is a type casted actor and his role as a German tramp ship captain who hates Hitler is nothing short of funny. Not that the storyline is bad, it is just a situation of miscasting. Although Wayne's acting is good, his American accent and the thought subliminally that a cowboy is playing a German totally destroys the mood of the movie. But the movie is worth watching especially for Wayne fans.

Germans with no accent?
A German commander of a somewhat stolen freighter is in a desperate flight to escape the Nazi grip and find safe harbor in another country. John Wayne and Lana Turner star in this movie with brief shots of James Arness and Tab Hunter.

Amazingly, none of these Germans have any accent other than the American-ized pronunciation of their German names. John Wayne comes across as a cowboy in captain's clothing and just because Lana Turner is blonde doesn't make her performance any more convincing. All five of Tab Hunter's lines were nothing more than very obvious pretty boy cameo shots in an attempt to draw the public into the movie theatres. The cinematography was fairly good though, with some very impressive scenes.

Strange but unforgettable
This is one of those odd movies that have, quite nexpectedly, the quality of masterpieces. It was the best surprise I have ever had in a cinema. Full of images (the smashed lifeboats, the rats, the final storm) and a situation that lingers in the mind. It is a somehow "special" film and a perfect but unconventional sea adventure. Perhaps because of its unconventional plot and narrative it manages to be quite unforgettable. One of John Wayne's best. Some brilliant camera-work.

A surprising engaging movie
The only reason I gave this movie rating 4 stars is that it is impossible to listen to John Wayne's voice and accept the fact that he is cast as a German freighter captain. It fits that he is both patriotic and anti-Nazi in the movie, but he simply doesn't come across well as a German.

It's surprising therefore, that the rest of the movie works so well. Best friends and now political and romantic rivals chase each other across much of the south Pacific. There are spies, secret allegances, and other intruige galore. It's well worth a look, though I'd rate it in the category of B-movies (which I very much like). ... Read more

Amazon.com essential video

Fact and fiction intertwine in Milos Forman's colorful kaleidoscope of E.L. Doctorow's sprawling novel of turn-of-the-century America. Anchored in the true story of the murder of architect Stanford White (Norman Mailer) by Harry Thaw (Robert Joy) over the affections of his wife Evelyn Nesbit (Elizabeth McGovern), Forman weaves a portrait of early 1900s America in a tapestry of intertwining fictional tales. The primary thread involves the proud black pianist Coalhouse Walker Jr. (Howard Rollins) and his demand for justice when a racist fireman destroys his automobile, which escalates into a reign of terror by Walker and a band of revolutionaries. A secondary story involves an ambitious immigrant artist (Mandy Patinkin) whose primitive flipbooks send him on the road to creating early cinema. Centering all of these stories in one way or another is an upper-class family known simply as Father (James Olson), Mother (Mary Steenburgen), and Younger Brother (Brad Dourif). James Cagney came out of a twenty-year retirement to play the irascible Irish police commissioner, a character created for the film. Forman's biggest departure from Doctorow's novel, however, is his focus on Walker's story, cutting away the other threads to little more than asides in the final half of the picture, the primary dramatic weakness of an otherwise rich evocation of America's past. Randy Newman's lyrical score and Miroslav Ondricek's understated cinematography earned two of the film's eight Academy Awards nominations --Sean Axmaker ... Read more

Reviews (21)

Underrated Classic
A complex, engaging, colorful, masterpiece. Milos Forman has never disappointed as a director. Typical of him, he captures America better than just about any American director. The cast is superb. Howard Rollins, Jr. is nothing short of amazing as Coalhouse Walker, Jr. Elizabeth McGovern, Mary Steenburgen, James Olson and Brad Dourif also give great performances.

I have admittedly not read the book, nor have I seen the Broadway musical. I don't know what EL Doctorow thinks about the movie of his book (I gather he is not crazy about it). But the film has a wonderful pace and the soundtrack is stunning as well.

I think it is a crime that the soundtrack is not available on cd and the movie not available on DVD!

The ignored classic.
RAGTIME was one of Milos Forman's three great literary adaptations of the 80's, the others being AMADEUS and VALMONT. AMADEUS was a hit, but RAGTIME, which was largely ignored by the public and the critics, who badly wanted to show off the fact that they read the book, was a flop. Too bad. The original novel is like "Forrest Gump" in the early 1900's. A sketchy work in which the members of one upper class family meet with every possible type of person, real or imagined, including every famous person that you can find from that period in the encyclopedia. Forman's film, however, is a genuine masterpiece and one of the very best films ever made about America. He fleshed out the characters, eliminated the unnecessary, and concentrated basically on three main story lines. Unfortunately, the film was deemed too long, and Forman was forced to cut one of the story lines. I hope that when the DVD is released, the missing storyline is put back. Of the film as it stands now, Film Critic David Thomson said " it is a much underrated film. Complex about the time and its ideas." The only possibly distracting thing about the film is the amount of soon to be famous actors appearing in small parts, including Jeff Daniels, Samuel L. Jackson, Fran Drescher, etc.

A Milos Forman Classic
If you missed seeing "Ragtime" back in 1981, it wasn't your fault because you probably didn't even know it existed. Much like Terry Gilliam's "Adventures of Baron Munchausen", this truly great movie was poorly distributed and miserably publicized and advertised when it was released. This is too bad because both films deserved much better. Anyway...

Milos Forman has time and again proven that he is not only one of the world's best directors but also one of the sharpest viewers of American culture and history. "One Flew Over the Cuckoo's Nest", "The People vs. Larry Flint", and, to an extent, "Man on the Moon" have at their core an indictment of American society: its racism, its hypocrisy, its perversity, its corruption, and its insanity. However, Forman is by no means anti-American. In fact, these movies also have at their hearts a deep fascination with America and a yearning to make it better. And like few directors can do, he doesn't create a manifesto disguised as a film. His characters and dialogue are believeable, and his filming is gorgeous to watch.

Of all his films--and that includes "Amadeus"--"Ragtime" is perhaps his best, in my opinion. Its complex narratives are logically, fluidly and masterfully meshed together. But what I find fascinating about the movie is that all the complicated, volatile emotional reactions the characters experience--sometimes ending in violence--all start from simple wants. Coalhouse Walker, Jr. (powerfully played by the late Howard Rollins) wants the racists who vandalized his car to repair it. Harry Thaw (played by the underrated Robert Joy) is an erratic millionaire who simply wants a nude statue of his wife taken out of public view. A father (movingly played James Olson) simply wants to keep his family together. His brother-in-law (Brad Dourif in an extraordinary performance) simply wants the girl he loves to love him back. And a Jewish immigrant (a wonderfully manic Mandy Patinkin) simply wants to make it in America. It's when all these desires collide that the fireworks of "Ragtime" begin. And like the great American tradition of 4th of July fireworks, "Ragtime" is dazzling to watch.

