Reviews (61)

By the Pricking of my Thumbs Something Wicked this Way Comes
I am a sucker for old B&W horror films, and Jacques Tourneur was the best, rivalled only by maybe Mario Bava. Both men understood that shadow and light and the grey/silver play in between could set the mood as no colour film movie could. The black and white film could be lensed at such lower light settings, they achieve spooky shadows and the looming sense that something could be hiding in them as no modern colour film ever could.

And Night/Curse of the Demon is the genre at its best. This movie takes a premise that demons can be called forth and 'sicked' upon a person by the mere passing of a slip of paper of runic symbols - and proceeds to make believers of the audience. The only sour note in the wonderful production is the monotone perform by Dana Andrews who seems determined not to take the role serious. It is quite a shame it could not have had an actor with the deftness of Ian McShane give breath to the doubting thomas professor. Still, even Andrews lack luster performance cannot sink this marvellous film.

Andrews plays a parapsychologist who has come to England to debunk a witch-cult. Once he arrives, he finds the man who asked him to come has been killed under very mysterious circumstances. His niece is convinced he was killed by Carlson, the head of the witch, for she finds a reference in her uncle's diary saying Carlson passed him the slip of paper with runic symbols and then he found his diary had all the pages torn from them after a certain date - the date Carlson said something would come for him. Andrews is a confirmed doubter, but even his faith in logic is rattled has he comes face to face with people of the Auld Ways. He also have been passed a slip with the symbols and Carlson has informed him his time allotted nears - and his diary is found with all the pages torn from it.

It is horror films at their best, Jacques Tourneur the master showing how it was done. Be sure to keep an eye out for his I Walked with A Zombie - another masterpiece despite it stupid title.

One the great turning points in horror films
The distributor advertising this DVD as a "Double Feature" stretches the truth a bit. "Curse of the Demon" is merely the shortened American version of the British film "Night of the Demon." The American version runs thirteen minutes shorter and is by far the weaker cut of the film, if still a fine piece of work. It's a nice feature to have the complete American cut on this disk for the sake of comparison with the original, but this is hardly a "double feature." And there's no reason to watch the edited, shorter version when you have the superior British original of one of the seminal horror movies of all time on the same DVD.

"Night of the Demon" hit theaters in 1957 and marked a turning point in macabre cinema. Director Jacques Tourneur had made some important 1940s horror films ("Cat People," "Leopard Man," and "I Walked with a Zombie," as well as the film noir classic "Out of the Past") that moved against the grain of the gothic fantasies that Universal produced during the 1930s. With "Night of the Demon," Tourneur cemented the idea of the modern horror film, where the terrors of the gothic, demonic, and supernatural appear within the realm of the modern, everyday world -- the essentially rational setting of the contemporary times. The success of this film would eventually lead to such movies in the following decades as "Rosemary's Baby" and "The Exorcist," which took place in the recognizable contemporary world, where the invasion of supernatural forces seemed all the more ghastly.

The screenplay comes from the short story "Casting the Runes" by master Victorian ghost story writer M. R. James. (You can find this story in an excellent and currently in-print volume of the same name.) In the story, a professor and practitioner of the black arts, Karswell, has found a way to send demonic forces against his academic foes by passing them a slip of paper covered with magical runes. The movie expands the premise: Karswell (Niall MacGinnis, who played Zeus in "Jason and the Argonauts") leads a witchcraft circle and uses his rune-tracker to send a demon after his opponent, professor Harrington. After Harrington's death, his American friend, psychologist Holden (Dana Andrews), comes to America to learn more, but scoffs at the idea that anything supernatural could lurk behind Harrington's death. Unfortunately for Holden, Karswell feels threatened enough to decide to send his murdering monster after the American.

Tourneur brilliantly films the movie in a split style, dividing between realistic, bland daytime scenes, meant to have an almost documentary feel, and increasingly warped and bizarre nighttime scenes as the curse of the demon moves closer and closer to Holden and it becomes harder for him to deny the truth of what is occurring. The demon itself is a point of controversy among film students. Tourneur was famous for keeping his horrors hidden, and some people believe that he never planned to show the demon at all, but the producer forced him to shove it up front. The appearance early in the film of the full demon might have been an error (it would have worked better to save it for the finale), but its materialization at the end is pretty incredible and it's hard to believe that Tourneur wouldn't have wanted the ending any other way. This is (excuse the pun) one hell of a demon. Designed by Ken Adam (who would later create the sets for most of the James Bond films, as well as "Dr. Strangelove"), the monster looks like it leaped from the freakiest medieval woodcut representation of Hell. The special effects and sounds accompanying it are also eerie and disturbing.

Andrews is a bit stodgy in his part, but Niall MacGinnis makes up for it with his scene-stealing role as Karswell. MacGinnis is both a bumbling, whimsical British professor (complete with a doting and scolding mother), and a cold-blooded sorcerer -- often both in one scene. The ending of the film, involving the passing of the runes, is both funny and incredibly tense, leading to one of the most stunning climaxes in horror films. Peggy Cummins as the love interest is delightfully perky and intelligent, much more so than female leads in most horror films.

The only extra on the disk is the inclusion of the American cut. However, the film is in perfect condition, and is finally shown in the original aspect ration of 1:1.66 (a typical European screen format infrequently seen in the U.S.; it's halfway between the shape of a TV screen and the typical 1:1.85 that most American movies are shot in today). "Night of the Demon" is essential horror film viewing for anyone who wants to understand the development of the genre into its current form. (And I have to repeat it, that's one helluva demon!)

Good for the Era
I enjoyed this movie not because it was such a good horror film but because it was representative of the era, the time it was made. Predictable and not horrifying. It is a good addition to my film library. I'm glad these oldies are making it to DVD.

Why did I Laugh during a Horror Film?
I read some of the previous reviews of this film right here on Amazon. I read the reviews and I was excited about seeing the film. I had not seen the film before I read the reviews. I was very excited to see the film, I was.
My first comment is this matey, I think it was wise to show the demon at the beginning of the film, as so many of you have objected to. It was wise because otherwise I may not have made it to the end of the film when they showed the demon again. Yes, it looked fake, but it was effective.
The film starts out waaaaay too sloooow. So at least by showing the demon you know you may get more action.
My second comment goes a little something like this, I laughed my little clover leaves off during the seance. When the "medium" starts speaking in tongues and moaning like he is going downhill on a bike on a bumpy road. I don't mean to offend the fans of this movie, but that scene was too much camp, too funny, when the little child's voice started, I almost choked.

I got a bigger laugh though when the central character, Dana Andrews goes to Stonehenge, and my friend said "Oh he's at Stone hedge."
I had such a good time watching this film.
Let me see, I do have a good point of the film. During the doctor convention, it was kind of spooky, you know? There is a bunch of students sitting watching a doctor and his patient. The patient is comatose because he had once seen the demon. The doctor shoots the patient up with "amphetamines" (um hum we know what he pimping in that needle). The patient jumps up and runs into the audience, then runs and jumps out of a window to his death. Well it takes him 2 times to get out of the window, the first time he just runs into it and falls down.
Oh I did laugh again during the big finale, when the demon shows up again, picks up the "satanic cult leader" and starts smacking him around. Whew.
Do I recommend this movie? I don't know. I do know I had a good time watching it though.

One of the best
Without a doubt this is one of the best movies of all time.
I was on the edge through the whole movie. Great camera work,
great scenery with that dreary English landscape. Rent it, but it, you'll be glad you did. ... Read more

Reviews (126)

An Extraordinary Experience
I found this movie to be BRILLIANT! Jodie Foster is outstanding in the role of Anna Leonowens - she is a beautiful mix of bravery, intelligence and Victorian elegance. Chow Yun-Fat is also outstanding in the role of King Mongkut - he emits a regal quality as well that of compassion and intelligence. The cinematography is out of this world and the directing exquisite. The dialogue is perfect, and it strikes just the right chord of polished writing. The musical score is breathtaking. The lush scenery and thick emotion is set to elegant, strong, and graceful music. It is forceful when it need be and then fades quietly into the background... at times supporting a scene with gentle rolling waves of ear pleasure. Oh and the costumes! They are completely amazing, and startling in their detail. From the majestic elephants to the smallest noble they are all cloaked in carefully chosen fabrics.

