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One is compelled to say, in these Politically Correct times, that Northwest Passage takes a distinctly "unenlightened" view of the 18th-century American colonists' Indian neighbors. Then again, everything about the world portrayed in this early-Technicolor production is harsh: the repressive policies of the Crown-backed Boston magistrates, the expectations Maj. Robert Rogers (Spencer Tracy) has for his guerrilla warrior band, the bloodthirsty war-making by the Abenagi Indians (reciprocated in kind by the colonials), the ferocity of flood-swollen wilderness rivers, and the breathtaking, unforgiving vastness of the virgin forest in which, surrounded by beauty, Rogers's Rangers very nearly starve to death. As an action film, Northwest Passage peaks early with a predawn, retaliatory raid on an Indian village--horrific choreography by the master filmmaker who made The Big Parade. But the grim march back from this mission is too harrowing to call anticlimactic. Robert Young and Walter Brennan costar. --Richard T. Jameson ... Read more

Reviews (14)

A wonderful movie
"Northwest Passage," based on the first part of Kenneth Roberts' historical novel of the same name, is an American classic. One of the first Technicolor features, it brings to life colonial America and the brutality of the French and Indian War, which proved to be the training ground for George Washington and other leaders of the Revolution. The fascinating aspect is that the troops of Rogers' Rangers not only have to battle the enemy (Abenaki Indians, who are allied with the French) but also the environment and, at times, their own commander, Maj. Robert Rogers, played by Spencer Tracy as an almost-superhuman leader. (The novel paints a different portrait by its conclusion; there is foreshadowing of this in the film.) Notable are the performances of Tracy, Robert Young (perhaps his best big-screen role) and Walter Brennan. The delightful music of Herbert Stothart completes the picture. As fans of the film would say, "See you at sundown, Harvard."

Top of the line Adventure film
Northwest Passage still holds up after 60 years. Great outdoor locations and excellent color cinematography make this a most watchable classic. Spencer Tracy is perfect as Robert Rogers, the first American commando during the French and Indian wars. Robert Young is also excellent as Langdon Towne, a Harvard failure talked into joining Roger's Rangers. Add the always entertaining Walter Brennan and you have a very good movie, perfect for almost all ages. This film will keep your attention. I'm surprised that this movie hasn't been mentioned more often as one of the better adventure films ever made. Historically speaking, the film follows the Rangers' raid on St. Frances without adding any undo Hollywood hype. I strongly recommend this film for anybody 8 years old and up.

Tracy at his Best
Without a doubt, this is Spencer Tracy's finest performance; and since most of his contemporaries in Hollywood regarded him as the best actor in town it's a pretty high standard. (Clark Gable said it embarassed him to work with Tracy in "Boom Town", his fellow actor was so good). King Vidor's film is based on a portion of Kenneth Robert's historical novel and doesn't soft-pedal for a moment the mutual hatred that existed between whites and reds during the French and Indian War. The movie is about a raid into Canada by a troop of American guerillas led by Tracy, and the fantastic hazards they faced coming and going, with a blood-curdling battle sandwiched in between. That battle action is the most realistic 18th-century warfare I've ever seen captured on film and a highlight of director Vidor's career. Robert Young and Walter Brennan provide stalwart support, but it is Tracy's performance that overawes everything else as the forceful but flawed leader in search of the impossible.

Spencer? Uh, yeah!
I couldn't help laugh about another reviewer complaining about the choice of Spencer Tracy as the star of this movie. He believes that because of World War II most of the "better" actors were in the service and thus the studio had no choice but to hire Tracy. And yet he still questions this casting decision. No offense, but that is a laughably absurd.

Ignoring the fact that the U.S. was not yet involved in World War II at the time this movie was released (1940) and thus none of Hollywood's leading men were in the service, one would be hardpressed to say who was a better actor than Spencer Tracy at this period. The man had just come off two back-to-back Best Actor Oscar wins ("Boy's Town" and "Captains Courageous") and was at the pinacle of his spectacular career when this movie was made. Asking if someone better than Spencer Tracy could be found in 1940 is like asking if someone better than Tom Hanks could be found in 1998 or better than Russell Crowe in 2002.

Spencer Tracy was an amazing actor and he does a terrific job bringing to life the legendary Robert Rogers. As a huge fan of the Kenneth Roberts' book upon which this movie is based, I confess that everytime I read Rogers' dialogue I hear the voice of Spencer Tracy. That's how good Tracy embodies this character. He really demonstrates the courage, determination, and command presence of the man. Tracy's "Major Rogers" is the kind of man you would follow into combat! Yet Tracy also brings out the human side of this legend- hints of Rogers' failings are dropped on occasion and showing his breakdown when he realises that a promise he made to his men will not be kept by reasons out his control. It's a great performance and it truly propels the movie.