From a boy to a Man
I saw this film for the first time as a junior and have always thought it was a masterpiece. So, I decided to purchase the film on DVD, but to my surprise, it's not available on DVD, VHS it is. I have since watched this film a number of times and my appreciation for this work of art has continued to grow. This film is truly one of the best films ever made and is more than deserving of its place on Digital Versatile Disc b.k.a DVD...

fantastic movie
What a terrific movie. The music is just wonderful and fits the movie to a 'T'. I recently bought the CD at Borders, Books and Music (Dec 21, 03), because years ago I owned the LP!!! I was disappointed to find that the movie is only available on VHS though. Guess I'll reluctantly buy it because I'd love to laugh and cry all over again. Can't even rent this anymore, it's a shame. The good movies go and the junk is always rentable. ... Read more

Reviews (151)

A great factual account of Pearl Harbor... to a fault.
There's no denying the grand effort that went into making this historical presentation of the Japanese attack on Pearl Harbor. Taking accounts of both sides of the war equally, made respectively by both United States and Japanese production crews, Tora! Tora! Tora! is a great documentation of how the attack really occurred. Unlike the recent Pearl Harbor film, which tries to tell the historical story (with many flaws), a love story and a disaster story, Tora! Tora! Tora knows what is meant to be, and strictly follows the historical angle.

Unfortunately, this dedication to fact is the films major weakness. There are no real characterizations of any of the major roles, no central character the audience can connect with, either on the American or Japanese forces. This lack of a so called staring role (which both sides should have had) makes the film feel more like a documentary then a movie. What characters the film does center on are all flat and rather uninteresting. Not to mention poorly acted.

Despite this, the film provides a great understanding of how the attack really occurred, and gives a wonderful visual feast of the disaster. For 1970, when this film was released, the visual effects are outstanding. Definitely worth at least one viewing, more if you're a World War II buff.

The Definitive Pearl Harbor Film -- Not To Be Missed
A unique collaboration between American and Japanese filmmakers, "Tora, Tora, Tora" remains the definitive Hollywood portrayal of the tragic events of December 7, 1941. Perhaps the greatest compliment ever paid to this film was provided by none other than Jerry Bruckheimer and Michael Bay, the "masterminds" behind the disastrous "Pearl Harbor", who stated that "Tora" played too much like a documentary. Well, how about that? No meandering love story, no Hallmark script, just cold, hard facts. "Tora" places us smack dab in the middle of a lethal chess game played by politicians in Washington and Tokyo throughout the Fall of '41. The political stalemates and blunders which inevitably lead to war are the meat and potatoes of "Tora". The climax is, of course, the Japanese attack on Pearl Harbor which is masterfully and accurately re-created. Vintage airplanes and actual ships are seemlessly juxtaposed with miniature models. The results are a spectacular cinematic experience which still holds up by today's standards. (Digital effects didn't exist when "Tora" was released in 1970.) Several big names-- Joseph Cotten, Martin Balsam and E.G. Marshall -- assume starring roles, yet wisely let the story be the "star" of the film. Credit the filmmakers for steering the focus toward the "event" without getting sidetracked in typical Hollywood fashion. To objectively portray the events of Pearl Harbor through the eyes of both sides, while keeping finger-pointing to a minimum, was no small task. In turn, the ability of the viewer to experience the preparation and strategy of both sides makes "Tora" truly unique. This is an important film which treats a monumentally tragic event with the respect and accuracy it rightfully deserves. Essential cinema -- not to be missed.

Superb!
After seeing Das Boot for the first time recently, my interest was piqued for another WWII movie. I remember when Tora! was in the theater while I was in high school...and that I had no interest in seeing it at the time. This is a serious-minded, fact-based film of epic proportion. It has similarities to Das Boot in that part of the story is told from the US enemy's point of view. And, oddly enough, I found the structure of the film to be somewhat reminiscent of The Deer Hunter, or even King Solomon's Mines [1950], in that there is a long, detailed build-up of the story prior to any action sequences. And once the action arrived, I sat there thinking, "How did they do this?" Especially considering the fact that this was 1970. But the biggest reward for me is the story itself, and the non-Hollywood way in which it is told here. No one would get financial backing today for a film of this expense coupled with such a non-fiction approach.

The Best Movie Ever Made About Pearl Harbor
Tora! Tora! Tora! is the single best movie ever made about the Japanese attack on Pearl Harbor. It features excellent performances from such actors as James Whitmore, E.G. Marshall, Jason Robards and Martin Balsam. The special effects are far more convincing than what's in modern movies. It also has some of the best movie music of all time. Best of all, the movie shows the sheer complacency on the U.S. side that enabled the Japanese to successfully mount the surprise attack.

Tora! Tora! Tora! is far superior to any other movie ever made about Pearl Harbor. In fact, it is one of the absolute best movies ever made about World War II. It is a classic motion picture in its own right.

On a scale of 1 to 5, it really merits a 10.

Should have been 5 if...
...this movie, which got awesome air scenes and very well documented background info (politic, diplomatic, and military), had been a couple of minutes longer at the end of 1st part. And showed how Roosevelt, who was informed of the results of the (fantastic) Intelligence work -they even could pin the time of the attack- decided to keep it under wraps: so that, without any prior warning, the damage would be maximum, and the shock upon American people would be such as to suppress the reluctance they still got towards entering the war. One of the best examples of "The end justify the means". The Pearl Harbor story could as well have as title "They were expendable". ... Read more

Reviews (7)

Fantastic movie
I love all Shirley movies, but this one takes her acting
a cut above. It allows Shirley to show her acting range.
I loved the story especially because it made you laugh and cry.
The scenery is beautiful and so is the story!

Winkie doesn't Wink!
Well,I'm a big Temple fan and I certainly didn't totally hate this movie but I sure didn't totally love it. This movie may be good to someone who is interested in this kind of stuff but for an 11 year old girl who loves to see the dancing and singing Shirley this comes as quite a disapoitment.I read that this was Temple's favorite movie of hers. While I can't criticize her opinion I think she has done much better. Wee Willie Winkie doesn't even wink! Some ok parts but if you're a Shirley fan you probably would rather stick to doing something else.

Shirley in India!
One over-looked strength of so many Shirley Temple movies is that they can introduce young children to the topic of death and loss in a sensitive way. When Shirley's soldier friend Victor McLaglen dies of his wounds in his hospital bed during Shirley's visit, it is obvious to the audience, but not to the naive child. I found that scene the most touching in the whole movie. In other respects, it is a very good piece of movie-making, with old war horses C. Aubrey Smith and Cesar Romero turning in solid performances as Shirley's commander-grandfather and the villainous enemy to British concerns, respectively. Shirley manages to quell troubles in India, at least for now, by virtue of her innocence and pluck. Well worth seeing.