This movie in all its entirety affected me very deeply. The intense emotions of the characters are so expertly performed and directed that they feel incredibly real. These emotions, which course through "Anna and the King," create a moving, exciting, and anticipatory experience. I am very grateful to all of those involved in the making of "Anna and the King" for producing such a beautiful and extraordinary film. Anyone who is contemplating viewing this movie... do it. I only hope that you, too will have the pleasure of being able to fully indulge in this feast for the senses.

A true outstanding epic movie.....
This is a true outstanding epic movie. I'm really surprised why it wasn't hailed as greatly as it should have been. I personally hail it as one of the greatest movies of all time, a true classic in every sense. I've seen it totally ignorant of all the versions that preceded it and I've loved it with the very first few lines "She came unaware of all the suspicion that preceded her" " the first English woman I have seen". This story of two unconventional people in conventional times with all its historical facts and lush gorgeous background is capable of sweeping one's off his feet making him feel all that cultural and emotional struggle that Anna and the King seem to go through. Jodie Foster was lovely and extraordinary although I used to think that she is too modern-looking for such movies...I guess I was gravely mistaken. I think the movie's real surprise is Chow Yun-Fat who was truly amazing. He seems to be so much at home with all this kingly charm. He has such grace and overwhelming presence that would make him probably one of the most remembered kings on the screen. I can't help wondering if the original king was as charming as he was....and wouldn't be nice if all kings were like that? We would surly love them. And what of the palace? Do I dare and say more? I was totally amazed to know that they've built a replica of the original one...wow! I envy Jodie and Chow for being in such lofty surroundings. I think I would write a book if I were to describe everything I loved in this movie...but I must take my hat off to Andy Tennant for making such a masterpiece and for all the designers. Of course, I must not forget the movie's music and photography and the beautiful script that seems to linger in the mind forever for I would always remember that "when a woman has so much to say and doesn't say it. Her silence can be deafening.".

Simply a delightful story
After losing her husband in the jungle of India, Anna Leonowens embarks in a journey that will take her to Siam, where she will tutor the oldest son of King Mongkut. Her son, Louis, and two Hindu servants accompany her in this new endeavor. As soon as Anna sets foot in Bangkok, the difference between cultures surges as a predominant element that will remain present throughout the story. Even though the start is rocky, with Anna being called "Sir" for misogynist reasons and not being given the house she was promised but accommodation in the palace instead, the king discovers quickly the value of this woman that acts very different from what he is used to. That is why he decides that instead of tutoring his oldest son, she will be in charge of teaching all of his children...all 58 of them!

The movie evolves around three clear themes. First, the clash of cultures, which is enlightening and entertaining and as the movie evolves so does the acceptance and admiration each of the characters show for the positive points of the other's culture. Second, the relationship between Anna and the king, which starts as annoyance, moves to respect and continues developing from there. Third, the political atmosphere, which is characterized by attacks to Siamese people by Burmese armies, suspected to be supported by no other than the British Empire (the events unfold in 1862).

Although the movie is rather long, the events unfold at a pace that keeps the viewer interested at all times. The music fits the mood of the action perfectly well, and in the proper scenes it is so uplifting that it steals the attention of the viewer. Jodie Foster delivers a well-rounded role, but in my opinion the performance of Chow Yun-Fat is at a higher level. Finally, the scenery and the palaces where the movie develops are absolutely amazing.

Overall this is a highly enjoyable movie that will leave you thinking for a while about how every culture has its positive aspects and how, with a little patience, everyone can learn to appreciate this.

Had to watch for a school project...
I thought that this film was very beautiful in content...this film had some real substance to it, and the actors did an excellent job in the portrayal of the characters involved...lovely story.....

Absolutely classic
This is one of my favorite movies ever, it can be compared only to Gone With The Wind. It may be not historically accurate but nor was GWTW and it is still a classic. I love every part of it -- the portrayal of the two different cultures as equals, the love story, the beautiful scenery. I've seen it 4 times in the cinema even though I usually watch a movie twice, when it's in cinema and when it comes out in video.
I don't understand why this film wasn't a great success but I don't mind, at least we won't get three awful sequels and two TV shows based on it.

I also recommend the soundtrack, it is beautiful and suits the story well. ... Read more

Reviews (3)

Rate Seller
This video was sent out to me the next day after I placed the order. It was mailed out as promised by the seller. I was surprised that it was on its' way to me so quickly. It arrived in perfect condition. A reputible seller, indeed.

A Plot Driven Western
I didn't have much in the way of expectations when I started to watch this film, so I have to say I was pretty surprised by how good it was. Dana Andrews stars as a cowboy/businessman in 1850's Oregon who is in love with Susan Hayward, the fiancee of his friend, a reckless gambler played by Brian Donlevy. Andrews has to look out for Ward Bond, a violent wanderer who seems bent on killing him. Toss in some Indians, beautifully photographed scenery, other love interests and subplots, and you have a good story that ties all of the elements in together, providing enough action, drama, and romance to keep any viewer satisfied. Plus you have Hoagy Carmichael moving about singing several songs. What more could you ask for?

A WESTERN THAT REALLY IS DIFFERENT
Director Jacques Tourneur, greatly respected for his low key suspense films such as "I walked with a zombie," and such mysteries as "Out of the past," revealed a different technique altogether when directing this very literate western. In addition to the fine work of Dana Andrews and Brian Donlevy; the music of Hoagy Carmichael is excellent, including "Ole Buttermilk Sky" and the regretfully forgotten novelty number "Somebody stole by horse and wagon, my heart's low, my feet are draggin', I'm walkin' down the trail I used to ride." This film, produced in 1945 was a trend setter whose style is still copied today. A wonderful film in every respect. ... Read more

Reviews (17)

INCONSISTANT IMAGE QUALITY - A REAL LET DOWN!
"Broadway Melody of 1940" was MGM's final film in a series that began with the original Oscar-winning movie from 1929/30. After nearly a decade of big time hits with Ginger Rogers, Fred Astaire made the trek from RKO to MGM to star opposite the best tap dancing lady of them all - Eleanor Powell. The two hoofers are ably assisted in the comedy portion of this fun-loving movie by costar George Murphy and the inimitable Frank Morgan (the wizard from "The Wizard of Oz"), here, playing a bumbling Broadway producer. The plot, generic by any standards, has Astaire mistaken for Murphy and falling in love with Powell. What sets the production apart is a series of mind-boggling dance routines capped off by a mesmorizing set piece to the tune of Cole Porter's evergreen hit, "Begin The Beguine".
Warner's DVD suffers from an inconsistently rendered picture. The opening credits are clear as a bell. So is the opening musical number "Please Don't Monkey With Broadway". But then we get into scene upon scene of low contrast, bad shadow and shutter flickering that creates a distraction impossible to overlook and made all the more evident by more than a hint of edge enhancement and shimmering of fine details. Contrast levels are particularly bad during Astaire's solo "I've Got My Eye On You" as well as Murphy and Powell's art decco dance number "I Concentrate On You". The one saving grace on this disc is that none of the above mentioned problems intrudes on the film's climactic show stopper "Begin The Beguine". It remains an untainted spell-binding display of tap dancing from two professionals at the top of their game. The audio on this disc is mono, as originally recorded, but extremely well represented with low background hiss and little distortion.
Extras: A toss-away featurette hosted by Ann Miller and a theatrical trailer are the only things worth mentioning.
Bottom Line: Disappointing - considering Warners usual sterling efforts for classic movies on DVD. Let's hope that this disc, along with "High Society" and "Kiss Me Kate" are flukes and not what is going to become the norm for a studio with such a rich film heritage, worthy of great pains in preservation.