The only problem with Tracy's casting in this role was not his talent, the man was at the TOP of his profession in 1940, but his age. The real Robert Rogers was just in his mid 20's when he leaped onto the pages of history and legend. Spencer Tracy was well past age 40 when he made this movie. Yet, most people aren't aware how young some historical figures really were and generally have no problem with middle-aged actors playing these parts. (I noticed this trend in reading reviews for "Glory" and the recently released "The Alamo." Some reviewers complained that the actors who play Col. Robert Shaw in "Glory" and William Travis in "The Alamo" are too young which ignores the fact that Shaw and Travis were both just 26 when they died.)

A very good view of the French & Indian War
Northwest Passage is a very good account of the attack on St. Francis. It is very accurate in many ways and I recommend it highly.
Robert Young plays a fictitious character shot though the mid-section and was still able to walk all the way back to civilization. Beleive-it-or-not, it did happen. I believe the real man's name was Lt.Ogdon. He did survive such a wound in that battle.
Spencer Tracy is excellent as usual and the scenery is beautiful.
Some will say that the film is racist and brutal. It was; but this is an historical film and you must view it, or any historical film or book, with the morals of the time in which it is set. You cannot look at it with present-day morals. If you are unable to do so, then, to be an educated person, you need to read more history and learn what things were like and what people thought about the American Indians, and the French for that matter, in the 1750's and 60's. Thus you will learn how far we have come in the last 200 years in our relations with other peoples. We may not be perfect yet, but we're getting there. ... Read more

Reviews (5)

The movie is like a prize fight - laughter hit after hit
The Three Fugitives will bring out many emotions that you normally do not get to feel. You will laugh out loud so many times at the outrageous comedy scenes with Martin Short (wait until you see the hospital delivery scene with Short as the pregnant mother!). The girl is so cute you will love to watch the bonding with Nick Nolte. It will touch you deep inside. Emotions galore in The Three Fugitives!!!!

Great comedy movie
I must have watched this movie about 8 times, it's a very funny movie, from beginning to end, it keeps you entertained with some great laughs along the way. This is another classic movie, pick it up today if you don't already own it. :)

Very funny
I was surprised when I saw how few reviews there were for this film. It must be a real sleeper, but boy is it a good movie. Funny, a bit serious and fun to watch.

Notle delivers a solid performance but it is Short that makes the movie shine through his brilliant comedy. There were many laugh out load scenes in this movie and it is fun to watch more than once.

Notle is an ex con going straight and Short is the straight but desperate man turning to crime. The straight man/comic routine really comes across well between these two characters. If you enjoyed "Pure Luck" with Glover as the straight man, you'll also enjoy this film. I give a strong recommendation to this movie.

the best!!!!!!
its a heart-felt comedy for everybody children and adults. martin short and nick nolte are the funniest together and have great chemistry.and the little girl who plays meg is just adorable you just fall in love w\her.i highly recommend it for anybody thats into a good old comedy,and mainly if you're a big fan of martin it makes it all worth it!!!!!!!

Though the ending was not what I was hoping for, watch it!
Martin Short and Nick Nolte are fantastic in this adorable film. James Earl Jones and Alan Ruck (That guy from Speed, Twister, and Ferris Bueller's Day Off) also do great jobs. Both kids and adults will love it. I searched for this movie for three months and I finally found it. Searching was no fun, but it was worth it. ... Read more

Reviews (8)

OK, not scary.
Pretty good, although not scary. Could have been more "vampiry".

EROTIC VAMPIRE CLASSIC
ANNETTE VADIM REALLY CAPTUTRED MY INTEREST AND SO DID THE STORY. THERE'S NOTHING BORING ABOUT THIS FILM.THE LESBIAN SCENES ARE BEAUTIFULLY PHOTOGRAPHED IN GREAT TASTE. IT'S VERY MUCH A WORK OF ART FROM LA BELLE EPOQUE. I RECOMMEND IT TO THE OPEN MINDED MATURE PEOPLE WHO LOVE EROTICISM AND ARE NOT OFFENDED BY TWO PEOPLE OF THE SAME SEX MAKING LOVE IN A TASTEFUL MANNER.ROGER VADIM WAS AHEAD OF HIS TIME. YES, I WILL ADD IT TO MY COLLECTION, AS I WORE OUT THE COPY I TAPED FROM ''UP ALL NIGHT''.