Fantastic
This is an outstanding movie. What makes it so fantastic is that it isn't just a great Shirley Temple vehicle...it's a great FILM all the way around. The director, John Ford, the supporting cast, including Victor McLaglen and Caesar Romero, and the production values are all top of the line.

The story seems predictable at first--once again, Shirley's precocious character, Priscilla, is missing a parent (this time, her father). As in some of her other films, she goes to live in a new environment with a grumpy older relative (this time, her grandfather, a British military general).

This is where the similarities end, however. Priscilla decides she isn't content sitting at home with her Mum, sewing samplers--she wants to join the Queen's Army. With the help of Sgt. MacDuff (McLaglen), she procures an official uniform, learns the drills, and adopts a military name--Wee Willie Winkie (the name, by and by, comes from a Scottish nursery rhyme). She also dabbles in international diplomacy by striking up a friendship with the Indian leader jailed in the army camp, Khoda Khan (Romero). When Khan's chieftains attack the base, it's up to Winkie to find a way to achieve peace.

One neat thing about this film is the theme of empowerment it has for young girls. It was made in 1937, and set in the prim-and-proper Victorian era--and it was about a little girl joining the army! Priscilla holds her own among the soldiers--at one point in the film, unhappy with a decree made by her grandfather, she storms into his office to argue about it (and she wins the argument!). The film sends the message that girls CAN do anything--be it sew or march in the army.

There is also a strong message of peace, in spite of all the military trappings--the battle between the British and Indian forces is not solved with guns or cannons, but through mediation. Winkie impresses her fellow soliders not by killing people, but by using her head and thinking things through.

Ford's direction is beautiful, and the script is strong. There are several extremely memorable scenes: the one that stands out in my mind is at the end of the film, when Khoda Khan, Winkie and the British general meet on a hill, surrounded by British and Indian troops.

Temple is wonderful in this--it is probably her strongest dramatic film and one of the best story-wise. She actually did her own stunts in this film--the scene where she ran across the path of the stampeding horses wasn't done with camera tricks! McLaglen is endearing as Sgt. MacDuff. Romero is also phenomenal--he makes Khoda Khan much more than a one-dimensional villain.

No, this isn't a light, happy musical. It IS, however, a film with a lot going for it, and definitely worthwhile.

"The Peace-Maker!"
This Shirley Temple film is one of my least favorites and is not suitable for young children-they'll just be bored. Shirley doesn't dazzle her audience with her musical talents, which gives the movie a downside already. She plays a prim and proper English daughter named Pricilla living in India with her grandfather (a colonel) and mother on military grounds. She then decides she wants to be a member of her grandfather's army to make him proud of her. Her soldier name becomes Wee Willie Winke. The movie is very boring and very much drags it's story line. At the end, Shirley saves the world from war. Although the movie is dull, I must ammit Shirley is a very good actress in the movie. She is dramatic, sweet, and tough. The only reason "Shirley lovers" should buy this movie is to see her great display of acting talent. ... Read more

Reviews (15)

One Bad Cop
Why is it that some of our best actors give their best performances when they are playing bad guys? Maybe it's the change of pace; one probably gets tired of being the hero in film after film; but they clearly seem to revel in the opportunity of playing a straight-up jerk once in a while. In "Internal Affairs", we have Richard Gere coming down off his movie idol pedestal and giving a devastating performance as Dennis Peck, a cop who gives corruption a whole new definition. This guy makes Satan look like a boy scout. He carries on a brazen affair with his partner's wife; arranges to have his partner whacked when the police department's internal affairs bureau begins investigating his partner's extracurricular activities a little too closely and his partner is about to implicate him in the mess; agrees to execute a wealthy businessman's elderly parents who are taking too long to die so that he can come into his inheritance (meanwhile seducing the businessman's wife as part of his fee for service); and tries to seduce the wife of Raymond Avila, the internal affairs cop played by Andy Garcia, when Avila starts to suspect that Peck isn't the poster-boy cop his precinct command has made him out to be. The movie tries to show us what Peck thinks is his softer side; he's a devoted father to his offspring, but we can see that to Peck his children are nothing but trophies; he's still in his thirties but he already has 8 by three former wives and his fourth wife is expecting his ninth. Peck's children are extensions of himself; his wives are baby-making machines, and his partners and co-workers are pawns to be used for his own nefarious purposes. When Avila realizes that Peck has tried to destroy him as a cop and as a man by attempting to seduce his wife, the battle lines are drawn; Avila, of course, will be Peck's nemesis, but it's fascinating to watch each of them try to bring the other down. There are excellent performances by the supporting cast, particularly Nancy Travis as Avila's wife; Laurie Metcalf as Amy Wallace, Avila's partner who proves she's a tough a cop as any man, and William Baldwin as Van Stretch, Peck's hapless and ultimately gutless partner, brave enough to beat up on his wife but not strong enough to stand up to Peck and the venality he represents. Peck is one of the more intriguing anti-heroes on film; just when we think he's hit rock bottom, he takes a shovel and starts to dig himself in even deeper; he sees Avila's decency as a weakness he can manipulate just as he has played and destroyed everyone who crosses him. Some people, especially those who don't like to see law enforcement portrayed in a negative light, are going to be offended by this movie, but the film doesn't tar all policemen with the same brush; it's a fascinating and disturbing voyage into the mind of one very bad cop.

One of my faves
What makes thsi movie so good is the mind war going on between Andy Garcia and Richard Gere's characters. Garcia is tryign to unravel the labyrinthe of villainy and insanity that Gere has created as a corrupt cop. Gere is actually at first tickled that he's under investigation (thru his young partner Billy Baldwin) because he controls so much of his life. Multiple women/wives all living together, lots of kids, drug money, police power. But when Garcia of Internal Affairs starts getting too close Gere actually sets up a seduction of his wife that looks like one thing, is another thing and leads up to a very erotic, emotional scene between Garcia and his wife. Laurie metlcalf also plays a lesbian cop who Garcia briefly butts heads with as they team up. The nice thing about this movie is how everyone makes sense as a character and no one is entirely comfortable with the other characters. Loyalty is shown as a natural growth and betrayal a likely outcome. Very mature, strong film from gere, who makes an effort it seems to choose characters that have an internalworld going on that the watcher has to fathom about as he slowly lets possibilities, concepts slip out of what the motivations may be. Garcia is fantastic too. An incredible actor himself who chooses movies that allow his sublte, slightly repressed intensity to boil to the surface. Garcia, I hate comparisons, is very much like Al Pacino of the 70's.