Nice story, great dancing, good movie.
I admit to being no fan of overblown musicals, but I love this film.

A wonderful little movie, with some big production numbers, Broadway Melody of 1940 revisits the old 'mistaken identity' premise. Our hero Johnny Brett (Fred Astaire) briefly assumes his partner, King Shaw's identity (George Murphy) and misses the opportunity of a lifetime to dance with the wonderful Claire Bennett (Eleanor Powell).

When King is chosen to star in the big new Broadway show instead of Johnny, he gets only support from his slighted partner.

Will Ms. Powell and Mr. Astaire get together in the end? I leave that for you to find out. Look for Frank Morgan (The Wizard of Oz) as Bennett's skatter-brained talent agent, and great dance numbers from all the principals.

A feel good-er, and it's timeless.

The only teaming of the King and Queen of Tap!
One of the last, big B&W musical extravaganzas, BROADWAY MELODY OF 1940 is a joy from start to finish. The incomparable Fred Astaire and the unforgettable Eleanor Powell only made this one film together, but it's one for the ages!

Terrific tunes by Cole Porter make up a nifty score, which comes to a thrilling conclusion featuring Fred & Eleanor's amazing BEGIN THE BEGUINE.

A must-have for film musical fans!

Underappreciated
The art direction in this movie is incredible. It is one of the ultimate "New York as nightlife fantasyland" films (like the 1936 Melody, and Astaire's own "Swing Time"). The DVD replicates the silky B&W images just fine, especially the finale, which looks incredible on a big screen TV. Though Astaire tended to blow this off as "one of those big Metro things", it is a fun movie with a cool Big Band feel and a dream soundtrack, and Eleanor Powell is a revelation--it's too bad she isn't as well known today. Though the silly harlequin ballet doesn't really belong, I'll still take this over the pretentious MGM musicals of the 50s.

if you have a tapper at home; don't miss this movie
Right after watching this, my wife and I called our (now) 14 yo dancer in to see it. She in turn had her dance buddies watch it the next time they were over. The look of amazement on ALL of our faces as we watched some of the best there ever was worth the price of admission. Like the commercial says; DVD player; $200, DVD; $15, Watching your daughter work ten times harder on her tapping-priceless. ... Read more

Reviews (6)

How I fell in love with Shirley MacLaine
Considering all that has happened since, it becomes easy to forget just how great Martin and Lewis were in the early to mid fifties. This was the first of their films that I saw and, to me anyway, it remains the best and a showcase for just how much fun they were. An additional plus is a very young Shirley MacLaine, who even then displayed an incredible screen presence in what could have been a throwaway role. She outshines Dorothy Malone and set my five-year-old heart on fire. They don't make movies like this any more and that's a shame. Shirley, wherever you are, I've been waiting.

My 8 year old's favorite rental!
This movie was a ton of fun. The classic scene "Bat Lady & Fat Lady" scene between Martin & Lewis made the picture. A very young (and quite attractive) Shirley MacLaine adds to the picture with a bit of wit.

When I showed this picture to my son he couldn't stop watching it. Whenever we go to the video store he asks to rent it. I figure that there are a lot of clean movies out there like this one that kids would love if only we adults would expose them to em. Of course for its time it shows quite a quantity of lovely ladies.

My wife absolutely died over the scene when Jerry tries to get his back fixed. This will definately be bought for my son's next birthday. I suggest you don't wait that long.

Even if you don't like Martin and Lewis-
It is difficult not to like this brilliant Frank Tashlin film. He did cartoons in the 1940's, and he adds surreal cartoon gags here as he did in his other under-rated film THE GIRL CAN'T HELP IT. Made when Washington was investigating pin up girls like Bettie Page and horror comic books, the subplot and plea in support of kids comics was very rare for the era.
I have often said that you don't have to like Martin and Lewis to like a Frank Tashlin movie. This is the film to show people who don't get the pair. Dean gets to sing entire songs, Lewis does a scene imagining a steak dinner that works on any age group, and you will not believe how hot the young Shirley MacLaine looks in a Bat Girl costume.
Now, if they could get a letterboxed dvd out........

A Worthwhile Effort
Although the humor is a little childish and cartoonish at times, it was meant to be! In this Tashlin outing, Martin and Lewis team together again in a light and entertaining spoof of censorship and comic book culture. The Cold War plot thrown in at the end is timely, though out of place, in an otherwise exceptionally goofy live action cartoon.

do u want to laugh?
Each time is the first time...the scene with Shearly and Jerry is so funny and each time seems to be the first! ...And Dean is so handsome! ... Read more

Reviews (7)

Tarzan's New York Adventure
Any Tarzan movie staring Johnny Weismueller is a classic hit! He was without a doubt the best tarzan ever. I am 33 this is 2004 in Febuary. So I did not grow up on his movies. I was introduced by my husband and very thankful for the experience. my only problem is you can not get any tarzan movie on DVD with johnny Weismueller in it????????

Tarzan's Memorable Visit To The "Stone Jungle"
With a title like "Tarzan's New York Adventure", how could you possibly resist this film? It being the last of the lavish MGM cycle of Tarzan movies stretching right back to 1932 you would think that by 1942 this would be a tired entry in the series. On the contrary it is in my belief one of the most entertaining of the series and while far removed from the original classic characters and settings created by Edgar Rice Burroughs for his acclaimed novel, it has much to commend it. Marking Maureen O'Sullivan's last appearance as Jane and MGM's last effort before the series moved over to RKO with Johnny Weissmuller in toe it has a certain historical value as well for those people who are interested in the evolution of the Tarzan character on screen.

By 1942 with 5 highly successful entries already released the ideas and originality of the series was getting strained. Maureen O' Sullivan, a very beautiful and talented actress was eager to move on from the role and in an effort to appease her MGM came up with a highly original storyline which saw Tarzan and Jane travelling to New York to find Boy who has been kidnapped from their jungle home. This storyline enabled the studio to allow Maureen O'Sullivan to get into some contemporary fashions while in the earlier part of the story still allowing Tarzan fans a sizable amount of jungle excitement with spectacular scenery, hostile natives and rampaging wild animals. The story begins with Tarzan, Jane and Boy enjoying the tranquility of their jungle paradise when they encounter a group of trappers who have landed in the jungle to capture wild animals for their travelling circus back in the United States. As distrustful as always of the motivations of men coming to his jungle Tarzan confronts them and insists that they leave. In the fight that develops when they dont leave as planned both Tarzan and Jane are knocked unconsious and left for dead. Having witnessed Boy's amazing rapport with the native animals Buck Rand the circus owner (Charles Bickford ) decides to abduct Boy when they fly home and keep him to perform in the acts at his circus. Roused by a distressed Cheeta (who steals every hilarious scene she is in in this film) Tarzan and Jane make a desparate journey via airplane to New York to hunt the kidnappers down. The transition for Tarzan adjusting to life in the "Stone Jungle" and having Cheeta along provides the great comic relief in this story as firstly the couple book into a hotel where Tarzan comes into contact with all the modern appliances such as radios and proper showers. Cheeta also runs amuk and causes all sorts of trouble in the refined hotel setting. With the aid of night club singer Connie Beach (Virginia Grey) who is the girlfriend of the pilot of the expedition Jimmie Sheilds, Tarzan and Jane manage to track down Boy to the circus where a battle for custody of their son begins. In the court case that follows Tarzan has a hard time trusting modern man's justice and when it is discovered that Boy is not the couple's natural son, and when Tarzan is accused of all kinds of breaches of the law he breaks free to find Boy himself. A lengthy pursuit across the top of some of New York's skyscrapers follows and then a spectacular dive by Tarzan off the Brooklyn Bridge before proper justice is done and he and Jane are happily reunited with Boy and set out for home.

