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A man crouches and pokes at what first appears to be a wad of chewed-up pink bubble gum on the ground. "That's what a scab will do to ya, by God," he says, his voice quavering with emotion. The pink wad is brain tissue from a striker shot in the head by a strikebreaker. That's one of the harsh realities of Harlan County USA. Barbara Kopple's documentary camera looks at this forgotten corner of 1970s America, the site of some of the bitterest labor violence in American history. It's hard to believe that some 40 years after the Depression, there were parts of Appalachia that were hardly better off than they were in the 1930s. The care-worn faces of the miners and their families speak volumes. They're the tough, proud faces of people struggling to make a living the way that their parents and grandparents did in generations past. Kopple skillfully weaves archival footage and traditional labor songs through the film to give a historical perspective to the strike against Eastover Mining Company. Above and beyond the labor issues, the film takes a hard look at the living conditions, health issues, and poverty faced by Harlan's residents, the human toll that goes along with the mining industry. The tense confrontations between Eastover's slimy security goons and the unionizers are particularly gripping, with the threat of violence hanging thick in the air. Sometimes ugly, always absorbing, this is an important, enlightening social record, one that serves the highest calling of the documentary filmmaker's art. --Jerry Renshaw ... Read more

Reviews (10)

Great movie..but not the entire story!
The Movie didnt tell much about the people of Harlan County..Henry Ford first exploited the people here at Wallins KY to mine coal to make coke to make his automobiles..untill then the people of this area were totaly self sufficient and didnt need a thing... most spoke several launguages..and were for the most part more educated than the rest of the US...So Henry Ford decided to do us a favor!..Just goes to show you technology isnt always a good thing!..Would have been a nice add in to the movie I think??...I'm in Harlan County..was here during the strike...and remember my grandparents talking of all the battles here in the 30's....This strike was nothing compared to the Days when "Bloody Harlan " got its name...As far as this movie goes?...Just another average strike In Harlan County*S*

The heart and soul what it is to be a coal miner
Produced and directed by Barbara Kopple, the film crew lived with the miners and their families during that period and were able to somehow get into the heart and soul of what it is to be a coal miner.

There are shots inside the mine where I can almost taste the dust and feel the claustrophobic confines. There's a shot of a woman giving a small child a bath in a tin bathtub and promising that when the strike is over, they might be able to live in a house with a real bathtub and running water. There are the miners' wives who are organizing to take a big part in the strike. And there are labor songs sung with the voices of people who really understand what these songs mean.

Most of all though, it is the faces of the people that I will never forget. There are no professional actors here; all these people are real. They are hollow cheeked, with deep lines etched on their faces and rotted which teeth which have never seen a dentist. Some are already victims of black lung disease. Others speak of husbands and grandfathers who died in mine explosions.

All this is mixed with just the right amount of historical footage to give background. There is no annoying voice over, just an occasional line of writing superimposed on the screen to clarify a point or give specific details. The miners and their families speak for themselves, sometimes directly into the camera, other times among each other.

Because of their thick Kentucky accents, I sometimes found it difficult to get every single word of dialog but this actually added to the authenticity of the video. I found myself moved by their plight, and feeling shivers of emotion throughout.

This stands out as an outstanding film and understand why it won an academy award. Recommended.

One of the best documentaries I've ever viewed...
When I told the librarian I wanted to see a video on coal mining, she handed me "Harlan County." I looked at the date - which indicated that the coal miners' strike featured in the movie took place in the early 1970s and I handed it back to her saying, "No, I'm interested in something with more history in it."

A few days later, I felt impelled to return to the library and get this VHS. I sat down to watch it one morning and could not turn it off. It's compelling, intriguing, educational and emotional. I cried several times, watching the struggle and learning more and more about a coal miner's life.

For the last few months, I've been doing research (in preparation for a book on Sears Homes) about Standard Oil's coal mines in Macoupin County, Illinois in the 1920s. "Harlan County" showed archival footage and presented information that showed what a miner's life looked like - through the ages. Duke Power's coal mines in Harlan County, Kentucky were so backwards and Standard Oil's coal mines in Macoupin County, Illinois were so progressive, that I learned more than I ever expected about early 1900s mining techniques.

The story about the man and the mules is something I'll never ever forget. Or the miner's conversation with the New York policeman. Thank God for the director Ms. Koppel, who was inspired to create this documentary! And for her having the wisdom and foresight to record these old miners' reminiscences of life in the coal mines in the early years of the 20th Century.

Suddenly, all the puzzle pieces from my months of book reading and research came together when I saw these old films and heard the miners talk.

I'll be watching it again and again - with my family, too. And I hope every person who uses electricity in this country will watch it, too.

An interesting aside - in the 1920s in Macoupin County, Illinois, one coal miner died (on average) for every 279,000 tons of coal that was mined. Between 1900-1969, 100,000 miners died in this country. Standard Oil's mines (operated from 1918-1925) in Macoupin County may have been the safest mines in the country, but several men died in those mines, too.

In 1918, Standard Oil of Indiana built 192 Sears Modern Homes for their (mostly immigrant) miners in Macoupin County. (The term "Modern Homes" simply meant that the houses had kitchens, bathrooms, running water, central heat and electricity.)

In 1973, Duke Power's miners in Harlan County were still living in shacks with no running water.

Rose Thornton

Real-Life Rancor
Dirt-poor miners struggle (to the death, in many cases) to unionize against the insurmountably evil coal bosses in this Oscar-winning documentary. Watch in awe (no joke) as simple men, women, and children, exemplify the true meaning of chasing the American dream. After watching "HCU," you'll never complain about YOUR job again. Ever.

Not just a strike against the Coal Operators
Not only does Ms. Kopple's work bring to the table the injustice, served daily, in Harlan, but also displays to the viewer the inner politics of powerful, present-day unions. This film should be required viewing for every Rank and File member of a Union. It should also be required viewing for all management and salaried employees. The management will say, "Good thing I got my degree and I'm not down in the hole with those redneck miners. Haw-Haw-Haw!"

The Salaried Employees will respond: I hate my job, I hate my boss, if I could kill everyone in this office, I would; NO---- Not my boss, "like the Nazis", he's only following orders. Not my co-workers---They're only doing their job and trying to lead a healthy life.

Whom then? Who do we crucify? In every management situation there is an overseer and a slave, in every salaried position, there is an overseer and a slave, AND in every rank and file position there is an overseer and slaves.

Rank and File, Unite! You have nothing to lose but your chains, held by your big union and management Overseers!

Jason ... Read more

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Marlon Brando's famous "I coulda been a contenda" speech is such a warhorse by now that a lot of people probably feel they've seen this picture already, even if they haven't. And many of those who have seen it may have forgotten how flat-out thrilling it is. For all its great dramatic and cinematic qualities, and its fiery social criticism, Elia Kazan's On the Waterfront is also one of the most gripping melodramas of political corruption and individual heroism ever made in the United States, a five-star gut-grabber. Shot on location around the docks of Hoboken, New Jersey, in the mid-1950s, it tells the fact-based story of a longshoreman (Brando's Terry Malloy) who is blackballed and savagely beaten for informing against the mobsters who have taken over his union and sold it out to the bosses. (Karl Malden has a more conventional stalwart-hero role, as an idealistic priest who nurtures Terry's pangs of conscience.) Lee J. Cobb, who created the role of Willy Loman in Death of Salesman under Kazan's direction on Broadway, makes a formidable foe as a greedy union leader. --David Chute ... Read more

Reviews (106)

AFI top 100-8 Oscars -Best Picture 1954-Best Actor Brando!!
With the famous quote: "I could-ha been a contend-ha. I could have been somebody!!"
AFI (American Film Institute) voted "On the Waterfront" into the top 100 films in the last 100 years. Winner of 8 Oscars including the "BIG 3" - Picture, Director-Elia Kazan and Actor-Marlon Brando. This Remastered Sight and Sound DVD gives us an outstanding Full-Screen Black & White Classic presentation. Fantastic cast - Marlon Brando, Lee J. Cobb, Rod Steiger, Karl Malden And Eva Marie Saint (first starring role).
Shot on location "On the Waterfront" in New York / New Jersey during the winter time. Actually done outside on location!! This added to the realism of the rough neighborhoods surrounding the waterfront.
In Summary: Terry Malloy (Brando) an ex boxer tries to fit into the longshoreman union "On the Waterfront". Treated as a patsy by Union Leader crook (Cobb) and protected by his brother (Steiger) Union strong arm. He is set up in a union troublemakers death. The sister (Saint)of the slain troublemaker and Priest (Malden) try to befriend Terry (Brando) into betraying the corrupt union boss and turning states evidence.
A brilliant cast performs flawlessly (especially the famous "Contender Scene between Brando & Steiger")and shows us the rough, crude world of the waterfront of the 1950's. This DVD is a remastered Black & White picture and sound presented in a Full Screen format. Many extras including "Contender" explain and reveal many background facts regarding this Classic Film.
This movie shows us what was happening "ON THE WATERFRONT".