Going Toe To Toe
Fresh off his supporting roles in Black Rain and The Untouchables, actor Andy Garcia teamed with Richard Gere, in a thriller for director Mike Figgis. The end result is a solid film, that is able to rise above its cliches, thanks to its cast.

Raymond Avila (Garcia) works for the internal affairs division of the LAPD and has been assigned to investigate Dennis Peck (Gere), a corrupt officer. The two men circle each other, like hunter and prey, certain that each will take the other down. It's discovered that the stakes get more personal when Peck uses Avila's wife Kathleen (Nancy Travis), and his partner Amy (Laurie Metcalf), as a way to get him off the trail.

Figgis plays the movie like a boxing match as the two leads go head to head. Gere plays it Peck like a total scumbag. He's a smooth operator--who happens to have a God complex. He is so sure of himself that he's bold enough to have 4 wives and eight kids. But as horrible as the character is, he plays it so well that, despite that, he's also quite magnetic. Also, by now, Garcia has come into his own as an actor and is able to hold his own. Some of the script suffers a bit from a stale smell. Thankfully, Gere and Garcia keep your attention throughout the movie, to soften those issues.

The DVD may not have any extras, but it is overflowing with enough of everthing else--all in all--for me to recommend this film.

Gere is so good when he's bad
Gere is so believable in this film. Initially, he is nearly sympathetic. Baldwin does a fine job Gere's partner. Garcia delivers what may be his finest peformance. Travis holds her own and definitely steals some scenes. This is an older movie, but it still smoking today. Well worth watching over and over. A keeper for the collection!

Didn't 'Faire' well with me
Internal Affairs is nothing more than an early 90's B Movie gone bad. Richard Gere may have had his worst performance in his career, and Andy Garcia definitely did.

Why people are so drawn to this movie is beyond me. Maybe I missed something, but I don't think so. Sex played a vital role in the movie, and to me, there was nothing steamy about it. It just sizzled right out.

Gere and Garcia so obviously walked through their parts and they must have needed the money, because they were just jokes. Garcia was incredibly stiff. There was no emotion in his character until the end, and even then it was mild. Gere was awful as the "villain". He's obviously progressed immensely as an actor.

The directing was just plain bad. It seemed the actors didn't know what to do for moments in the movie. There were awkward silences and pauses that were either put into the film on purpose for some insane reason or the actors had nothing better to do.

Internal Affairs is a complete disaster with storybook qualities. Don't waste your time with this mess. 2 Stars ... Read more

Reviews (1184)

This Movie is Why "Professional" Critics Must Go
I didn't see this movie in the theaters because it had gotten very mixed reviews from the so-called professional movie reviewers. But, when it hit the local vidoe store, I thought I would give it a try. WOW, what a kick in the teeth, interesting, and fast moving journey into one man's mind. The path this movie takes is fantastic.

Norton and Pitt are perfectly cast, and supported by a crew of fight club members that make for a well-acted show. Meatloaf, Ed Gil, Jared Leto, et. al. are great in support as the members/followers of the leads. Helena Bonham Carter has the only real female role in this film and is perfectly cast. But as much as the acting, this movie is made by the story. Unconventional, with a great twist at the end, the whole movie kept me on the edge of my seat. As with many great movies, it is hard to classify the genre (action, comedy, drama), as there is a sampling of all in this film. In the end, I would just classify this as a great film.

Much was made of the violence of this movie when it first hit the theaters. Those critics overstated the case. There is blood and violence in the movie, but it is not excessive and it serves the plot well.

If you missed this in the theater, see it now. If you saw it once, see it again. I will.

Fight Club-another reason to own a DVD player.
If any DVD was produced on the same level as the Terminator 2 Ultimate Edition and the Toy Story 3-Disc box set, it is this DVD. Fight Club is not only a VERY well produced DVD, but the supplemental material will keep you busy for LITERALLY hours. You will finally have a reason to 'break in' that angle button on your remote. As a story, Fight Club takes a more cerebral approach to ones thought processes. Containing many cool effects, Fight Club may make the average movie viewer pop a few Excedrins while trying to figure out the point of the film. While many may finish the movie in total confusion, mostly everyone will agree that Fight Club is a unique movie experience. When I received the DVD package, I was instantly impressed with the graphic design of the outer package, the discs themselves and the booklet that is included. Initially, this DVD comes off as a "special edition" rather then a simple "movie release on DVD". Whoever created the graphics on the cover and throughout the booklet has a very active imagination. Disc one has the film, disc two has the supplemental material. ** Pause the third FBI WARNING at the beginning of the disc....it is quite funny** Disc one offers you your usual "chapters" choices with 'moving' scenes (like The Matrix), audio setup for Dolby surround for both a 2 speaker setups and 5.1 setups in English and Spanish. This is also a THX certified DVD, so it includes a THX setup screen. Disc one also gives you the choice of several audio commentaries to listen to throughout the film, including David Fincher, Bradd Pitt, Ed Norton, Helena Bonham Carter, the novelist and the screenwriter, the Director of Photography, Visual Effects Supervisor and a couple of others. In a nutshell, you have a choice to listen to A LOT of people, a great addition to this DVD. Picture quality of Fight Club was incredible. Overall, the picture is moody and dark with beautiful blacks and wonderful color detail. It is beautifully photographed with incredible shadow detail and crystal clear highlights. Sound quality was equally impressive. Being THX certified, you can expect nothing less then awesome. Edward Nortons voice-over sounds very live, as though he's sitting right in front of you. The sound has beautiful detail, with stereo separation being impressively realistic and the music and dialogue recorded incredibly well. Surround detail is amazing with some scenes having deep bass that will make the neighbors call the cops. Disc two will stay in your DVD player for a long time. The supplemental material includes crew and cast information. behind the scenes of the production, the visual effects and on-location footage with commentaires and multiple angles.......WOW! Disc two also contains seven deleted scenes as well as trailers, TV spots, music videos, an interview with Edward Norton and a bunch of storyboards, visual effects stills, paintings and many other additions to keep your fingers happy on that remote. The Producers of this DVD should be applauded....not only is the picture and sound quality top-notch, but the graphical elements and the supplemental materials included are fantastic and incredibly entertaining. I highly recommend this DVD for those who enjoyed this movie in the theatre, who are curious about the film, or those simply interested in seeing what a superb DVD release is all about. Enjoy!

Not bad, but...
OK, blend Matrix, Guy Richi, and Osama Bin Laden and you get a masterpiece? A funny comedy, not more. Fight Club is brilliant in the beginning with all that satire, but when it gets philosophical, I felt like I have seen this before.