Without a doubt one of the most popular and indeed amusing entries in the MGM series "Tarzan's New York Adventure", boasts top production values, sturdy fast paced direction by MGM veteran Richard Thorpe, and as was the case with these films an excellent suporting cast. By this stage in the series Johnny Weissmuller had more dialogue and a bit more character to work with than he had in the earliest films and his work with regular co star Maureen O'Sullivan is well crafted and quite touching at times. Although his later Tarzan films at RKO would be in the "B" class, Weissmuller would always be regarded as the definitive Tarzan for generations to come and still comes to viewers minds automatically if the character is mentioned. Ably supported by popular child actor Johnny Sheffield as Boy, Charles Bickford as the villian of the piece, beautiful Virginia Grey , and especially veteran character actor Chill Wills as Boy's sympathetic mentor at the circus, this film has an abundance of talent that really bolstered the story. The always welcome presence of the Cheeta in this story makes for some hilarious sequences in particular when she raids the cosmetics supply at the hotel and goes on a drunken rampage. Production values are of the highest order expected of MGM with their famous jungle set on the backlot being put to good use in the earlier scenes to be replaced in the second half by wonderful on location work around some of New York's most famous sights.

As an enjoyable Tarzan romp "Tarzan's New York Adventure" really is great entertainment. While a long way from it's original source this film needs to be viewed on it's own merit and by it's place in the order of Tarzan movies. Certainly you are seeing the best any studio could provide in the way of a jungle movie and the storyline while on the incredible side is of great interest in seeing the "fish out of water" manner in which the king of the jungle handles things in his own unique way. Enjoy Johnny Weissmuller and Maureen O' Sullivan, the movies classic Tarzan and Jane in their last appearance together in MGM's enjoyable "Tarzan's New York Adventure".

Swing Shift
MGM's last 'Tarzan' adventure was one of its best. This film shifts the setting from the African jungle to the concrete jungle and it really swings. We finally get to see Weissmuller and Maureen O'Sullivan outfitted in more stylish attire befitting the great city. This film is a good combination of plot and action as it boasts a great courtroom scene and skyscraper chase. This was a great crowd pleaser on its release and it still is today.

Double-breasted Suit for Tarzan
By the time "Tarzan's New York Adventure" went into production, Maureen O'Sullivan wanted out of the series. Producer, Frederick Stephani appeased O'Sullivan by basing the main setting of this film in New York City. This allowed O'Sullivan to wear a more fashionable wardrobe than audiences were used to seeing her in. Tarzan and Jane travel to the "Stone Jungle" to rescue Boy from a circus owner bent on displaying him as his main attraction. A highlight of this film and the series is the big city trial for custody of Boy and an ensuing police pursuit of Tarzan. It all ends happily however! This was one of the best critically received Tarzan films. It was also MGM's last. Producer Sol Lesser brought Weissmuller's Tarzan over to RKO. "Tarzan's New York Adventure" is one of my favorites. No, it is my favorite.

Johnny Weissmuller is Tarzan in the Real Jungle
Johnny Weissmuller was the best of the loincloth-clad heroes of bravado and courage. This excellent film is a testament to that. Interesting script has Tarzan swinging into action in New York City. This is a good action and adventure tale with drive. It contains nice effects and beautiful photography. Notable supporting cast. This one also contains an exquisite love scene. Weissmuller was always the absolute master of swing. One of my favorites. ... Read more

Reviews (57)

Disappointing film gets extra star for photography
How could All the Pretty Horses miss? It is based on a respected book by award-winning author Cormac McCarthy. Its director, Billy Bob Thornton, and its star, Matt Damon, are also award winners. Yet the movie falls short. One reason is that it follows the novel too faithfully, and the result is a screenplay that jumps around. It cuts from one incident to another too abruptly. This technique works in a book but not in a movie. The other reason is that the movie, with its vast panoramas of the earth and sky, is one that is best seen on the big screen. Much of the impact is lost when viewed on television.

Though it takes place in 1949, All the Pretty Horses is still very much a Western. Young John Grady Cole [Matt Damon] sees his world change forever when his mother decides to sell the ranch that's been in the family for generations. All Cole ever wanted to be was a rancher and a cowboy. He convinces his best friend Lacey [Henry Thomas] to go with him to Mexico to find work there. [Cole speaks fluent Spanish.] Soon after they have ridden over the border, they encounter Jimmy Blevins [Lucas Black], a teenager who is riding a horse he obviously couldn't have afforded to buy. He claims it is his, but, fearing the kid is trouble, Cole and Lacey try unsuccessfully to shake him. When Blevins' horse is stolen, they decide to help him steal it back. Afterwards, they lose track of Blevins for a while. They wind up working on a vast cattle ranch. Cole wins the approval of the owner when he proves to be an expert in breaking mustang horses. Cole also catches the eye of Alejandra [Penelope Cruz], the landowner's beautiful daughter. They fall in love, and this and other events get Cole, Lacey and Jimmy into very deep trouble.

Matt Damon gives a thoughtful and nuanced performance. Though he is certainly is a star, he does not work for me as a romantic lead. His scenes with Penelope Cruz are well played, but they lack the chemistry necessary to make us believe this is a relationship the two lovers are willing to give up anything for. Lucas Black, who has worked for Billy Bob Thornton before as the young boy is Sling Blade, is exceptional as Jimmy. He reminds me of the young Leonardo Dicaprio. I hope he choses his future projects more carefully than Leo D. has lately.

I wish I could give All the Pretty Horses a higher grade because it is an obvious labor of love. The plot continuity is just too ragged to justify doing so. Still, it is a handsome picture and not at all a bad way to spend an evening.

A sleeper
Not only did I like the movie, it introduced me to a great writer, Cormac McCarthy. Cormac McCarthy is a modern realist, my American Lit class first brought my attention to this author and the happenstance of picking this movie off the shelf brought a screenplay based on his book to my viewing "pleasure." It's an interesting movie, some call it a typical picture, but I was taken in and thought the story superb. Get past the negativity of the reviews here and see it for yourself. Comac McCarthy deserves recognition for his craft. Matt Damon did a respectable job in the effort and Penelope Cruz (Correlli's Mandolin) put her on my radar screen. I liked it, what more can I say. Oh by the way, I thought this was going to be a "horsey movie" not a tragedy.

Ouch
I have watched this movie somehow from the beginning to the very end and I have only one comment about it : It was an extremely boring movie that told the story of two young men checking the depths of an unknown river with both legs - by going to Mexico.

Really a disappointment
Billy Bob really botched this one. Cormac McCarthy's amazing and epic book deserved much better. Overall, the acting is spotty, and why he would choose someone from Boston to play Grady Cole, a Texan, is beyond me. Barry Pepper would have been a better choice for the lead. Anybody would have been better than an overrated Matt Damon. The outdoor scenes are all shot during the middle of the day, in pale lighting, and the mystique of the southwestern desert landscape that Cormac so eloquently captures on print is lost on film. The cinematography leans more toward a made-for-TV look than film. Marty Stuart provides a slick, polished country music gloss to the soundtrack, when a better band like Calexico, from Tucson, could have provided more haunting and appropriate accompaniments. Hopefully someday a more promising director like Alejandro González Iñárritu or Christopher Nolan will get the rights and give the book the treatment it deserves. Stick to B-movies and Bad Santa sequels Billy Bob!