The quintessential Brando performance...
Marlon Brando's performance alone justifies watching this movie. Without mentioning any of On the Waterfront's other merits, it could be given 5 stars simply because of his brilliant interpretation of his role as Terry Malloy, the confused and inarticulate former prize-fighter. In addition to Brando's performance, On the Waterfront features great performances from the other actors, a compelling and realitic situation, and some really moving scenes and speeches.

In On the Waterfront, Terry Malloy (Marlon Brando) moves from an apathetic, cynical bum to a fighter who stands up for what he believes in. At first, in order to get work, Malloy cooperates with the corrupt union (it really is more like a gang) that runs things in the waterfront area. Although the union has murdered several people, the police cannot break it up because nobody has the courage to stand up and testify against it. But by the end, through the guidance of a passionate priest and the beautiful, idealistic daughter of his murdered friend (Eva Marie Saint, who gives an excellent, Oscar winning performance in her first movie), Malloy finds the courage to testify against the union's boss, Johnny Friendly.

Admittedly, the film does have its faults - the soundtrack, for instance, is overdone, and sometimes the director, Elia Kazan, gives the impression that he is trying to make certain scenes very deep (which strangely enough takes away from them). Overall, however, On the Waterfront is a great film - a classic in the true meaning of the word. Again, it is worth seeing for Brando's performance alone!

I LOVE THIS FILM
It is unfortunate that it took Brando's death for me to realize the acting genuis he was. In this movie he brought forth such a vulnerability that you wanted to root for him. His acting is brilliant, I can understand why he won an Oscar for this performance. I now know what true acting genius is, it was Brando. Highly recommend this movie.

Somewhat dated but still compelling classic drama
I recently re-watched Elia Kazan's ON THE WATERFRONT in honor of its late star, Marlon Brando. His performance as Terry Malloy is often considered one of his greatest (and he won an Oscar for it to back it up), and there is no doubt that this is a performance of spontaneity and great emotional realism that must have awed a generation of filmgoers who watched him. He truly brings his character---a former boxing champ tortured by pangs of conscience as well as disappointment---to authentic life in a way that is somewhat heightened yet always convincingly down-to-earth.

As for the film surrounding this great performance, it has inevitably lost some of its power since it made a splash in the '50s (during the height of McCarthyism, and during which Kazan testified before the House Un-American Activities Committee and named names), but it still offers an emotionally compelling experience overall. If sometimes Budd Schulberg's screenplay seems a tad too overwrought (particularly in the final scene, too overtly symbolic), Kazan and his cast never allow it disintegrate into tiresome preachiness. If Brando's performance can be said to be "extraordinary" (and it is certainly something to watch), the other actors are hardly upstaged. I don't know if Eva Marie Saint really deserved an Oscar for her performance here, but perhaps that has more to do with her more conventional character than with her performance, which is good enough. Karl Malden, as the activist Father Barry, fares better: he is convincingly noble and impassioned in his role as, arguably, Malloy's conscience. And Lee J. Cobb is also good as the corrupt Johnny Friendly: while the script does not necessarily develop human sides to the character, Cobb admirably makes him convincing nevertheless rather than merely a one-note snarling villain.

Despite its topical origins---this film is often seen as Kazan's justification for testifying at the HUAC---the plot still resonates pretty strongly today. I mean, who wouldn't feel the same internal dilemma in the same kind of situations that Malloy gets into in this film? Feeling like you should do your duty as a citizen in the face of great corruption, and yet afraid of what might happen to you if you do? I think everyone can at least understand Malloy's tortured conscience in this movie---maybe, other than Kazan himself, Marlon Brando understood it most of all---and perhaps that is why, despite some of its more dated elements, this film continues to endure. Notwithstanding its political background, ON THE WATERFRONT remains a gripping drama to this day.

Greatness Never Flags
When director Elia Kazan unveiled ON THE WATERFRONT in 1954, both critics and the public agreed that this was a special film. This is a rare enough phenomenom and repeated viewings over the decades indicate that this film truly deserves to be labeled with that often overused 'great' tagline. Part of the reason why the audiences of the 50s loved OTW was not just the superlative acting of Marlon Brando as Terry Molloy, Eva Marie Saint as Edie or Rod Steiger as Terry's conflicted brother Charley, but rather the very feel and sound of the Hoboken waterfront were faifthfully recreated to the extent that they formed a tonal subtext. Have you noticed that OTW is not a quiet movie? In nearly every scene, one can hear the raucus shriek of railroad cars and ship clanghorns dolefully reminding us that sound can be used to place the actors both spatially and aurally. Remember the scene when Terry tries to explain to Edie his own role in the murder of her brother? As soon as he opens his mouth, a ship's whistle begins to shriek so his words are drowned out. We may not be able to hear, but the look of Edie's face tells us that she heard.

It is too easy to toss around memorable quotes of which OTW abounds: the "I coulda been a contenda" speech, for example. But this film is not great because of them. Rather, OTW is great because it does what all great movies manage to do: to engage us in the fate of its stars. When Brando is beaten to a pulp by Johnny Friendly's (Lee J. Cobb) thugs and has to stagger to reach the warf to report to work and thus break the stranglehold of the crooked union boss on the workers, we can feel each agonized step that Brando takes. It is only the great movies that allow us to feel pain like that. ... Read more

Reviews (1)

Go Go Power Rangers!!!!!!!!!!
This episode is the last of the Evil Green Ranger episodes. The Power Rangers at the end get Tommy to his original self and becomes one of the good guys, then they go and get Rita, but she always seems to disappear whenever she gets in danger (she's a chicken). Trust me if you are looking for action this is the video to get for anyone in your family, but if you are getting this video make sure you have seen the other four episodes that go along with this video. They are here in Amazon.com, just have to search for them. If you are embarassed to buy it because you are to old, hey, I am 15 years old and my mom loves them and she is 41 years old. The Original Mighty Morphin' Power Rangers Rule!!!!!!!!!!!!! So buy it!!!!!!!!!!! ... Read more

Reviews (4)

Bleah. Interesting up to a point, but still, a dud.
I was a stupid dolt and actually thought this was a re-make of the Theresa Wright film "Shadow of A Doubt". But I misread the title. My stupid mistake.

The plot was a typical murder mystery, and while it was not the best told tale, I was interested in finding out "who dunnit". So I stuck around until the end. But there were many elements to this film that I found flawed, or just irritating.

And then there was the cast. I like Melanie Griffith. I like Tom Berenger. However, they could not redeem this film. Melanie Griffith came off as self concious of her beauty and "super confident"--which grated on my nerves after a while. Berenger was fine in the role he had, but he didn't get a lot screen time. He really should have been billed as a supporting actor, but the impression I got from the film's advertising was that he was a CO-star. His role wasn't all that big (it was important, but not that big). Supporting actor Huey Lewis got more screen time than Berenger! (Not that I minded--I like Lewis.)

It was nice seeing Nina Foch working again too. She's been around forever, and still has what it takes to give a good performance. Also, nice score by Joel Goldsmith (Jerry Goldsmith's son). Still, I wouldn't recommend this film. Rent it if you must.