Famous Fight Club quote.
"F*** Martha Stewart. Martha's polishing the brass on the Titanic; it's all going down, man."

-- She just 5 months in prison and 5 months of home confinement. Isn't it wierd how much of this film has been almost prophetic?

Outstanding commentaries
All the commentaries you could want, and they're all great. The actor's commentary is at least as entertaining as the film. ... Read more

Amazon.com essential video

After several years as the hottest musical director on Broadway, Bob Fosse made his film directorial debut with this movie version of his Broadway hit, which was based on Fellini's Nights of Cabiria. Shirley MacLaine is terrific as the proverbial hooker with the heart of gold, one who is convinced that she will find the right man if she just turns enough tricks. The Cy Coleman score is a solid one; the film is at its best when Fosse lets his cast of singer-dancers (which includes Chita Rivera, Paula Kelly, and Sammy Davis Jr.) unleash his leggy brand of choreography. While the film suffers from stylistic excesses of the period, you can see the seeds being planted for Fosse's future musical film forays in Cabaret and All That Jazz. -–Marshall Fine ... Read more

Reviews (31)

Shirley MacLaine in her greatest musical performance
This new DVD release of SWEET CHARITY is a welcome addition to any classic movie collection. Shirley MacLaine stars as Charity Hope Valentine in the celebrated film version of the Broadway hit.

Charity (Shirley MacLaine) works at the Fan Dango Ballroom, a dingy dime-a-dance hall where the girls give a lot more away than dances. Charity runs her heart like a hotel, and gives her love to one undeserving man after another. Her two best friends Nickie and Helene (Chita Rivera and Paula Kelly) are the ones who help Charity when she is ultimately betrayed by each boyfriend who comes into her life. Ever-hopeful (sometimes impossibly-so), Charity goes through life with wide eyes and wide dreams...

When Charity meets the mild-mannered Oscar Linquist (John McMartin re-creating his Broadway performance), she believes that she will finally be able to leave her sordid past and profession behind her. But will Oscar be as understanding?

Shirley MacLaine colors Charity more vividly than Broadway's Gwen Verdon did (or was permitted to do). MacLaine is especially affecting and heartbreaking in the final 15 minutes of the movie, and sings a plaintive "Where Am I Going?".

Bob Fosse's first big Hollywood film, SWEET CHARITY was a big, if not huge, success when it was first released. The choppy editing and artistic touches that audiences failed to appreciate then make much more sense now, following the success of MOULIN ROUGE. The impressive supporting cast includes Ricardo Montalban, Sammy Davis Jr. and Stubby Kaye.

This beautiful new Special Edition DVD presents the complete 'Road-Show' version of the film including Overture and Intermission. There are also many extras including the trailer, the original 'Making-of' featurette, a featurette where designer Edith Head takes us through her colorful costumes, and the alternate ending that was never used. (Single-sided, dual-layer disc).

You're gonna get up, get out, and buy it!!
I'm grateful for the comments before me which explain the enigma that is "Sweet Charity." It takes a book of a relatively sad, downtrodden character and turns it into a musical (and not a happy-go-lucky one either, as is often the assumption). The film comes at the start of the stylized, mod 70's- and while some of Fosse's visuals over-saturate this point, the story is so smart that it doesn't matter. (It was Fosse's first film direction and it has his signature all over it.) And I'm glad that the VHS presentation letterboxes the musical numbers, even if it standard-screens the nonmusical portions. There's no other way to view the dance hall girls sexily draped over the barre in "Hey, Big Spender," or the film's best number- the sensational rooftop dance "There's Gotta Be Something Better Than This." (This may be the most theatrical moment in the film as it allows pure, full-bodied dance by Shirley MacLaine, Chita Rivera, and Paula Kelly.) And those who generally dislike musicals would be surprised at the film's bittersweet ending; it's not entirely happy but it is completely triumphant, and it never ceases to bring tears (well, just one) to my eyes.

For Serious Fosse Fans Only
Ok, this movie is a clunker. The story doesn't hold up well in today's feminist or post-feminist era and MacLaine's performance made me cringe.

However, here's the great thing about DVD: use the scene selector to skip right to the fabulous dance numbers! "Rich Man's Frug" and "Hey Big Spender" are two of Fosse's best on film, and big enough that you'll want to watch them several times to catch all the details and dancers. And as a special treat to Fosse fans, the extras on the DVD include some brief segments with THE MAN himself.

Fosse newbies, skip right over this and go straight to CABARET which is a brilliant musical AND a brilliant film.

I'm amazed
I'm amazed that some studio gave Fosse the chance to direct again after this downright failure. I do have to give some of the blame (ok, most) to Shirley MacLaine who is annoying, needy, and badly acted/sung/danced. I want to sock her Charity in the nose almost ceaslessly.

The only let up from her killing the part are Fosse's dance numbers. "Rich Man's Frug" lives up to its reputation, and "Rhythem of Life" are amazing. ( My friend and I were ready to burn the tape we were watching, and then "Rhythem" came on. We stayed for the rest of the movie.) Fosse as a director also seems to care only when his signature dances, or any dances, come on. That's when the camera usage that one gets to know so well in Cabaret and All That Jazz come in. During the naratives, he seems bored with the story and doesn't put nearly enough energy into it. One is left waiting for the stars, (preferably not Ms. MacLaine) to sing and dance for all they're worth for all the movie. It is also too long. I felt the ending was not harsh enough to Ms. MacLaine's Charity. An STD would have satisfied me.

Such Fun
Shirley McCain is wonderful in this movie. Kudos to Gwen Verdon, but unlike many other movie versions or broadway shows, this movie has the ultimate actress for the role. She is strong, naive, vulnerable and eternally hopeful as well as charming.
In additions there are great musicall numbers, of which, Rich Man's Frug is the worth the price of the dvd or tape. ... Read more

Amazon.com

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

Reviews (97)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Reviews (2)

"When cruelty reaches a certain point."
"Germany in Autumn" is a collaborative film made by multiple directors from New German Cinema. The directors' intent is to re-create the tense atmosphere in Germany during the autumn of 1977. Members of the terrorist group, the Red Army Faction (RAF), kidnapped industrialist Hanns Martin Schleyer, President of the Employers' Federation. Other members of the RAF hijacked a plane to Mogadishu. The crew and the passengers were held hostage while the RAF demanded the release of jailed terrorists--fellow RAF members--including Andreas Baader, Gudrun Ensslin and Jan Carl Raspe who were being held under top security in Stammheim prison in Germany. The hi-jacking failed. Andreas Baader, Gudrun Ensslin, and Jan-Carl Raspe were found dead in their cells, and their deaths were ruled suicides. Schleyer was also found dead. This period in Germany's history--autumn of 1977--is considered an extremely volatile time for the new German Republic.