Surprisingly Authentic
Given how disappointingly liberal, preachy, trite and predictable so many of Hollywood's dramas are, this film presents both tremendous moral balance and a wonderful ease of presentation, all the while offering up one surprise after another. It's as if this film was shot nearly at the time it was to have happened; so clean, real, and spare is the spiritual atmosphere surrounding the characters. Whether the lead characters' authentic, highly believable progress through the story, a simply fantastic performance by young Lucas Black, or the spot-on cameo by a very able Bruce Dern, this film exposes Western sensibilities (even in the mid 20th century) to perfection - Billy Bob Thornton deserves credit for making a beautiful sleeper of a film far too realistic, too believable, and too traditional to ever win a second glance from the Hollywood crowd. See it, and if you're like me, own it for it's simply riveting social and historical placement. ... Read more

Description

You'll fall in love with WHILE YOU WERE SLEEPING, the hit romantic comedy that woke everyone up to adorable Sandra Bullock (SPEED, A TIME TO KILL). As Lucy, a lonely subway worker, she becomes smitten with a handsome stranger (Peter Gallagher -- MALICE). But when she saves his life after he's been mugged and fallen into a coma, his hilariously offbeat family mistakes her for his fiancee! Soon, the mix-ups escalate as Lucy fabricates a life between herself and a man she's never met! And when Lucy falls for his charming brother (Bill Pullman -- INDEPENDENCE DAY) the situation really gets uproarious as she's forced to make a choice between the two! ... Read more

Reviews (143)

Thoroughly Likable Romantic Comedy With Some Complexity
A lonely subway ticket-booth worker, Sandra Bullock, has a crush on a daily commuter, Peter Gallagher. When suave Gallagher is mugged and almost killed, Bullock saves the day. At the hospital, she is mistaken for Gallagher's fiancee, which feels so good that Bullock goes for it. Gallagher's slightly eccentric but very warm and likable family instantly adopts her. Meanwhile, Bullock finds out that the comatose Gallagher was not really very charming, but was actually shallow, materialistic, and snobbish, as is his real fiancee. However, Gallagher's brother, Bill Pullman, is what Bullock thought Gallagher was, and . . . well, nature takes its course.

Sandra Bullock is completely charming in her first starring role, and you want to either take her home or have her move in next door. Her "fiancee's" family consists of a very likable and somewhat eccentric group, played by a veteran cast including Glynis Johns, Jack Warden, and Peter Boyle.

This is a very nice movie filled with nice people. For my money, it's better than "Sleepless in Seattle". It has a little more depth, more realism, and less perfection. "While You Were Sleeping" is not completely predictable, like "Sleepless" is. For what it is, few movies do it better.

Perfect Romance for the Holidays!
In the overfed, overtired stupor that was my Christmas Day 2000, I decided to watch this movie again, having seen it maybe five times before. I never realized before what a perfect holiday movie it is! Of course, it's funny and romantic, and Sandra Bullock is perfect in her role as the lonely toll booth worker (though she may be just a tad too beautiful to be entirely believable as a single woman) and Bill Pullman-funny, smart, boyishly handsome Bill Pullman-finally gets the girl in a film.

But the movie also makes one realize the importance of family and people to love and be loved by, especially around those Major Holidays when we're usually too stressed out with gift-buying and feast-cooking to notice the really important thing-people. Watch this film some cold winter day, either alone or with loved ones, and you'll realize the same thing, along with being warmed from the inside out.

SWEET MOVIE!!
While You Were Sleeping is endearingly sweet and laugh-out-loud funny. Sandra Bullock and Bill Pullman, the romantic leads, are excellently cast and have an even more excellent chemistry between each other. This movie will have you awwwing at the love between Lucy and Jack, and laughing at the family and situation. Highlight to look out for is the icy sidewalk scene- very very well done!! This movie is also very appropriate. In all, great movie, a little predictable but cute!

Sweet but not (too) overdone
While You Were Sleeping represents the pinnacle in chick flicks. Girls, you already know what I'm talking about. But guys, if you're looking to score with the ladies as a sensitive, caring man, watch this movie with your girl. It's guaranteed to promote feelings of goodwill, kindness, and heartfelt gratitude on their part.

Like virtually all those movies in this genre, Sleeping one doesn't really deserve a review for its dramatic value. The entire plot hinges on a few engineered coincidences while the story, cute and engaging, wins no awards for its daring portrayal of real life. But as I said before, that's not what we're looking for. Lucy, a sweet, lonely young thing who works in a Chicago tollbooth, is ably played by Sandra Bullock. The love of her life, to whom she has never spoken, is Peter Callahan, a rich young playboy who rides the train to and from work every day. It all comes to head when his not so understanding friends push him into the tracks, necessitating his resuce (by Lucy, of course) and his subsequent move to the hospital. Here's where it gets interesting--Peter's family rushes in and in the confusion mistakes Lucy for Peter's fiance. Hilarity ensues as virtually all the family welcomes her with open arms without any idea of the mistake. It's only the younger son, Jack (Bill Pullman), who is suspicious, and in his search for the truth finds more than he bargined for.

The power of the movie is found in its two stars. Tension between Sandra Bullock (in her signature role, to be reprised in countless movies afterwards) and Bill Pullman are palpable, moving the silly plot along with their realisic chemistry. In the end, While You Were Sleeping is a lovely story about family, friends and love, and I highly reccommend it for anyone who needs a pick-me-up and have already seen Amelie.

Lucy and jack. 16th april 2004.
Lucy[sandra bullock], see A man peter[peter gallagher] again even though i don't think she even knows him, she fancies him. He is pushed onto a train track, she saves him by moving him away before he gets killed. Peter is in a comber, and all his relatives think that she is his fiancee. Peters brother jack meets her and while he is still in hospital, they both fall in love, but when peter is finally out of hospital, he wants her too. WHILE YOU WERE SLEEPING, EVERYTHING WENT ON WHEN HE WAS IN THAT HOSPITAL BED. ... Read more

Reviews (69)

Doesn't Play Well In Time
I liked this movie when it was first released to the theatres in the 1970s. I thought a revisit on DVD would bring back some of those fond memories, but, sadly, the film looks very dated.'

Forget the premise - it's pure enviro-fiction. Think about it for a minute: the planet earth has no more forests, trees, deserts - no wilderness left. We had to put all our critical environments in pods and orbit Jupiter with them (why Jupiter? why not orbit Earth?).

This very Asimovian premise falls on its face in light of science: since green plants give us the oxygen we need, a planet devoid of all green plants would be a dead planet - there would be no oxygen-breathing life on it.

OK. Let's say, though, that the radical environmental movement has succeesed in numbing your sense of reason - the film still fails in its scripting, which is needlessly whiny. Bruce Dern gives a rather egalitarian performance as the tree-hugger, which doesn't help to lend credibility to his cause.

Some of the effects still hold up, but overall the film has that shaky, matted look of cheesy 70s sci-fi (even STAR WARS has that look).

The most interesting thing about the DVD is the Special Features, and the documentaries on the making of the film. Once I finished with those, I had nothing more interesting to watch.

Great 1970s dystopic...
Like death and dying, there are several stages in evaluating "Silent Running" as a film. The first stage is whoa! great effects, unusual idea for a film made in the early 1970s. The second stage is the realization that you are being hit with some of the hardest propaganda since "Battleship Potempkin" or "Triumph of the Will". The final stage is nostalgia for such a ground-breaking movie with super special effects.

Bruce Dern is comfy in his role as a slowly-unraveling sociopath. What many don't realize is that the screenplay was written by a then-young Michael Cimino and Steven Bochco ("The Deer Hunter", "NYPD Blue". What's truly amazing is the use of mechanical (not visual) effects. If you've never been on an aircraft carrier, you'll believe that there is an American Airlines cargo freighter "Valley Forge". The details are wonderful: the corporate logos on the cargo pods, the technical manuals lying around, the overall believability of the wonderful drones, the background radio chatter from the other ships.

It's a shame Douglas Trumbull hasn't been more visible, this was a great effort.

A Bold Attempt with Fatal Touches
I must say I actually applauded Douglas Trumball for making this film, and upon it's release, it made an impact with audiences, but I never cared for it as entertainment or as serious science fiction. Today, the short-lived "ecology movement", green flags and all, is long gone, and this film is now is a seriously dated curio of it's time.

There are some terrific things to be said about this film... and there are some intelligent reviews of it that I agree with... however there are some fatal touches that make this a dated piece, and that make it difficult to watch today.