If you are a big Griffith fan, you might be tempted, but this is certainly not her best roll. Tom Berenger fans will be disappointed--his part isn't all that interesting.

Good cast but dopey script, stupid characters.
I enjoy almost anything Melanie Griffith is in, but this one was too silly and unbelievable. Her character is supposed to be a smart, tough lawyer but she does everything that would either get a real lawyer disbarred, laughed out of court -- or killed. Beautifully shot, great sets and locations, but everybody is wasted in this dopey script. Nina Foch is a GREAT witchy woman, but I missed John Ritter completely (fooled by the beard)and had to rewind to catch his scene in the very beginning.

Miscast, Misdirected, Mistake
Let's see, where to start. Melanie Griffith is supposed to be one of the best, toughest, smartest defense attorneys in the city, but acts more like a former stripper playing at being a recent law school grad. I guess seductive whispers, a slinky walk, and tepid one-line comebacks are all it takes to free rapist/killers. Realism is non-existent as she voluntarily gives away key information/evidence to the DA and her powerful adversaries before the trial even starts. Her crack investigative team manages to stumble across valuable clues at the drop of a hat without even a trace of intelligent, logical, deductive reasoning or sleuthing. The dialog is absolutely inane, including an awful scene where this supposedly hard-boiled attorney (Griffith) who has successfully defended the scum of the earth, suddenly realizes a full five minutes into the interrogation of her client (a major slimeball) that she believes his story--that he was just having kinky sex, slapping his date around, and didn't really kill the girl--and starts crying at this realization. Supposed to be touching I'm sure, but instead it was so out of place and baffling, I cringed while laughing. In addition there's this weird, pointless side story about a former client whom she got acquitted, then slept with, only to find out he was actually guilty of rape all along. Throughout the movie he repeatedly calls her and taunts her through her answering machine causing her to listen for several minutes before unplugging it, or turning it off, or throwing it against the wall, but never doing anything that makes sense, like changing her phone number. Even this elicits no real emotion from her, she basically sleepwalks through the movie. But, worst of all, this movie is boring--no suspense, no thrills, and I didn't care one bit about the fortunes of any of the characters. I have really liked Griffith in several recent movies and do not understand this one at all, except that she's just horribly miscast--as is everyone in this film. In fact, why I even devoted this much time in reviewing this escapes me--except maybe I'll save someone a few bucks and a couple of wasted hours.

RUN OF THE MILL THRILLS, SAVED BY STARS
"Shadow of Doubt" sounded very intriguing on its back cover. To boot, it also starred Melanie Griffith and Tom Berenger. It's a classy production, great visuals, dialogue and interesting story. The thriller is about a laywer (Griffith) who is defending a young man accused of raping and killing a young woman. She believes the man is innocent, unlike fellow lawyer, Tom Berenger. Soon a politician's family gets wound up in the murders, and the lawyer must seek out information. Craig Sheffer (A River Runs Through It) also stars as a past client of Griffith's, who is a former raper too. Singer, Huey Lewis also stars in the film as does James Morrison and John Ritter (Bride of Chucky). You have seen all this before in films like "Kiss the Girls" and "The Gingerbread Man", but this one suffers because it's just too long, causing you to fall alseep after half way.zzzzzzzzzzzzzz...... ... Read more

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This 1950 film by Akira Kurosawa is more than a classic: it's a cinematic archetype that has served as a template for many a film since. (Its most direct influence was on a Western remake, The Outrage, starring Paul Newman and directed by Martin Ritt.) In essence, the facts surrounding a rape and murder are told from four different and contradictory points of view, suggesting the nature of truth is something less than absolute. The cast, headed by Kurosawa's favorite actor, Toshiro Mifune, is superb. --Tom Keogh ... Read more

Reviews (90)

Kurosawa's breakthrough film
Akira Kurosawa, known as one of the greatest directors of all time, got international attention with this film, that opened up the Japanese film market to the world. Released in 1950, this film, along with the director won many coveted awards. The story is simple, but at the same time the film is very complex. Tajomaru, a bandit, played wonderfully by the great Toshiro Mifune, is accused of raping a woman, and murdering her husband, in the woods. Tajomaru, the woman, a witness, and the man himself (speaking through a medium) tell their version of the events. The thing is each one tells a different story, with their own perspective on the events, and perception of those involved. So as each story is told we go into flashback and see the different events, and how the characters act differently.

The film from a technical standpoint is perfect, with innovative use of the camera, and editing. Acting is done superbly, with each actor, playing a slightly different version of their characters in each flashback. The script cannot get better, based on two short stories. The film is very serious, and is a meditation on the nature of truth.Its about how truth is relative, and how we each have a different viewing of events, tastes, and concepts. It is also about how each person makes up their own truth, lies, to deceive themselves. Our ego is so big we need to comfort it, and keep it safe from harsh reality. In all this film is perfect, and is even sometime called Japan's Citizen Kane, in the way it impacted Japanese filming. The two films have many similarities. If you enjoy serious films, investigating the nature of truth, and ourselves, see this film. 5 stars.

Truth is elusive, reality subjective. A tale well told.
I've heard about this 1950 Japanese film all my life and have even incorporated the word "Rashomon" into my vocabulary. It means that the truth is elusive and people will remember things with their own particular spin. When the film first came out it was nominated for an academy award and is still considered the masterpiece of the director Akira Kurosawa.

Shot in black and white, the mood is set right at the beginning, as there's a rainstorm going on and a priest and a woodcutter are seeking shelter in an ancient temple. Both of them are troubled, as they have heard witnesses to a crime explain events that they just "don't understand". When a third man joins them, they tell their stories. Eventually the audience watches the reenactment of four different versions of the same incident. At the end, there is still confusion.

The acting is done in classical Japanese style, which is more appropriate for a large auditorium than for a small screen. The actors shout, they roll their eyes, and every gesture is exaggerated. There's passion throughout and a great mythic theme. It seemed all to be set on a great stage. And the interesting part is that three out of the four people telling the story claim to be the killer. The cinematography is also special, using the rain as one realm of reality and harsh sunlight as another. The woods in which the crime takes place look hot and stifling, and the actors are all excellent.

However, once the novelty of the setting and the dramatic elements of this stylized film wore off, I found myself restless. It was only 83 minutes long but it seemed much longer. I do applaud its art and its message. I therefore recommend it. However, I just can't help the fact that it didn't engage me completely.

Classic stuff
A man travelling with his wife in feudal Japan is murdered by a bandit... or is he? As the main protagonists - the bandit, the wife, a passer-by and (I kid you not) the man himself - tell their versions of events, a series of contradictions emerge. Who, if anyone, is telling the truth?
Rashomon's Byzantine plot structure was unique at the time, and still feels fresh over half a century down the line. Presenting no easy answers (there is reason to doubt the motives, and thus the stories, of all of those involved), it leaves the audience to make up their own minds about who to trust. Fans of latterday head-spinning efforts such as The Usual Suspects and Memento will find plenty to get their teeth into here.
It all looks gorgeous, to boot (Kazuo Miyagawa's cinematography is done justice by an excellent DVD transfer here), and the performances - especially Toshiro Mifune, as the bandit Tajomaru, cackling hysterically and pausing mid-fight to swat mosquitoes on his neck - are superb. If I've got one gripe, it's the slightly pat "redemptive" ending, but that's a minor fault at best.
Otherwise, Rashomon is downright essential. It's too easy to get all rose-tinted when trying to assess a long-established "classic", but this is one that's more than stood the test of time.

The one that set the standard
When Akira Kurasawa released this film in 1950, it was not expected to do well. When it won various awards around the world, including the Academy award for best foreign film, the reaction was one of some surprise. Now, over 50 years later, Rashomon stands as a benchmark in cinema, a film that has been copied and ripped off countless times, but never duplicated. The camera work, storytelling, script, and setting are flawless, giving us the proper mood right from the start.

The start is a torrential rainstorm, where several men sit around discussing a trial they have either witnessed, or taken part in. The trial concerns the murder of a samurai and the rape of his wife, apparantly at the hands of a famous bandit (played by Toshiro Mifune, a Kurasawa favorite). The story of what actually happened is told through the point of view of the bandit, the woman, the dead man (through a spriritual medium) and a woodcutter who was there and now is standing with these men at the beginning of the film.