"Germany in Autumn" is part documentary--part fiction, and it shows how people deal with terrorism on all levels on life. The film begins with footage of the funeral of Schleyer, and the film also includes scenes from Rommel's funeral, the assassination of the King of Serbia, and ends with the triple funeral of Baader, Ensslin, and Raspe. Also included is a jail interview with Horst Mahler, founder of the Red Army Faction. He refused to be included in the hostage exchange, and in his interview, Mahler presents strong condemnation for the kidnapping and murder of Schleyer, and this act he interprets to be evidence of the terrorists' ultimate corruption by capitalism. He states, "a murderer departs from the moral value system. A revolutionary reinforces it." Other sections of the film show a film director attempting to release his version of Antigone--only to be told that the play depicts 'terrorist women.' Antigone, it seems, is too controversial and must be shelved until a time when acts of civil disobedience are not interpreted as condoning acts of terrorism. Another chilling section concerns a border guard on the hunt for members of the Baader-Meinhoff gang.

Director Fassbinder's interpretation of the political and social climate of Germany in Autumn 1977 is a highly personal account. No doubt Fassbinder chose to present his section of the film this way as he knew many members of the RAF. Fassbinder is seen at home with his lover, actor Armin Meier. Armin is ready to blow up the terrorists--"if they don't obey the law, the state doesn't have to either." Fassbinder, however, cannot accept the justification that government is free to use violent tactics when dealing with terrorists. At one point, Fassbinder engages his mother, Lilo Eder, in an argument about various forms of government. She believes that democracy does not exist for the masses, and she prefers a benign authoritarian leader.

"Germany in Autumn" is not for the casually curious. The film is truly excellent, and the directors made a phenomenal film that recreates a crucial time in Germany's history. However, a little background information on the political situation is mandatory for this film--otherwise you risk being hopelessly lost in this wonderful, engrossing and eclectic film--displacedhuman

Germany in Autumn
Exception overlooked masterpiece. This film is a blend of documentary, fictional dramatic vignettes and archival historical footage. On the surface, it involves how intellectuals, media, and other elites reacted to the political terrorism brought about by the Red Army Faction (RAF)in Germany during the late 1970s. It touches also on why the RAF elicited sympathy from sections of society. The film espouses no political or economic philosophy. The gifted directors who collaborated on this word shed light on the workings or society and its institutions without, even subtly, guiding the viewer to conclusions. Fassbinder once commented that, unlike Freud or Marx, he has no solutions and wants his films to compel the viewer to undergo a personal revolution. This view is embodied in this vivid, engrossing, beautiful, and incomparable film. ... Read more

Amazon.com essential video

The swashbuckler genre bumped into science fiction in 1954 for one of Hollywood's great entertainments. The Jules Verne story of adventure under the sea was Walt Disney's magnificent debut into live-action films. A professor (Paul Lukas) seeks the truth about a legendary sea monster in the years just after the Civil War. When his ship is sunk, he, his aide (Peter Lorre), and a harpoon master (Kirk Douglas) survive to discover that the monsteris actually a metal submarine run by Captain Nemo (James Mason). Along with the rollicking adventure, it's fun to see the future technology that Verne dreamed up in his novel, including diving equipment and sea farming. The film's physical prowess is anchored by the Nautilus, an impressive full-scale gothic submarine complete with red carpet and pipe organ. In the era of big sets,20,000 Leagues set a precedent for films shot on the water anddeservedly won Oscars for art direction and special effects. Lost in the inventiveness of the film and great set pieces including a giant squid attack are two great performances. Mason is the perfect Nemo, taut and private, clothed in dark fabric that counters the Technicolor dreamboat that is the beaming red-and-white-stripe-shirted Kirk Douglas as the heroic Ned Land. The film works as peerless family adventure nearly half a century later. --Doug Thomas ... Read more

Reviews (52)

Voyage of the Nautilus
Kirk Douglas and James Mason explore the mysteries of the deep in the Sci-Fi classic "20,000 Leagues Under the Sea". Rumours of a sea monster that attacks ships, has open the interests of a curious French scientist (Paul Lukas), his faithful aide (Peter Lorre) and an able harpoonist (Kirk Douglas). Upon a striking encounter, they learn that the "sea monster" is a powerful under-water vessel under the command of the vengeful Captain Nemo (James Mason). "20,000 Leagues Under the Sea" is a remarkable adaptation of Jules Verne's stunning adventure tale. The film features a powerful story, great under-water photography and a rich music score. Kirk Douglas, Paul Lukas and Peter Lorre are well cast but it's James Mason's intense performance of Captain Nemo that often drives the whole film. It also contains some impressive visuals and thrilling momments including a gripping battle against a giant squid.

Disney gives "20,000 Leagues Under the Sea" the full "2-Disc special edition" treatment. The movie is presented in it's original theatrical widescreen format. The DVD contains an amazing video transfer and clear digital sound quality. Disc 2 features exclusive bonus material including Behind-the-scene featurettes, Theatrical trailer, picture gallery and audio commentaries. Like previous Disney DVD, the disc also contains forced commercials and trailers of upcoming Disney releases. Overall, it scores an "A".

It's not just a Disney classic, it's a classic, period.
Among the live-action output of the Disney studios there are precious few _truly_ great films. One of them is "20,000 Leagues Under the Sea."

It was the first wholly live-action movie made at the Burbank studios (the previous live films having been made in England, one of which -- "Treasure Island" -- is another classic, recently reissued in a gorgeous DVD transfer). "20,000 Leagues Under the Sea" is a classic example of how simply throwing money, talent, and imagination at a project can result in a masterpiece.

It is difficult to overpraise this film. Earl Felton's imaginative rethinking of Jules Verne's novel and his script's focus on the moral issues at the center of the story; James Mason's subtle and controlled performance as Captain Nemo; the startlingly realistic miniatures (which have not been surpassed); and Richard Fleischer's simple, uncluttered direction are standouts.

But all these pale in the face of the incredible art design, which deservedly won an Oscar. The interior of the Nautilus cleverly imagines how a Victorian submarine (had there been such a thing!) would be furnished. The exterior is the most-fanciful submarine design ever conceived. It does for this film what Robby does for "Forbidden Planet."

Did I forget to mention the fight with the giant squid, one of the most-memorable scenes in the history of movies?

My only complaint is that I'm not a fan of Paul Smith's music. His principal theme for this film is inspired, perfectly invoking the fundamentally somber mood of the story, but the rest of the score doesn't come up to it. (It might be that the dreadful style of Disney's "house" orchestrations -- which afflict dozens of other Disney films -- keeps me from properly appreciating Smith's work.) I can only note that, while Disney was hiring one of Fox's model designers to create the miniatures, he might also have borrowed Bernard Herrmann, who, five years later, would produce a classic score for another Jules Verne story, also starring James Mason.