First of all, Bruce Dern's unappealing character is a stereotypical "hippie". He is a classic "passive-agressive" person... at one moment "loving and peaceful" and the next minute he is angry, pissed off, not in control of his emotions. He is certainly difficult for me to empathize with, since he reminds me of many "do-gooders" I have known who are unpredictable and untrustworthy and have a "hidden agenda" besides "peace and love". Dern plays this part to perfection, but its not something comfortable to watch for 2 hours. I have seen this film 2 or 3 times and each time I just wanted a chance to stuff something in his mouth to shut him up.

Secondly, the soundtrack of Joan Baez singing her folk tunes in space is just too limited for the scope of the visuals and destroys the impact of the powerful message the film tries to convey about "saving the planet". Her passive, slightly off-key and limited-ranged vocals do not marry well to the scenes of space, stars, planets and infinity. It does not work on any level... either then or now.

Finally, the most fatal flaw of this film is that as the plants begin to die... our hero panics and says he has no clue why. Forgetting about the space ship leaving the solar system and the gigantic glass domes leaving solar rays, he suddenly "realizes" that plants need SUN. What kind of ecological genius is this guy?

Well, the robots are clever and cute, the sets are impressive, the early scenes with the "friendly" plants are nice and the special effects are first rate for their day.... and we get to see Saturn's rings in the movies for the first time looking relatively authentic. It's certainly not as bad as a few reviewers have said, and sci-fi fans should see it, but there are far better sci-fi films out there.... and better ones that deal with the rape of our ecosystem.

Douglas Trumbull's Underappreciated SF Classic
On an overtechnologized and defoliated Earth of the future, the ecosystem has been carelessly destroyed by humans and the only remaining wilderness environs are grudgingly looked after by astronauts on massive domed spaceships. The vitamins, minerals, and such required to sustain human life can be easily synthesized in laboratories, so the folks on Earth are becoming increasingly apathetic about the need to sustain the circumgyrating greenhouses. When the inevitable order to scrap the project and destroy the orbiting flora and fauna finally comes through, Freeman Lowell (Bruce Dern), the only astronaut in the project who truly cares about the plants and animals, violently rebels and places upon himself the responsibility of protecting the last vestiges of Earth's non-human life. But just how far will he go to ensure that he's successful in his self-imposed calling?

1972's SILENT RUNNING marks the directorial debut of FX wizard Douglas Trumbull, probably best known for his FX work on Stanley Kubrick's 1968 sci-fi epic 2001: A SPACE ODYSSEY. Though the skeleton was given flesh by writers Deric Washburn , Michael Cimino, and Steven Bochco, the underlying structure of the plot is Trumbull's. In light of his work with Kubrick, it is interesting that Trumbull would come up with an idea such as that for SILENT RUNNING, as it makes it seem as if he felt that the only way he could demonstrate that he is more than just an FX man was to create a film that is the thematic opposite of the one featuring his best known FX work. Kubrik's opus tells a story that celebrates mankind's intellectual evolution and subsequent technological advancements, whereas Trumbull's brainchild embraces the ideals of 1960's counter-culture ecology movement and implies that technological advancement is conducted irresponsibly and consequently pollutes the environment and wrecks the Earth.

The plot of SILENT RUNNING is a bit slow at times, but the film is never dull or boring. And in the role of the good-intentioned but increasingly psychotic Lowell, Dern turns in one of his most intense and most memorable performances. Due to its anti-technology and pro-environmentalist theme, however, many critics have panned SILENT RUNNING as a '60s throwback in which Trumbull tries to milk emotions from the last vestiges of the pro-ecology hippies, often citing the fact that '60s folk singer Joan Baez performs some of the film's music as proof of their theory. But this is really an unfair evaluation. Environmentalist themes have been a long tradition in science fiction, with a future dystopia used to illustrate what might happen if present society continues being ecologically apathetic. And SILENT RUNNING isn't the only classic SF film from the '70s built around such a theme. Other SF films of the era also express concern about man's effect on nature--NO BLADE OF GRASS (1970), Z.P.G. (1972), SOYLENT GREEN (1973), and PROPHECY (1979) to name just a few. So it's more likely that Trumbull, a science-fiction fan himself, simply chose a traditional SF theme that appealed to his own ideals and tastes.

The DVD from Universal offers a good digital transfer of the film in anamorphic widescreen. Also included are some pretty cool bonus features, not the least of which are the original made-for-tv featurette on the making of the film and an interesting feature commentary with Trumbull and Dern. No true fans of SF will want to miss the opportunity to include this film in their DVD collections.

tell them all they love will die, tell them why, in the sun
I recently purchased this DVD, and viewed the film again after a break of many years.

There is little if anything of a critical nature that I could add to the excellent comments of darkgenius (see below). I did not see the character of Freeman Lowell as quite the fanatic that he did - which surprised me, because that *is* how I remembered him from my previous viewings, many years ago. If we lived in the ecologically monstrous era of the film, yet saw with the vision of a man of today (as Lowell does), I imagine many of us would exhibit more outrage than he does. In fact, I think the indifference of his co-workers astonishes - or perhaps appalls - me more than Lowell's personal involvement.

This is a very moving film. Evil is usually depicted in film in much more immediate and dramatic manifestations than one usually encounters in real life. CS Lewis has made the observation that all evil is ultimately banal. Indeed, true evil often passes before us completely unnoticed as such - in the civil servant who shows a bias for someone of her own race; in the policeman who gets joy out of bullying members of the public; in landlords and banks that use ignorance and intimidation to exact unwarranted concessions from a dispirited public; and so on.

In Silent Running, the last forests on Earth have been shot into space. There is no room for them anymore, but they are being preserved. Anyone of mature years knows how this kind of thing would come about in real life, and how it would end. It would come about because some political group wanted the forest land for some other purpose; and, not having the courage to simply destroy the forests openly -- perhaps not even wanting to do so, initially -- they suggest that this last great ecological heritage be preserved in space against the day when forests are again convenient. They might even weep, saying that the cost didn't matter because the forests were irreplaceable. And it would be done. But: "out of sight, out of mind." It would only be a few years before the expense of maintaining these forests in space would be deemed unjustifiable. And then the order to abandon them would come.

This is the way many societal evils actually come about. Silent Running shows us what depths of depravity are implicit in this common principle of human behavior.

The sorrow conveyed by this film is intensified by the representation of the victims as children. Lowell himself is naïve, thinking that recall and re-establishment of the forests is just around the corner. The drones are diminutive, awkward in their movements, and *trusting*; this last is demonstrated at a couple of points in the film, where it is evident that they are uncertain, look to Lowell for guidance, then go on about their tasks. Don't overlook the watering can. And there is the song, "Rejoice in the Sun," sung by Joan Baez.

We identify with these children. We feel the anguish of their loss as our own.

I venture to say that if you were to show this film to a group of your acquaintances, the ones who wept would prove the best friends. ... Read more

Reviews (4)

Powerful Recreation of the Middle Ages
Beatrice awaits her father and brothers return from war. The family fortune has dwindled but Beatrice looks after the castle and its surrounding farmlands the best she can. These early scenes have a beauty and magic to them and Julie Delpy's etheral beauty seems perfectly at home in this setting. Her world is charmed with wonder and she looks destined to live the romantic life of princess. It seems all that is missing is a father to restore the castle to its former glory. The longer he is gone the more Beatrice idealises this man she never knew. When word reaches her that he is on his way back she is ecstatic. Meanwhile we see what kind of man he is. From the first glimpse Tavernier gives us of him we know he is not what Beatrice imagines him to be. As they welcome the father and his band of soldiers into the castle and feed him someone asks to hear of his exploits...a silence fills the room. Reluctantly he begins to tell a tale quite different than the one the listeners expected to hear. We soon realize a more disillusioned man never walked the earth than this man. He paces the halls of the castle like an animal hungry for prey. Nothing is sacred to him, nothing safe from him. Religion nor family hold any sway over him, he takes what he wants & the biggest prize in the castle is Beatrice. This homecoming begins to feel like a state of seige. It is not long before the prize is forcibly claimed.