The interesting thing is that we as the audience are left to assume what really happened, as the film gives no definitive solution. The subject is really the nature of man, and how point of view will change the perception of a scenario to favor or in some cases, cast a negative light on events that transpire.

This was the first film to shoot directly at the sun. In fact, the beginning shot of the woodcutter traveling into the woods to cut lumber is breathtaking, the camera weaves in and out, up and down, through branches and leaves, showing just how far out of the way these things will be happening. The excellent DVD has a feature on the camera work, which you will find interesting and will help you when you go back to the film for a second viewing.

Also included with the disc is a booklet with the two short stories Kurasawa used as the premise for the film (most notably "In the Grove")along with an excerpt from Kurasawa's book about the shooting of the film and the apprehension of the Japanese film companies about the fact that the story seemed to have no good ending. Kurasawa explained that the story was not about the solution of the murder as it was about the nature of man.

Film fans need to see this movie. So many movies made in the last few years (Snake Eyes, The Usual Suspects) owe themselves to Rashomon, movies which show us points of view that are not necessarily the truth. The fact is that four people can see a situation but report it four completely different ways. What's the truth? The truth is--that's just human nature.

A milestone in the story of cinema in any age
Rashomon is a masterpiece. This film shows us a hard statement that maybe disagree to many people; the truth doesn't exist. We see always fragments of it no matter how old you are.
Aesop in his fables states: in every man always there are three ; that who he thinks he is; what other people think he is and finally that one who really is. In that sense Goethe talked about four levels of the reality; lineal, literal, methaporical and finally the cosmic.
In what level are you when you assume the judgement about a fact?
Remember his beliefs are always relative; your ethical world depends about a lot of issues; such as your social status; your religion; your birthplace; your culture and even your age; so be careful when you say are in possesion of the absolute true.
And that's what the movie shows us; a terrible murder; five persons state about the fact ; and before you five different versions are given. So, the questions is; who of these persons is lying and who is true?
All of us have a sight blind; and because of this you may agree with some of these people; and your close friend or even your couple may be perfectly disagree with you.
The reasonable doubt is a very well konwn device employed by all the lawyers in their cases . Indeed, this term inspired to Sidney Lumet for making his opera prima "Twelve angry men" in 1957.
Back to Rashomon we find to Akira Kurosawa in one of his major achievements. The handle camera is superb; and this is the first film in the story where , by the first time the camera shows us the sun; a brilliant methapor and also a challenging aaproach by this master director.
Mesmerizing ; unforgettable ; you'll be shocked every time you watch. Remember what the woman says uin a sequence: "The men lie because they are weak".
And this point is remarkable, just because the fragile human condition; the human being always will keep his dignity, pride and a set of values above all the odds; and through this process, the truth is always put in a second place, by obvious reasons.
Heissenberg established the uncertain principle in 1930 and this review is far to explain about this issue, but what it deserves to call your attention at the time you say ; I found the truth; or even worst; I represent the truth.
This procedure is typical of dictatorial regimes; the state is me and other similar statements reveal a syntom of being out of the life and even the nature, a wise mind always thinks and acts; after rethinks and reacts; but never remains quiet.
Kurosawa adapted this film from a novel from the same title Rashomon from 1927 written by Yabu no Naka.
This film is a wonderful exploraton of truth and human weakness.
In fact this film is watched and analyzed in Post Grade School of Management, for purposes related with another goals.
This film was remade in 1964 as Outrage for Martin Ritt, where Paul Newman plays the role of Toshiro Mifune in the original version.
A true landmark. Don't miss it.
A superb classic! ... Read more

Reviews (212)

Comedy For All Eternity
It's a Mad Mad Mad Mad World is a comedy for all eternity. This is one of those big box, big budget, long-running-time, cameo-loaded, expensive, broad-canvas farces of the 60's that I love so much. Released in 1962, this was one of Stanley Kramer's greatest and last movies. This award-winning movie is a timeless masterpiece for the whole family.

After a bouncy, splashy Saul Bass animated title sequence, the story begins with a brief car chase in the California desert. Bank robber Smiler Grogan (Jimmy Durante) wrecks his car, and with his dying words reveals a secret about buried treasure to the seven strangers who stopped on the roadside. 'Look for the big W' in Santa Rosita, he says, and then he kicks the bucket.

After a brief attempt at cooperation, the treasure hunt is on and it's every man for himself, in four teams. Mickey Rooney and Buddy Hackett decide to take to the air but their pilot, Jim Backus, gets hammered on Old Fashioneds. Husband-and-wife Sid Caesar and Edie Adams can only find a biplane cropduster. The lone truck driver, Jonathan Winters, can't get gas. And his mother-in-law Ethel Merman fatally hampers Milton Berle, with his wife Dorothy Provine.

So all four teams scamper across the landscape, across the broad canvas of this movie, wound tight by desperate greed and calmly monitored by a Sergeant Culpepper, Spencer Tracy. This is the framing story for an amazing string of billed appearances and unbilled cameos so many that at last your senses are sort of dulled. Oh, it's Carl Reiner in the control tower. Oh, look, it's Stan Freberg, yeah. The best cameo, hands down, is Jerry Lewis, who comes barreling down Long Beach Boulevard in a moment of exuberant stupidity and runs over Spencer Tracy's hat.

Probably my favorite, I have so many, co-star was Terry Thomas who plays a vacationing Englishman in a rattling station wagon, who picks up Milton Berle. He's talkative. He prattles away (accurately) about why it is that the American male is positively preoccupied with booo-sums, and says things like, "I'll wager you anything you like, if American women stopped wearing brassieres, your whole national economy would collapse overnight!" This sequence, within the context of the movie so far, has a single funny moment when this whole vast farce might come alive, find its voice, and this circus might make sense - Terry-Thomas finds the tone for the rest of the movie. I find it compelling that the aesthetic success of all this footage, all these appearances, all this thoroughly American spectacle, suddenly pivots around a few fussy syllables about breasts. But once the moment passes, Terry-Thomas is efficiently neutralized and dismissed by Ethel Merman, and on we go.

The array of challengers eventually reach Santa Rosita, and several unexplainably humorous events occur. These I will not reveal to you and allow you to view the movie on your own time. I must add though, that if you do see this movie, reserve several hours. Like most from its decade its LONG... VERY LONG... But allow me to assure you, you wont be disappointed.

Madness is Genius
Eight traveling vacationers witness the sudden car-crash and slow final death of con-man Smiler Grogan in the hills above Palm Desert, Cal.. Grogan's dying words reveal the secret location of $350,000 hidden in Santa Rosita Park, near San Diego. This sparks a wild, hectic race for the dough. Pure greed,buried treasure, and car crashes. It's all here. "It's a Mad,Mad,Mad, Mad World" was the most successful movie directed by ace Stanley Kramer. All of the famous television and film comics from 1963 appear in this wild comedy. Only Bob Hope is missing. The cast includes Milton Berle, Sid Caesar, Phil Silvers, Jerry Lewis, Joe E. Brown, The Three Stooges, Buster Keaton, Jimmy Durante, Jack Benny, Jonathan Winters, and Spencer Tracy. Ernest Gold composed an original booming, wonderful soundtrack you'll be humming for days. At two hours and 41 minutes, "Mad World" is too long, but an incredible cast and mad-cap action propel the story along. This new MGM DVD is presented in widescreen anamorphic 2.35:1 aspect. The colors are crisp and vibrant. The "Mad World" DVD includes an excellent 1991 documentary with all the major surviving cast members. There's also 1 hour of "out-takes", faded and damaged, from the original Cinerama 70mm release. And there's two trailers. The year 2001 produced an obvious remake of "Mad World" called "Rat Race", a modest hit. Stanley Kramer and Spencer Tracy made 4 classic films together. The last was the inspiring "Guess Who's Coming to Dinner" in 1967. In ill health, sadly, Tracy died just days after shooting ended. Stanley Kramer himself died in Feb. 2001. His genius is now gone. His legacy lies before you.