This transfer is the best yet (including the LV). The color is rich and varied (quite unlike the overly-red/muddy-green mess Technicolor would soon become), and I didn't see a single spot or scratch. There's a lot of supplemental material, including an hour-long "making of" feature that's well-above-average for this sort of thing, Disney or otherwise. There is also a intermittently interesting running commentary from the director and Rudy Behlmer, the film historian. Note that the "Operation Undersea" episode of Disneyland -- an hour-long "commerical" for the film that won an Emmy -- is _not_ included.

Despite its half-century age, "20,000 Leagues Under the Sea" has lost little of its freshness or excitement. If your kids don't like it -- get new kids.

A Great DVD of a Great Film
Like many of the other reviewers of this movie, I'm a pre-boomer who was dazzled by the film as a child. Somewhere in my aging mom's attic, I have a few bolts (painted wood) from the movie set of the Nautilus, which I "borrowed" from one of the Disney properties as a kid nearly a half century ago. I remember taking a bus from LA to Burbank to stare through the slats of the fence in the back lot of the Disney Studios and seeing a partial model of the Nautilus, perhaps 1/3 scale, tossed in a corner like so much debris. What I would have given to be able to drag that model home.

When I viewed the VHS version of this film a couple of years ago, I was bitterly disappointed by the poor quality which made the watching experience actually painful to a fan like me. But, let me tell you, this DVD is as thrilling as the VHS was painful. This fully-restored version of the film comes roaring back to life in all of its glory and then some. It's the best film restoration these old eyes have ever beheld. Watched on a state-of-the-art widescreen TV, this is every bit the experience it was in the '50's and I think it's wonderful that this great film is now preserved for the ages, just as it was when it was first released.

Is this a perfect movie? No. Even as a kid, I noticed that the background music was too cheesy, that Kirk Douglas's songs seemed gratuitous, that the fish swimming outside the large porthole were cartoonish, and that the electrically-illuminated eye of the Giant Squid made an otherwise perfect special effect look a bit fake. I'm just as puzzled by those weaknesses today as I was then, especially since all other aspects of the film, including the numerous, Oscar-winning special effects involving the Nautilus, are masterful. But no movie is perfect and this movie, minor warts and all, is nothing less than a memorial to the genius of Disney, the acting of James Mason, the passion of the Disney staff, and the vision of Jules Verne.

The best Disney movie ever... and a DVD to match it!
Finally! The definitive edition of a Jules Verne classic brought back in all its pomp and glory. The price, for once, is right.

I remember it when it first was released in Europe, and I can safely say that this version beats even that showing back then.

Extremely clear image, stupendous surround sound, make this a must have in the most absolute way.

Forget all the other versions ever made. This remains THE classic of them all!

Forget the dated special effects which, by the way, you may not even notice, since the story is so gripping and fast paced, that you may not even realize they are.

James Mason gives a wonderful portrayal of Captain Nemo. One of his best roles, together with Fieldmarshal Rommel in "The Desert Fox", Cicero in "Five Fingers" and Professor Arronax in "Journey to the Center of the Earth" of about the same period.
Kirk Douglas and Peter Lorre form a perfect if not odd comical duo, to ease the tension of the story.

The score is beautifully remastered and brings you immediately back to those long bygone days of great moviemaking.

I won't be long reviewing this movie, since many others before me, have already praised it and described it in detail.

I can only say, buy it, buy it, buy it!

Oh, and by the way, don't forget about another Jules Verne classic coming out soon on DVD and in Widescreen:
"Around the World in 80 Days".
That's another "absolutely must have".

In the meanwhile, have you checked on "Journey to the Center of the Earth".
Do you have it on your DVD shelf?
No?
Shame on you...
Go and get it fast.
It's been remastered and it's a worthy companion to the other two Jules Verne movies.
So, what are you waiting for?

Superior DVD Package of a Memorable Film
Loosely based on the celebrated novel by Jules Verne and set in the late 19th Century, LEAGUES offers the story of Professor Arronax (Paul Lukas), his assistant Conseil (Peter Lorre), and harpooner Ned Land (Kirk Douglas), who are coaxed by the United States government to aid in the search for a sea monster said to be terrorizing shipping lanes. But the monster is not of flesh and blood, and soon the three find themselves in the hands of the mysterious Captain Nemo (James Mason) as prisoners aboard the Nautilus--a fully functional submarine capable of ramming ships and sending them to the ocean floor.

Underwater photography was hardly new in 1954, but never had it been used so extensively nor to such visually beautiful effect, and the art designs--particularly those for the Nautilus--are justly celebrated. But for all its beauty, it is the performances which make the film work. James Mason does not merely play Nemo, he seems to be Nemo; after seeing his performance it is impossible to imagine any other actor in the role. Paul Lukas adds yet another brilliantly understated performance to his memorable career, and while Kirk Douglas and Peter Lorre are hardly the Ned Land and Conseil of the Verne novel they have surprising chemistry and lend the film considerable dash.

At the time of its release, LEAGUES was the single most expensive motion picture ever made (ironically it would loose that dubious distinction later that same year to yet another film featuring James Mason: A STAR IS BORN), and every penny of the money spent shows in the onscreen result. While many of Disney's live-action films are fondly recalled, few have had enduring fame, much less claim to status as art--but LEAGUES is the exception, and although the episodic nature of the story seems a shade languid from time to time it remains both a landmark and one of the most influential films of its decade. Truly enjoyable from start to finish.

GFT, Amazon Reviewer ... Read more

Amazon.com

Some of the most impressive numbers from the golden era of MGM musicals are contained in this video, the third of the That's Entertainment films. Have no fear that the studio was scraping the bottom of the barrel when assembling these clips after having produced two earlier films using the same formula. In fact, it can be argued that this particular compilation would be attractive to a general audience of today, as it contains a wealth of material that hasn't been widely seen. And almost none of it would be produced today, as these complicated dance scenes would simply be too expensive to film in the modern era. An example is a lavish production number featuring the great dancer Eleanor Powell seen in split screen, so the viewer watching the video can see not only what the movie audience saw, but what the soundstage looked like as a small army of stagehands performed artful illusions by removing gigantic portions of the stage as Powell danced across it. Interesting outtakes featuring Judy Garland and Lena Horne are also featured, and former MGM musical stars who introduce the production numbers (and provide background on the filming) include Gene Kelly and Esther Williams. The title doesn't lie: it's all entertaining. --Robert J. McNamara ... Read more

Reviews (12)

Enjoyable Mix of Classic Moments & Rare Footage
Opening with a Gene Kelly-introduced segment concerning early efforts to develop musical stars and material, this third installment of the THAT'S ENTERTAINMENT quickly seques into celebrity-introduced film clips from MGM musicals--film clips that range from familiar favorites to out-takes, rareities, and numbers that were cut from films before their release. The narrators are well scripted, well filmed, and often interject insightful personal notes by introducing clips from their own movies.