Beatrice pleads with the priest for protection but he will do nothing that might offend the Lord of the castle. In fact its Beatrice who is blamed for her fathers actions. Her only ally proves to be a female witch and witchcraft in this film seems to be the one activity available for women to feel powerful and it proves to be quite seductive to helpless Beatrice. Tavernier seems to be saying that once a man loses faith his capacity for destruction is limitless. The father defies every natural law and in so doing seems to beg for someone to destroy him once and for all. And finally someone does.

In other films Tavernier has dealt with family dysfunction in a profound way (The Clockmaker) but this goes well beyond mere dysfunction. There is something compelling about this recreation of the middle ages as it seems to capture the essence and contradictions of the time--and even offer a very modern way of explaining why such forces co-existed.

It's not all Prince Charmings and Happily Ever Afters
This movie disturbed me but was still unbelievably compelling to watch as the three main characters, the father, the son, and the daughter wage an internal war upon each other.

The father and son return after an humiliating experience at war only to find that the battle continues with each other at home. The son is constantly berated by the father for his shortcomings. The father forces the daughter to express the same emotions of compassion and love she shows to her brother to him. What ends up happening is a fierce battle of strength versus intelligence.

A disturbing, compelling, and haunting movie. Be warned, it's not for all tastes.

Offbeat, ritualistic medieval classic
I've watched this film many times, and it never fails to move me. It has the aura of ritual -- as when the father points to his heart and says "Here" before his daughter stabs him, a death he has surely earned. Is this what he has desired all along? Did she have to dress up in her disgraced brother's clothes before being capable of murder? Etc. This film is so un-PC, the viewer might be best off seeing it as an exploitation movie gone arty and strange. Best witch-burning sequence ever. Best dirt-eating. Best ancient castle with hand-held chase scenes. Magnificent acting. Won't bore you for a second, that's for sure. The real thing without any cinematic cliches. Compare to "The Devils" or "The Return of Martin Guerre."

Beatrice (French title: La Passion Beatrice)
This film is well acted and well directed; however, emotionally it is VERY difficult to watch. The father in the film is a full-blown psychopath. It's hard to say which is more horrifying: his emotional abuse of his son or the sexual abuse of his daughter. I'm not exactly sure what the point of this film was, unless it was to de-romanticize the Middle Ages; in this, it certainly succeeds. I do have to give director Tavernier credit for an honest treatment of child abuse in all its revolting reality. Watch it only if you have a strong stomach. ... Read more

Reviews (10)

Above average Elvis vehicle
This picture is a great improvement over the movies of the previous three years (especially when compared to EASY COME, EASY GO and CLAMBAKE).

In this more adult-oriented comedy, Elvis plays a photographer who gets stalked by a rather eccentric woman, who gets him fired from his job and moves him out of his own home. How does she do it? I can't tell you, you have to buy the picture. He, he.

Anyway, you'll have fun watching Elvis juggle between two jobs, and the songs in this picture are actually GOOD (especially "Edge of Reality" and "A Little Less Conversation"). The "Edge of Reality" sequence is actually pretty psychedelic, an Elvis film highlight, indeed.

Finally, Elvis was getting more quality scripts in this period. Unfortunately, his movie contract was almost up, so that's probably the reason for it.

Buy this picture, you'll be glad you did.

No Cookie Cutter Elvis vehicle.
By '68 the 1930's approach to Presley movie-making was finally over. Although Mr. Taurog did some nice work with Elvis, it seems that his work with Bing Crosby somehow became his main reference point in presenting "The King of Rock and Roll". (Indeed, even in this progressive entry, another '20-'30s icon, Mr. Rudy Vallee, has a part). Anyhow, this picture tried to be mod, hip, current, whatever. and missed the mark. Not that it doesn't have some entertaining sections, with our man dealin' with an inscrutable bohemian lass. All the songs are good, especially "Edge of Reality", presented in a well-choreographed waking dream sequence. Another contemporary song, "A Little Less Conversation" was also well-presented. (Alright, Elvis historians, how about my idea that the later-recorded "Let's Forget About The Stars" was possibly the original tune for that scene involving the lady deep into astrology - it doesn't make sense that it was cut for "Charro"...). Since several of my friends at that time who were not Elvis fans told me that picture was okay, I'll rate it a 2-PLUS. A true "oddball" in the Presley film collection. (By the way, why didn't someone insist that two of the biggest names in American music history, Elvis Presley and Rudy Vallee, do a duet, or something?). [Low Embarrassment Factor of 2].

Downright depressing.
I purchased this film with the knowledge that it features Elvis singing "A Little Less Conversation." I love that song, so I figured, no matter how bad the movie was, I would still be glad to own it.

This movie came very close to proving me very, very wrong.

Let's start with Elvis. His hair, normally his crowning glory, is dyed inky blue-black and is poorly cut. His foundation, which I suppose was applied to make him look healthy and tanned, only makes him look orange. He somnambulates his way through the film. I watched this immediately after _Jailhouse Rock_ and it is saddening to see the light and fire completely extinguished from his eyes. The only times Elvis seems to come to life in _LaL,LaL_ are when his character is pursuing a woman. In these moments, a wolfish intensity animates his face, reminding me a bit of his performance in the '68 Comeback Special.

That said, I can hardly blame Elvis for a less-than-fully-committed performance here. The script is shockingly bad. Nothing happens for minutes at a time. The movie is an hour and a half long, but one imagines the story ought not to have taken more than twenty minutes to tell. The editing is miserable, but one can hardly blame the folks in the cutting room--they had to include lots of boring, extraneous footage just to get this movie to feature-film length.

Also remember that the movie was made in 1969, and it was his 28th film. By that time, Elvis had absolutely zero desire to be making movies. Even if he weren't so obviously pained during this film, it would be sad to watch, knowing that Elvis was trapped in his studio contracts and that was the sole reason for his doing the movie.

Still and all, "The Edge of Reality" and "A Little Less Conversation" are both very cool songs, and the production numbers are enjoyable. The video only costs ten bucks, so Elvis fans may still want to make this a part of their collections. Casual fans should stick to Elvis's earliest films, like _Jailhouse Rock_ and the brilliant _King Creole_. Elvis's acting in the latter movie is particularly good.

Becoming more and more psychadelic.
"Live A Little, Love A Little" is as close to '60s themed as it can get. This picture finds Elvis juggling between two magzine photographer jobs, and it looks sort of compliacted. He takes his leisure time out especially later for girls and Michele Cary. This film is a little cautionary to younger viewers. "Live A Little, Love A Little" focuses more on sex and tries to keep up with the ever-changing times. "Live A Little, Love A Little" features the low "Edge Of Reality" sequence which is very psychadelic in a sense, and "A Little Less Conversation" which became a hit this summer. By the way, pick up "ELV1S 30 #1 Hits", too. Suprising, this film can be enjoyable in some ways.

Mad COOL
This film is not only weird, but mad cool. The direction of the film, by Norman Taurog, is great. Don't believe me? Watch the fight in the newspaper plant. Jackie Chan has used the SAME gags in his film, and this was 1968, when Jackie was still at opera school. It is short, but very well done for an old fight scene.
Then, there is the EVER SHY GORGEOUS Michele Carey. My oh My, this girl is sooooooooo beautiful in this film, and her voice is to die for. (she does not sing, i am talking her speaking voice here!)
The party scene, where they use the song popular again today, A LITTLE LESS CONVERSATION, has great panning Hero shots of Elvis, in a mod blue suit, strutting though a party, hunting and catching his prey, a blonde bombshell. This vignette, is awesome, and worth watching the film alone.
Finally, there is the TRUTH. Can't tell you more, cause it would ruin the film.
Lots of hot chicks, weird cool 60's dialogue, parties, and events, and Elvis being the coolest mofo on the planet.
Watch it!
AS soon as it is on DVD, it is MINE! ... Read more

Reviews (9)

Truffault can be a lot of fun
Francois Truffault, who has always terrified me as a true "art" director, comes across in this film with warmth and humor; not only that, one get to learn a little about Paris under the Nazis and how people "coped." Catherine Deneuve, wife of the director and lead lady, is gorgeous as she balances the needs of her cranky Jewish husband in hiding (Heinz Bennent; he's continuing to direct by listening in to rehearsals through the pipes) and those of her handsome leading man (Gerard Depardieu), whose only way of coming on seems to be to grasp a pretty woman by the hand, gaze into it and murmur, "I seem to see two women here." For a movie about a sad and terrible time, there is a lot of strength, here, and I found Truffault, for some bizarre reason, easy to understand.