It's a Bad, Bad, Bad, Bad DVD
I would give this DVD 5 stars if all the movie was here, but it isn't, hence 3 stars. There's no excuse for this considering that no major restoration has been attempted here, the storage capabilities of DVDs are huge, and MGM has already released the full-length movie on VHS. The deleted scene feature is a mess. Watching the scenes seperately is tedious and not much fun. The least they could do would be to put the deleted scenes in the order that they appeared in the original film. The third and fourth scenes appear to be exactly the same as do others later on. Sometimes the scene appears the same only zoomed in. Others scenes have no sound. Some of the last scenes go on and on up to 10 minutes and contains everything that is included in the feature except for very minor snippets of dialogue. Sometimes you can't detect anything new, like in the money dividing proposal scene.

I can see why MGM would want to keep their pristine 35mm print whole and transfer that to DVD but perhaps they should have included a 2nd disc and a 2nd version that patched together all the missing scenes, no matter what condition, and reconstructed the film as best as they could to the longest originally released version.

MGM, when you finally "Special Edition" this movie offer a rebate with the proof of purchase from this inferior edition!

Best, Most Memorable Comedy Ever Made !!
I originally saw the movie in '63. I was 8. Dad started my Birthday party with it. After the movie, Dad drove the route of the Santa Monica portion of the car chase(yes, there really was a "Big W").
Just finished watching the movie on Turner TV. The narrator came on after the movie and said that THE ORIGINAL WAS 5 HOURS long(Just too much "good stuff"). The movie studio had it edited to the shortened current version of three hours.
Back in '63 it was a terrific movie-In '04 it is still a terrific movie.

An all star cast of comics, great comedy

Director: Stanley Kramer
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: September 26, 1995

Cast:

Spencer Tracy ... Capt. T.G. Culpeper
Milton Berle ... J. Russell Finch
Sid Caesar ... Melville Crump, DDS
Buddy Hackett ... Benjy Benjamin
Ethel Merman ... Mrs. Marcus
Mickey Rooney ... Ding 'Dingy' Bell
Dick Shawn ... Sylvester Marcus
Phil Silvers ... Otto Meyer
Terry-Thomas ... Lt.Col. J. Algernon Hawthorne
Jonathan Winters ... Lennie Pike
Edie Adams ... Monica Crump
Dorothy Provine ... Emeline Marcus-Finch
Eddie 'Rochester' Anderson ... Second cab driver
Jim Backus ... Tyler Fitzgerald
Ben Blue ... Biplane pilot
Joe E. Brown ... Union official
Alan Carney ... Police sergeant
Chick Chandler ... Detective outside Chinese laundromat
Barrie Chase ... Sylvester's girlfriend
Lloyd Corrigan ... The Mayor
William Demarest ... Police Chief Aloysius
Andy Devine ... Sheriff of Crockett County
Selma Diamond ... Ginger Culpeper
Peter Falk ... Third cab driver
Norman Fell ... Detective at Grogan's crash site
Paul Ford ... Col. Wilberforce
Stan Freberg ... Deputy sheriff
Louise Glenn ... Billie Sue Culpeper
Leo Gorcey ... First cab driver
Sterling Holloway ... Fire Chief
Edward Everett Horton ... Mr. Dinckler
Marvin Kaplan ... Irwin
Buster Keaton ... Jimmy the boatman
Don Knotts ... Nervous man
Charles Lane ... Airport manager
Mike Mazurki ... Miner
Charles McGraw ... Lt. Matthews
Cliff Norton ... Reporter
Zasu Pitts ... Switchboard operator Gertie
Carl Reiner ... Tower controller at Rancho Conejo
Madlyn Rhue ... Secretary Schwartz
Roy Roberts ... Policeman outside Irwin & Ray's Garage
Arnold Stang ... Ray
Nick Stewart ... Migrant truck driver
Joe DeRita ... Fireman
Larry Fine ... Fireman
Moe Howard ... Fireman
Sammee Tong ... Chinese laundryman
Jesse White ... Radio tower operator at Rancho Conejo
Jimmy Durante ... Smiler Grogan
Roy Engel ... Patrolman/Police radio voice unit F-14
Nicholas Georgiade ... Detective at Grogan's crash site
Stacy Harris ... Police radio voice unit F-7
Don C. Harvey ... Policeman in helicopter
Allen Jenkins ... Police officer
Tom Kennedy ... Traffic cop
Harry Lauter ... Police dispatcher
Ben Lessy ... George the steward
Jerry Lewis ... Man who runs over hat
Bob Mazurki ... Eddie (miner's son)
Jack Benny ... Man in car in desert
Eddie Ryder ... Air traffic control tower staffer
Paul Birch ... Policeman
Doodles Weaver ... Dinckler's Hardware Store clerk
Stanley Clements ... Detective in squad room
Bobo Lewis ... Pilot's wife
Minta Durfee ... Bit Part

Intended to be the comedy to end all comedies, with a cast including virtually all the name comedians at the time.

Jimmy Durante plays a guy who is in a fatal auto accident, but before he dies, tells 5 bystanders where there is $350,000 hidden under a "W", whuch leads to a chase to find the money.

Meanwhile, Capt. T.G. Culpeper (Spencer Tracy) is aware of the stolen money and he and his policemen observe the chase with interest through the desert, mountains, and along the California coast, with the contestants using aircraft, cars, trucks, a bicycle and every method of transportation in their attempt to be first to reach the money.

Tracy was ill when the film was shot, and so only worked four hours per day. The long shots and physical stuff was performed by stand-ins.

This is a fun movie. If there is a criticism, it is that the comedy is perhaps overdone. With so many top comedians, there is certainly no dearth of funny lines, pratfalls, and laughs--that's for sure.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

... Read more

Reviews (8)

Ok Movie.
This movie is deffinately not one of Doris Day's Best. Doris Day plays a sweet and innocent lady who wants to have a baby but they keep trying and can't have one so they contact the Rock-A-Bye Adoption Agency. Well the Investigator comes to the house at a bad time. Doris's husband Richard Widmark is chasing a mouse. And the playboy next Door. Gig Young is over and starts making advances towards her. Well in a few minnutes she is starting to leave when Doris and Gig Youngs wife come in and they see what is happening. Well Doris talks to Richard but she can't find out anything and the adoption agency says she must be going. Then Gig convinces Richard to lay back a little bit and gives him some tranquilizers. The next thing we know Richard is riding in his car with the Adoption agency. Then he falls asleep and she drives him to a hotel. The next morning he finds himself in a hotel. Well he hides the fact from his wife. Then they get a call from Rock-A-Bye and they say they have a baby for them. Well when Doris sees it she thinks it looks to much like Richard. Well everybody thinks that and one day Doris sends Richards mother a letter and Richards mother sends her a pic of Richard when he was a baby. And she shows it to Richard and he says when did you have that pic of the baby taken. And she says Ha I knew it this is a picture of you when you were little. Well the movie ends well.

Doris wants to be a parent, but her husband...
Married couple, Doris Day and Richard Widmark want to adopt a baby and of course they have been trying the natural way too. They have wonderful neighbors Gig Young and, who have children of their own currently in camp and one expected. The lady from the Rock-A-Bye Foundation comes around the neighborhood to investigate the parents-to-be. She must ask the neighbors their references of Doris and Richard. Now Richard goes to the front door, not knowing that the investigator is at the front door. he is in his underwear and chasing a mouse with a liquor bottle in his hand. Not a very good impression to start with. What else could happen to mortify Doris Day who is being so naturally proper and decent and yet her husband is not...plenty can happen. Cute film! Directed by dancer/actor/singer Gene Kelly. Nice realistic sets.

Could Have Been Better...
I like Richard Widmark, and absolutely love his movies. I have yet to see a "bad" one, or one I did not like. However, the part in this movie was far too lightweight for him. He's much too good of an actor to be in such of a role. He's best in tough-guy parts. He always fits those like a glove. This film, which is about a couple's desire to have children, doesn't do him justice. He was miscast in this part. Doris Day is sweet and lovely, as usual, while Gig Young is totally annoying. His part could have been deleted completely. The story itself is pretty good, but as I said before, it could have been better.