Such is the case with the legendary Lena Horne, who presents a casually-spoken but quite powerful narrative about the Hollywood racism that limited her career and ultimately prevented her from playing Julie in SHOWBOAT. But the real power of THAT'S ENTERTAINMENT III is in it's "never-before-seen" footage--footage that includes memorable performances by Judy Garland, Fred Astaire, Cyd Charisse, and Lena Horne among others. The film also offers the chance to see some truly rare bits of film, including Vaudeville acts hoping for film stardom, scenes from the early Technicolor and never-completed film MARCH OF TIME, and pre-code bathing-beauties. THAT'S ENTERTAINMENT III doesn't have quite the same dash and splash or variety as the original THAT'S ENTERTAINMENT, but it moves at a smart pace, and fans of movie musicals will find a great deal to enjoy. Recommended.

A little something for everyone
Hey -- don't look at me that way! They were showing it on TV, and how could I resist? Like the previous installments in this series, this scrapbook documentary patches together some of the most dazzling and outlandish dance numbers from the golden age of MGM musicals, using hackneyed narrations by old-time studio stars such as Gene Kelly, Lena Horne and Esther Williams. The numbers whiz by like lightning, deftly navigating the shoals of countless half-forgotten tossoffs and classic A-list films. Naturally, some bits will appeal more to some viewers than others... my attention began to wander when the Esther Williams and Gene Kelly sequences went on too long: her movies were too bland to merit the extra attention; his were too good to merely nibble at in a forum like this. But the clips from lesser-known films are pure gems, and since many of these films are still out of print (or better left unrented), having the best material lifted out of them is a real treat. I did feel gypped, though by the meagre sampling of Carmen Miranda's work... she had some really distinctive routines, and it would be nice to see more of her! A fluffily produced featurette, yet evocative of a golden era.

The world is a stage, the stage is the world of entertainmen
THis is when Hollywood was at it's best and we were blessed with the MGM Musicals and no one did them better.I have all 3 "That's Entertainment" on Lazer Disc and it is pretty wonderful, but TE 3 is not only more of the same wonderful singing and dancing but also takes you behind the scenes to show you how some of the MGM magic was done. I also ran this film at my theatre in Florida and it was longer than this version. It seems for some reason they have edited out the Cinerama segments and i don't know why.I so much wish that MGM would release these onto DVD in 5.1. One of the neat things about this TE 3 is how the sound keeps switching from center speaker to all five. The sound is rich and thrilling. If you buy this video it will be like a wonderful history lesson of the movie musicals.They simply don't make them like this anymore for several reasons. The first and most important is that there isn't anymore great talent left in Hollywood anymore. Second, we don't have really good directors. Third, there is no creative power anymore and forth is the cost. So just sit back, relax and take a walk down memory lane and enjoy the best of what MGM had to offer. Now "That's Enterainment."

Really not especially good...
...none of the TE compilations are, in my opinion. The numbers are always chopped up to the point where most musical enthusiasts won't want to watch them (TE3 uses several clips that appeared in the first two films), and the in-between segments by the stars, pleasant though it is to see them again, are kind of a downer.

The redeeming features in this one are the rare outtakes/alternate versions, and Lena Horne, who has kept her looks marvelously and speaks of her MGM days without that Vaseline-lens glow of unchecked nostalgia that makes the other stars' reminiscences so curiously depressing.

AS GOOD AS THE FIRST "THAT'S ENT!", MAYBE BETTER!
Nobody made better musicals than MGM, and they certainly had reason to celebrate their legacy when THAT'S ENTERTAINMENT! was released in 1974. That all-star compilation of great musical numbers from the studio's past was, and is, a non-stop whirlwind of joy and phenomenal clips. The sequel in 1976 (PART 2) had some great footage, but some curious inclusions, and there was no rhyme or reason as to what was being presented. It took almost 20 years, but the studio went back to the golden vaults again for THAT'S ENTERTAINMENT! III and came up with a winner.

Although it didn't get the kind of theatrical release that it should have, T.E. III got virtually unanimous rave reviews, and deserves to be seen. (Why on earth haven't they released a DVD of this great film?). As the AMAZON reviewer indicates, anyone who feels a third entry in the series would be created from "leftovers" would be happily mistaken. There are more than 50 terrific numbers in this entry, but more importantly, THIS is the "Entertainment!" that really takes us behind-the-scenes into the process that went into making these films. The truth behind the MGM dream factory. The MGM stars that returned to the studio to host the segments are all terrific, particularly Lena Horne who deals frankly with the racial issues that subdued her career opportunities. The highlight of this picture are at least a dozen never-before-seen outtakes featuring Garland, Astaire, Debbie Reynolds, Horne, etc. that are as good as anything that they DIDN'T leave on the cutting room floor.

Produced with class and intelligence, and compiled and edited with skill and wit, this is a best-best for any fan of MGM musicals or classic Hollywood for that matter! ... Read more

Description

A tragic summer, long forgotten by four friends, returns to haunt the now estranged group when the body of a young woman and a baby are uncovered in the pet cemetery on an ancestral estate. ... Read more

Reviews (3)

Haunted by the Past
"A Fatal Inversion" presents us with a mystery. The bones of a woman and child are discovered in an animal cemetery near the stately Wyvis Hall. It turns out the bones have been there for more than ten years. But who was it that was buried there? And why?

Adam Verne-Smith is a man with a haunted past. He and three others know the truth of what happened in the summer of 1979 at Wyvis Hall, which Adam re-named Ecalpemos ("someplace" spelt backwards). Adam and his arrogant friend Rufus meet again for the first time in twelve years, trying to keep one step ahead of the police to avoid the truth coming out. We go back in time twelve years to Wyvis Hall, and see how events built up to a crisis point.

I actually found this television adaptation was better than Ruth Rendell's novel. It was well-cast. Saira Todd was very good as the mentally-unbalanced Zosie. She looked child-like, as the book described her. Douglas Hodge and Jeremy Northam were also convincing with their roles. The character of Rufus was very intimidating and callous. Adam looked pained and guilt-ridden.

I noticed with the scenes set in the present that there was a lot of blue. Even the light had a bluish tinge. Is there any significance in that?

"A Fatal Inversion" is different from your regular "whodunnit". We know who did the crime but not