Grace and Elegance
If films were planes, Francois Truffaut's "The Last Metro" would be a glider, cutting gently through the winds of occupied Paris, and moving gracefully through the lives of a theatrical troup attempting to mount a production during wartime. As Marion Steiner, Catherine Deneuve brings elegance and beauty to the subtle intrigue and fluctuating emotions of day-to-day life under Nazi occupation in 1942. Like Truffaut's film, her performance is one of nuance and subtlety, and garnered her the award for best actress in France.

Marion Steiner leads two lives, separated only by a stairway. Below the theatre, in the cellar, she shares a love with her husband Lucas (Heinz Bennet), a Jewish theatrical director who must live in hiding, coming to life only when Marion's footsteps bring her into his claustrophobic world.

Their love is real, but is slowly threatened by the distance and contrast of the living going on up above and the stagnation and frustration below. The internal strain becomes greater when Marion falls under the spell of her leading man, Gerard Depardieu, Truffaut's camera capturing the fleeting glances and icy demeanor that is our window into Marion's heart. Depardieu's passion for French resistance, however, may prove greater than his passion for the theatre, and Marion must also contend with a pro-Nazi theatre critic who could sink the production before it begins.

Only after Truffaut has used his camera to show us this elegantly detailed world of the French theatre during wartime does his screenplay suprise us, and remind us in an uplifting way that life itself is but a play, and we are all part of the cast.

This is definitely a masterpiece, but if you have not ventured into foreign films yet, I would not suggest this be your maiden voyage. One must ride the 747 first to appreciate the grace of Truffaut's glider, turning ever so quietly, without a sound, into the winds of the human heart.

Warning: subtitles cannot be turned off
Zone 1 Francophones beware: the english subtitles are on
the video layer and cannot be turned off. I suppose this
might save the production cost of redoing subtitles for
DVD, but it would be nice if this fact were mentioned in
the technical info. Completely unacceptable, hence the
automatic one-star rating.

A true classic
One of Truffaut's and Deneuve's best pictures. It has warmth, history, a sense of the absurd, excellent pacing, and a bit of suspense. It's also has more a linear storyline then many French films. All of the performances are excellent.
Two Warnings:
1. Avoid dubbed versions (Deneuve's sense of humor is in her voice, not on her face, resulting in a mirthless character when dubbed).
2. The new Fox version changed the sub-titles and wrecked some of the best lines.

Late Truffaut that gets better with every viewing.
Truffaut follows in the tradition of Jean-Pierre Melville by adapting a popular genre as a serious allegory for the darkest period in French history: the Nazi Occupation. Just as Melville used the gangster film to examine notions of legality, legitimacy, authority and criminality in a period when the Resistance were outlaws and the police were rounding up Jews for the death camps, so Truffaut takes the beloved putting-on-a-show warhorse, and uses it as a metaphor for the conditions of life in Occupied France: the need to act, adapt and continually discard roles. When Depardieu's character leaves to fight for the Resistance, he puns about exchanging his make-up (maquillage) for the maquis. What Truffaut is most interested in, as in all his films, is the effect this need for constant dissembling has on individual identity and relationships.

This wonderful romantic comedy plays like a mature update of 'Casablanca', richly stylised, bravely open-ended, with Truffaut's moving camera wrenching spirit from claustrophobic confines. ... Read more

Reviews (186)

Love the Movie!!! Newer DVD is acceptable quality ...
I have always liked this movie. Sure, the story never reaches its purported climax, but there's a lot of fun getting there ...

Let me address the DVD issue right off: I have (apparently) a remastered version, widescreen, with chapter selection and promotional trailer included. The quality of this DVD is pretty good. I can't remember the exact cinematography but it seems like this is how the movie always appeared. Not top-notch but acceptable. The trailer is not as well preserved but is OK.

(I noticed this on the Rambo: First Blood Part II DVD I just bought ... on that DVD, the trailer is so-so, however the picture on that movie is crisp and very well preserved).

OK, back to the movie. A freak storm catches the USS Nimitz aircraft carrier and transports her and her crew back to December 6, 1941 just off the coast of Pearl Harbor, Hawaii. The BIG question: Ignore or Intercept the Japanese Navy when it attacks on December 7? ... if you haven't seen the movie, I won't spoil it for you here.

There are top-named actors like Martin Sheen, Kirk Douglas, James Farentino, Katharine Ross and Charles Durning. And there are a few real carrier personnel who weren't professional actors, obviously. But they got to be in the movie and who could blame them? Most people who like this film enjoy the time-travel, naval-combat aspect of it and overlook the occasional potholes in the storyline. Hey, just have fun!

There are some great launch sequences of Naval fighter aircraft, recon birds, tankers and helicopters. And the inflight sequences are pretty good too. You get to see F-14 Tomcats, A-7 Corsairs, A-6 Intruders, EA-6B Prowlers, E-2C Haweyes, SH-53 Sikorsky's and more. Plus the carrier crew equip the aircraft with the Mach 4+ AIM-54A Phoenix missiles, AIM-9 Sidwinders and AIM-7 Sparrows for air combat. Great stuff!

Overall the quality of the DVD movie is fairly decent and played well on my 55" big screen and my 27" small screen TV's. If you haven't seen the film, it's similar to "The Philadelphia Experiment" with Michael Pare and Nancy Allen. Enjoy!!

Love the Movie ... Newer DVD is acceptable quality ...
I have always liked this movie. Sure, the story never reaches its purported climax, but there's a lot of fun getting there ...

Let me address the DVD issue right off: I have (apparently) a remastered version, widescreen, with chapter selection and promotional trailer included. The quality of this DVD is pretty good. I can't remember the exact cinematography but it seems like this is how the movie always appeared. Not top-notch but acceptable. The trailer is not as well preserved but is OK.

(I noticed this on the Rambo: First Blood Part II DVD I just bought ... on that DVD, the trailer is so-so, however the picture on that movie is crisp and very well preserved).

OK, back to the movie. A freak storm catches the USS Nimitz aircraft carrier and transports her and her crew back to December 6, 1941 just off the coast of Pearl Harbor, Hawaii. The BIG question: Ignore or Intercept the Japanese Navy when it attacks on December 7? ... if you haven't seen the movie, I won't spoil it for you here.

There are top-named actors like Martin Sheen, Kirk Douglas, James Farentino, Katharine Ross and Charles Durning. And there are a few real carrier personnel who weren't professional actors, obviously. But they got to be in the movie and who could blame them? Most people who like this film enjoy the time-travel, naval-combat aspect of it and overlook the occasional potholes in the storyline. Hey, just have fun!

There are some great launch sequences of Naval fighter aircraft, recon birds, tankers and helicopters. And the inflight sequences are pretty good too. You get to see F-14 Tomcats, A-7 Corsairs, A-6 Intruders, EA-6B Prowlers, E-2C Hawkeyes, SH-53 Sikorsky's and more. Plus the carrier crew equip the aircraft with the Mach 4+ AIM-54A Phoenix missiles, AIM-9 Sidwinders and AIM-7 Sparrows for air combat. Great stuff!

Overall the quality of the DVD movie is fairly decent and played well on