HAS ONE OF THE BEST COMEDY PLOTS-GREAT!
This is one of the best movie comedies. Has a great plot and good acting by everyone, including Gig Young. Doris seldom makes a bad movie--and this is NOT A BAD ONE.

"TUNNEL" DIGS FOR AND MINES A FEW LAUGHS!
"The Tunnel of Love" was Doris Day's third film for MGM and probably ranks as her least memorable.

Shot in a matter of weeks, it clearly betrays its theatrical roots, being based on a popular Broadway hit which later became a staple for summer stock productions for many years.

Despite it's tight budget and shooting schedule, it surprisingly lost money. Miss Day was nominated for a Golden Globe as Best Actress and received the coveted Laurel Award from Motion Picture Exhibitor Magazine for being the most popular female star in films, the first of eight consecutive awards as most Popular Actress by this publication. None of this, however, saved "Tunnel of Love", which does provide some amusing moments despite a slightly overlong running time which allows interest to sometimes wane.

Gene Kelly directed the talented cast in his final film at MGM after more than 15 years under contract. Had original plans worked out a decade later, he'd have again directed Miss Day in "Hello Dolly" which Richard Zanuck initially wanted as a vehicle for the gifted blonde.

Doris Day and Richard Widmark play a Connecticut couple who want to have a baby. The film's plot evolves around those efforts as well as a lot of misunderstandings which are better seen than described.

As always, Miss Day is a delight. Her comedic talent is second to none and she makes the most of the sometimes tepid situations, giving it the benefit of her personality and skill at making you believe everything she says. Fabled Hollywood Hairstylist Sydney Guilaroff who worked on this film as well as several others with Miss Day told me personally that "...Doris was the most professional actress I have ever encountered. She always knew her lines, never kept people waiting and treated the crew with the same dignity and kindness that she treated her co-stars...." A highlight is Miss Day's exuberant rendition of "Runaway Skiddadle Skidoo", a peppy little song that even allows co-star Richard Widmark to sing a bit of."

Widmark surprises with a very charming and easygoing comic performance. He and Miss Day work well together and it's too bad they didn't have better material to serve them.

Gig Young is in his usual fine form in this the third of four on-screen performances opposite Miss Day. Elisabeth Fraser in the second of four roles opposite Miss Day displays her usual polish. Gia Scala adds window dressing and the viewer will come away not feeling they'd wasted their time but with the talent involved probably wishing for a sweeter aftertaste. Perhaps color would have brightened the proceedings in more ways than one. ... Read more

Reviews (39)

True 80's cheese.!
Story: Troup Beverly has once aginst lost its troup leader because they can't handle the little rich snobs. And then it is taken over by Phyllis Nephler, a high maintenance high class soon-to-be Beverly Hills Divorcee. She's doing it for her daughter at first, but soon wants to help all the girls beat the odds(The Red feathers in particular) and show the rest of the wilderness girls what they can do. Watch the movie to find out the rest.!

Why its so awesome: Its hilarious, its cheezy, its got some groovy tunes, some touching scenes, and Shelly Long... hehe What else more can you ask for? If you're looking for something to brighten your spirits then "Troup Beverly Hills" is EXACTLY what you're looking for, it the "Perfect" pick-me-up.

*enjoy*

God Bless ~Amy

THIS IS THE ABSOLUTE BEST MOVIE OF ALL TIME!!
This movie absolutely rocks! Ive watched it soooo many times and i cant help acting it out everytime i watch it, since I know it word for word :) My friends and i watch it every time we have a sleepover! Its the best movie for people of all ages since it relates on all levels. You will laugh hysterically everytime you see it, and wont be able to stop quoting lines from it! TROOP BEVERLY HILLS ROCKS! AND IF YOU DONT LIKE IT.. THEN... "EXCUUUUSE ME OFFICA!" (sorry i had to) Just watch the movie and you'll see what i mean!

Beverly Hills, what a thrill!
Although I did not get to see this movie until I was about 13 (I'm 18 now), I have to say that this is an absolutely hilarious movie! How can you not love seeing these spoiled Beverly Hills girls doing what they consider "roughing it" by sleeping at the Beverly Hills hotel, or making a dress-rack backpack for the craft fair? In the end though, they show that money may buy you the world, but it's true spirit that wins the race. A funny movie, with an excellent message. Buy it, watch it, you won't be disappointed!

And it rains there...
Stereotypical yes. But anyone who has actually been through the Girl Scout experience will appreciate this movie for what it is. Anyway the best, if only, movie about girl-scouting ever made. I was nine and when it was released, and a sleep-over fave definitely. I was rather disappointed w. my sister's troop's "I wish our leader was like that" but this movie really hits the nail on the head with Velma. Do the Freddie!

One of the best movies of all time!
I love this movie! I was excited to see it on DVD finally. I also enjoyed the extra scenes on the DVD. It doesn't bother me that it is not widescreen. This is a classic movie that needs to be preserved. ... Read more

Reviews (556)

Heeeere's Johnny! A modern horror classic on DVD
It's tough to believe that Stanley Kubrick received a Worst Director Razzie nomination for "The Shining." While "The Shining" may not be given the classic status of some of his other films like "Dr. Strangelove" and "2001", it's actually the least polarizing of this highly-praised and atypical filmmaker's work.

This atmospheric thriller is sure to creep you out with its pacing, eery editing and cinematography (those tracking shots are highly effective), and Jack Nicholson's powerful performance as Jack Torrance. Horror films often tend to divide audiences into genre fans who follow the gore and those who laugh in the face of so-called scares, insisting their own resiliancy to cheap thrills and lamebrain plotting.

Fortunately, "The Shining" doesn't make you take sides, because its chills come from plotting and character study as much as they do from odd sights that will make you jump. It may stray from Stephen King's book and not all of it may make sense, but "The Shining" has so much going for it that you won't mind. It's a gripping and satisfying film experience, and in my opinion, one of the best films of the '80s.

This Warner DVD re-release is definitely the version to get. The fullframe presentation comes at the wishes of Kubrick and the video and audio offer significant improvement over the drab initial release. (Unfortunately, the original Mono audio track has been dropped altogether in favor of an effective 5.1 remix. They could have included both with no problem.)

In the way of extras, there is an engaging half-hour on-set documentary, filmed by Kubrick's daughter Vivian. It provides a candid experience of the film's creation, and interviews with some of the actors. In addition, this DVD re-release includes an audio commentary on the documentary (sort of a "making-of the making-of") by Vivian Kubrick. There's also the spooky trailer, which shows how a movie preview can perfectly pique one's interest in a film, without spoiling (or even saying) much.

Possibly the Best Horror Movie Ever
This was a spectacular piece of work. It had a chilling soundtrack, and had some very good camera work. In the case of the Shining, a movie has finally exceeded the book upon which it was based. Things that would normally make a movie terrible have made the Shining a spellbinding movie. For example, the dialogue throughout the entire movie seems forced and unnatural. Another example is during an argument between Jack Nicholson (who performs incredibly well throughout the entire movie) and Shelley Duvall, after which Jack storms out of the room and glances at the camera as he goes by. If you're a horror fan, or just into movies, this is definetely one to see again and again and again.

A great horror movie..
This film slowley but shorley creepes you out, I don't think any one but Jack Nicholson could have played this role that well, and Krubrick has the best feal in the world, and the score is one of the best ever put in a movie. The movie is really scary.
It all starts off kinda slow thenwe see Dany talking to himself, and then there's a few images that are veary frightning, the holtel gives you a veary creepy isalated fealing, like if something were to happen there'de be no way out. Jack slowly starts going crazyer and crazer, and the hole time creepy images are appearing in the hotel, and the last half hour of the movie is trueley scary, a must see.

267
When i first saw this movie i was scared to death. realy it may have beeen the scariest movie i have ever seen. i also read the book but the movie was even scarier.
i realy recomend you this movie.
maby it had beeen the scariest movie i have ever seen...you are going to love this movie.

Another Kubrick Classic
I loved this movie. It freaked me out I must say. Jack Nicolson is the perfect crazy man in the movie. Another thing this movie possesed was great cinematography as any Kubrick film posses and great acting by all of the actors and actresses. Great movie deffinate buyer. ... Read more

Amazon.com

Author Michael Crichton and director Philip Kaufman had a falling-out over the script for this film, based on Crichton's best-selling novel (which was controversial for its take on the Japanese invasion of American business in the early '90s). Kaufman ultimately won, doing an above-average job creating a murder mystery based on the culture clash between Los Angeles cops and Japanese multinational business interests. When a prostitute is murdered at the opening of a new L.A. headquarters for a Japanese company, detective Wesley Snipes is forced to call upon retired cop (and Japanophile) Sean Connery to help solve the murder. But he runs into obstruction from the Japanese, as well as a high-tech cover-up, while having to deal with anti-Japanese sentiments from people on his own team. Intriguing if overlong. --Marshall Fine ... Read more

Reviews (21)

I Recomend the Book first then the Movie
I first read the book just recently in 2004 and rented the DVD right after. My first Michael Critchon book, I must say I am impressed with the author's knowledge, he is a genius to write about so many topics in all his books.
The main difference i noticed was that in the book he talks much about business between America and Japan but in the film not much of that theme is really stressed or atleast the average viewer might not pick up on it. also in the book the main character (played by w. snipes in the movie)has more of his life story told and you get a sense of his life history more. but all in all all the actors in the movie do a terrific job.
the addition of martial arts fighting in the movie is a plus aswell. i would have liked to see more special features on the dvd though such as interviews from cast,etc.

International Incident
The film adaptation of best selling author Michael Crichton's Rising Sun had its share of troubles...both on screen and off. Crichton had a falling out with director Philip Kaufman over some of the script changes. While I never read the book, and have nothing to compare the film to, I can't say that I wasn't all that thrilled with the film version anyway.

When a call girl is found to have been murdered in the boardroom of a Japanese corporation in Los Angeles, Lt. Web Smith (Wesley Snipes) is assigned to work the case. He soon realizes that his lack of knowledge about the culture is hurting the investigation. He is forced to team up with Captain John Connor, (Sean Connery) who is not only an expert on Japanese culture, but he's also spent time there as well.

As I say, even though Mr. Kaufman seems to have changed key elements of the story, in translating the book, I had other concerns on my mind. In order for "good cop--cop on the edge formula" to work--there has to be chemistry between the actors. Here, Connery and Snipes have very liitle. In fact, as a huge Connery fan, I was suprised at how bored he seemed. The mystery in the story, while having a few nice twists--doesn't sustain enough tension throughout. The usually great Harvey Keitel and Asian legend Mako are wasted in thankless roles. Rising sun is a film brimming with missed potential.

The only extra on the DVD is the movie's theatrical trailer. Given the problems I have with it, that's probably a good thing...What a disappointment. Maybe Kaufman should have stayed closer to the book??

Bleh.....
First, I wanted to see this movie because of I heard Sean Connery played a mentor on Japanese customs to Wesley Snipes in a homicide investigation-and I thought "How interesting!", but after watching it, I felt the plot was disjointed, and choppy, and the dialogue was constipated.
The movie does not flow well at all. I have not read the book, but I have heard it is better than the movie (as usual), and I do like Chricton's work. Still, I found this movie slow, and wondering what the point was.

Yakuza classic
This move is simply amazing. Excellent mixture of action flick with a gangster edge.

A lacklustre movie from an interesting book..
For one thing, the movie is a pale adaptation of a fairly decent book into an intended "thriller" tinged with pseudo-racial slurs. Sadly, these clueless bromides about a Japan of yore are probably all mistaken. For instance, we are made to believe that all Japanese "keiretsu" companies have a barrage of video cameras and monitor their employees 24 hours; a "sempai" (boss) and "kohai" (subordinate) have only one unilateral way of dealing with each other; a man who has lived in Japan for 18 years somehow just has to know a mysteriously effective form of aikido that only requires the use of 2 fingers to knock a man unconscious in a second; and oh, he has to have a Japanese wife (who btw does not look Japanese at all, and this is explained by the fruitcake theorem that one of her parents was black); etc etc...ad infinitum ad nauseum.

But as though the cultural glitches were not misplaced enough, the acting in this plotless movie is torrid too. Sean Connery scrambles to come off as an expert in all things Japan, but his Japanese is nearly incomprehensible. Minor nits about Japan are excruciatingly explained every minute of the movie bogging down the pace of a thriller beyond any semblance of thrill.

But above all, the central event -- a much-ado-about-nothing strangling of a girl during a business conference -- is pretty much left hanging in mid-air. Why was it done? We do find out after wading through an hour and a half of farcical Japan-Culture-Versus-US-Culture morass about WHO did it (and this was anything but a surprise) but WHY it was done is still a mystery to be addressed in a part 2 that we can only hope never sees the light of the day.

In a nutshell, a suspense movie without any suspense, stereotypical misgivings about Japan (the country does admittedly have its quirks but not so bird-brained), a plethora of ill-timed and abysmal attempts at humor without inducing any real laughs, the tired cliche of a black-cop/white-cop combo that start out with mutual chagrin but end up with a deep reciprocal esteem, and a Wesley Snipes perpetually dressed in a flourescent orange shirt.

With a Jackie Chan + Chris Rock/Tucker combo a flaky adaptation such as this could have meant some entertainment, but Rising Sun ends up being a painfully ordinary affair and a tragic squandering of a great cast over what was quite an alright novel. If you really must see the Japan of 90s, you'd learn a lot more by reading the book, or by watching "Black Rain" (Michael Douglas) or "Mr. Baseball" (Tom Selleck). Both of which don't jumble up on the reality and have a real story up their sleeves. ... Read more

Amazon.com

Jane Fonda was so respected as a serious actress that her comedy chops sometimes were overlooked. But it should be remembered that her first real hits (Barefoot in the Park, Cat Ballou) were comedies. This underrated 1977 outing also played for laughs, though it had social-satire underpinnings that still ring true. Fonda and George Segal play an upwardly mobile couple in the time before yuppies--think of them as protoyuppies. But their status-oriented existence suffers what could be a fatal blow when hubby is maneuvered out of his job. Broke and unemployed, they become armed robbers--and discover that crime can pay for them to live in the style to which they've become accustomed. Segal and Fonda have a breezy ease as confused suburbanites who bring the same neurotic thoroughness to crime that they do to their careers. But the script (whose authors include Jerry Belson and Mordechai Richler) never uses either the Robin Hood angle or any other angle that could sustain a sharp edge; as a result, the comedy winds up more cute than knowing. --Marshall Fine ... Read more

Reviews (9)

Columbia Home Vid Forgot the DELETED Scenes!!!
I loved this movie ever since i saw it when i was a kid.
Two additional scenes were added to the broadcast television premiere on ABC. One that stands out is a scene with Jane (Fonda) getting a job behind a cosmetics counter and having to confront a very difficult obese older female customer. This was a very funny scene that seems to now be lost and Is NOT going to be included in the new DVD release.
I didn't have a VCR at the time to timecapsule this extended version, It never was again! I hoped that it would make it's way onto DVD.
Columbia why do this!!!!! that scene as I rembember it was one of the best scenes in the film and made it even more enjoying. Unhappy fan :(

A Comic Tour De Force!
This film is a great comedy form the latter half of the 1970's.
Jane Fonda and George Segal play well of against eachother as a husband and wife forced to face economizing and pinching their pennys after Segal loses his job. After losing welfare and unemployment benifits, they resort to crime to pay the bills!
All in all a god movie and finally worthy of the DVD treatment!

One of my favorite movies
Charming and still funny. Sadly unknown. If you watch this alongside "Klute," you'll see how versatile Jane Fonda is.
RELEASE THE DVD!

Yes, where's the DVD version of this great movie ?
I bought this recently wondering if the fun would still be there after a few decades. Sometimes things have to be rethought, updated. "Dick and Jane" still works all by itself. We might be conditioned to think of Jane Fonda for her dramatic roles, but she is a superior comedian and does a superb job as Jane.

I consider it one of the top movies of all time -- but many people need weight and heft before they will stake any such claim. If you are one of those, I'm sorry. I will always love this film.

If anyone knows how to campaign for a DVD version, let us know. A few other reviewers have asked for a DVD version, I see.

One reason I wanted to write this review is that I recently saw "The Morning After" and was surprised that my opinion was so different than most reviews I researched. This is a fine look at Jane Fonda's ability by Sidney Lumet. I think a lot of people misunderstand what they are seeing, however. If you don't "get it" you might not appreciate the brilliance of this performance: we don't know who Fonda is portraying for most of the movie. Seeing an actor is most often like receiving a specially prepared gift. The actor's work ususally supplies a lot of "givens" to the developing story. Not the case in "The Morning After." Here, we are challenged rather than coddled to. Only near the end do we find that the character's history includes more than the status of a "ne'er-been" TV walk-on actress.

I was will be thinking about this movie for days and watching it again. And watching "Fun with Dick and Jane" more, too. Both of these films should make you proud of a job well done by Jane Fonda.

Hysterically funny and clever!!
I actually saw this at the theater when it first came out. I nearly wet my pants laughing. It's a little dated in styles now but still just as funny as ever. I'm sure everyone can relate to some of the scenes. One of my all time favorite movies and I am waiting to buy it on DVD! ... Read more

Reviews (11)

Mark Twain, Warner Brothers' Style
I've never read Mark Twain's novel to be able to say how closely this movie follows to the original story. It certainly has the Warner Brothers' touch. Errol Flynn is his usual dashing, dauntless self, perfectly at home with a sword in hand. Claude Rain again is the cunning, cultured villain, and Alan Hale is a welcome face, although this time he is Flynn's foe instead of friend. As Prince Edward and his look alike beggar friend, the Mauch twins are occasionally annoying, but for the most part quite effective as the victims of a switch that learn to appreciate the other side of life. The story is fun and played with a lot of energy and humour. Don't assume that this is an Errol Flynn video, because he really isn't the star - the twins are the stars. However, there is enough of Flynn to keep his fans happy, and a good enough story and movie to keep everyone happy (including children).

CLASSIC TWAIN ADVENTURE - GREAT LOOKING TRANSFER!
The Prince & The Pauper is based on the much loved Mark Twain classic. In a nutshell, the plot centers around twins, one the spoiled heir to the English throne, a other a begger with a heart of gold. When the two accidentally cross paths they become best friends and secretly trade places, much to the chagrin of one of the king's advisors (Claude Rains) who is plotting to kill the heir and take over himself. Enter into this fray a fortune hunter (Errol Flynn) who vows to set everything right for king, country and a healthy financial reward. It all ends pleasantly enough in a sword and swashbuckling sort of way.
WARNER HOME VIDEO gives us a handsome looking transfer that is sure to please. The gray scale has been impeccibly balanced with solid blacks and very nice renderings of fine detail. Certain scenes exhibit a touch of edge enhancement and a hint of pixelization, but nothing that will distract from this visually stunning film adaptation. The sound elements are somewhat disappointing by contrast. The main title sequence in particular sounds as though the music track was discovered under a rock. Nevertheless, dialogue - for the most part - is presented at an adequate listening level with only the slightest of pops, scratches and hiss.
EXTRAS: An essay and theatrical trailer - BIG DEAL!
BOTTOM LINE: The Prince & The Pauper is a visually stunning movie that, although straying somewhat from Twain's original intent, is nevertheless faithful enough to remind us why his name continues to be among America's greatest literary talents. The transfer is solid. I recommend this DVD!

Errol Flynn in Support of Mauch Twins in Classic Twain Tale!
In 1937, the WB, capitalizing on Errol Flynn's spectacular performances in CAPTAIN BLOOD and THE CHARGE OF THE LIGHT BRIGADE, cast him in four films, with varying degrees of success. The best, by far, was William Keighley and William Dieterle's production of the Mark Twain classic, THE PRINCE AND THE PAUPER, where he supported new WB 'discoveries' Billy and Bobby Mauch, portraying London urchin Tom Canty and his look-alike, Prince Edward Tudor. The twins were gifted, young (12 at the time of the filming) actors, with a Freddie Bartholomew-like quality of engaging innocence, and they gave this version of the oft-filmed tale a sense of reality that split-screen performances by a single actor could never achieve.

The story is an engaging one, as young Canty, inspired by his mother and a local priest to dream of a finer life than his father, an ill-tempered beggar (Barton MacLane) could provide, sneaks onto the grounds of Buckingham Palace. There, he meets young Prince Edward, who is thrilled to meet a boy his own age...and, after cleaning him up a bit, is astonished to discover that the pair could pass as twins. Edward decides this is a golden opportunity to see what life outside the Palace is really like, so, against Canty's misgivings, the two exchange clothing, and the Prince leaves...creating far more of an uproar than either boy could ever imagine!

Canty is soon considered 'mad', as he insists he is not Edward, and the Prince, abused and ridiculed by Tom's father, is unceremoniously thrown off the Palace grounds when he attempts to return, by a disbelieving Captain of the Guards (Alan Hale, in the first of 12 films he'd make with his friend, Errol Flynn). The ambitious Earl of Hertford (the always brilliant Claude Rains) investigates Canty's claim, and realizes, after interviewing the Captain, that the boy is telling the truth, giving him a golden opportunity to seize power. Ordering the Captain to find and kill the Prince, the Earl then threatens to kill Canty if he doesn't obey his commands.

Things grow desperate for the young Prince, as he attempts to evade his murderous 'father' on the streets, until Miles Hendon (Flynn), a roguish but good-natured 'soldier-for-hire' comes to his aid. Offering his protection to the lad, Hendon thinks him a bit balmy, as well...until events (the child's obvious despair over the death of Henry VIII, the Palace search party, and a sword duel with the Captain, where Flynn KILLS Alan Hale!!!) convince him otherwise. Then it becomes a race against time to smuggle the real King into the Coronation, before Canty is crowned, and the Earl assumes "the Power behind the Throne".

Blessed with a gifted cast, including wonderful character actor Montagu Love as the dying Henry VIII, the film offers a truly exceptional film score by Erich Wolfgang Korngold (who would eventually expand the theme into a symphonic work). Audiences have always been surprised that Errol Flynn's role is not larger, but as a faithful Twain adaptation, the focus had to be on the two boys, and not on the impoverished soldier. Flynn had fun playing Hendon, and the Mauch twins were nothing less than superb as the leads.

With THE ADVENTURES OF ROBIN HOOD less than a year away, and Errol Flynn's star continuing to ascend, the WB had every reason to celebrate, and THE PRINCE AND THE PAUPER is a pleasure to watch, to this day!

Good film based on The Prince and the Pauper
I saw this move years ago and decided to watch it again after getting the part of Lady Jane Grey in a local production of Prince and the Pauper. I also bought the book and read it and I would say it is now a favorite! I'm not sure how but they were able to make an enjoyable movie based on a general outline but completely changing the story, but they did! I would recommend this movie but don't expect Mark Twain's The Prince and the Pauper.

The Mauch Twins are a delight.....!!!
I loved this movie as a kid and still do as an adult. The Mauch twins, Billy and Bobby are outstanding in every way. When they look into the camera and laugh as they do in several scenes, it is pure magic! This film is highly recommended to both young and old. Too bad "Warner Brothers" did not appreciate their talents and build future films around these extremely talented kids. They were as talented, if not more so,than any other young stars of the period. See for yourself and enjoy the film! ... Read more

Amazon.com essential video

As critic Roger Ebert observed in his original review of Ran, this epic tragedy might have been attempted by a younger director, but only the Japanese master Akira Kurosawa, who made the film at age 75, could bring the requisite experience and maturity to this stunning interpretation of Shakespeare's King Lear. It's a film for the ages--one of the few genuine screen masterpieces--and arguably serves as an artistic summation of the great director's career. In this version of the Shakespeare tragedy, the king is a 16th-century warlord (Tatsuya Nakadai as Lord Hid