BEAUTIFUL SEDUCTIVE BABES
YES I AM ADDING THIS TO MY COLLECTION. BOY, THIS ROGER VADIM REALLY KNOWS HOW TO PICK THE MOST BEAUTIFUL SEDUCTIVE BABES FOR HIS MOVIES. IT'S A MOVIE I CAN WATCH OVER AND OVER BEAUSE THE WOMEN ARE SOOO SEDUCTIVE EVEN WITH THEIR CLOTHES ON. THE FILMS BY ROGER VADIM ALL HAVE A HAUNTING UNFORGETTABLE QUALITY.

bella gente 1960
i first saw this film on tv a few years ago and could not forget the melancholy music score and the beauty of the 2 lead actresses. the film,itself, is a bit silly but i think i'm a fan!there's a lot of atmosphere but the dubbing of elsa martinelli's voice is a joke.she sounds like marilyn monroe?

A masterpiece
A beautifully photographed, horror-art film/vampire romance based on the Carmilla novella. Directed by Roger Vadim, who later directed the horror-art film Spirits Of The Dead (an anthology of Edgar Allan Poe tales).

A woman is possessed by her artistocratic/vampire ancestor, both of whom are in love with the same man (yet the film also has lesbian overtones).

Languid pace and little gore, as one would expect from European art cinema, but enjoyable on its own terms. The sudden switch to black & white (and blood red) film in the hospital sequence is surreal and unsettling.

Beautiful actresses, as befits a vampire romance. ... Read more

Reviews (1)

Seven Deadly Sins - 1962
This is an awesome classic!!!

In the 'sloth' segment I saw the most beautiful body on earth. I was a twenty year old college student when I viewed this movie at the Times Fine Art theater in Milwaukee in 1962.

Her name, I believe, is Danielle Aubry. I have made love to women with gorgeous... but Danielle is still #1 even after all these (40) years.

There are also some socially redeeming qualities about this film but I forgot what they were.

GM ... Read more

Reviews (44)

Sublime and Vastly Underrated
The fact that To Do For is not more highly regarded is a mystery to me. It only garners a 6.7 on IMDB.com. All of the ingredients were there, an incredible and gifted director in Gus Van Sant, what I consider to be Nicole Kidman's finest performance, a wicked and not just satirical script and an excellent supporting cast.

Of particular note is Joaquin Phoenix's portrayal of Jimmy Emmet, the typical high school metal head loser who becomes obsessed with Kidman's evil character, Suzanne Stone-Maretto. Phoenix is a gifted actor with a wide pallet to choose from. Contrast this performance with the job he does of playing The Abbe in Quills. It makes his role in To Die For all the stronger. Allison Folland is also a standout in her debut performance as Jimmy's pathetic friend Lydia Mertz. Together with Casey Affleck as Russel, the three unwittingly become assassins for the callous Mrs. Stone. The story is built up very effectively, and as a viewer there is never any doubt that these three "dorky" kids will pull the murder off.

Also magnificent and lending strong supporting roles are Dan Hedaya and Illeana Douglas who play Larry Maretto's father and sister, respectively. The part of Larry is played with near perfect un-bravado by Matt Dillon, who does so without his usual pomp and bluster. Basically, Larry is the perfect everyman trying to do right by his new wife and family [....]Hedaya is perfectly cast and uses his natural menacing qualities quite well. My favorite though, is Janice Moretto, Larry's sister played by Douglas, who is the only character who sees Suzanne for what she really is. The dancing on the grave ice-skating bit at the end is also really well done. Douglas doesn't fall once.

Hats off to Van Sant for a creating a satirical masterpiece that contains enough side elements to hold the viewers attention through more than one viewing. For instance, what exactly is Suzanne's relationship with her father? Also, the fact that Janice is most likely gay and this might be why she understands Suzanne so well. Cudos as well to the director for the style he employed, blurring the line between film and documentary. Some people have argued to me that To Die For contains too many cuts and flashbacks and consequently the viewer has a difficult time following the action. I do not find that to be true. Quite the opposite, I find the film to be compelling. Even after at least five viewings, To Die For firmly holds my attention throughout.

The Perfect Film for a Celebrity-Obsessed Culture
"To Die For" is a great little gem of a movie that, in my opinion, ranks as one of the best dark comedies of the last decade. Nicole Kidman, in what is probably her finest performance to date, is stunning as Suzanne "Stone" - her real name is Maretto - a completely self-absorbed, amoral, and utterly ruthless young woman who will let nothing stand in the way of her obtaining her goal of being a "television star". The film is shot in the style of a slightly wacky TV documentary, which only adds to the fun, as we see the "post-tragedy" interviews with those who were involved with the late Miss Stone. Stone is an attractive but cold-blooded blonde in a small New England town who is desperate to become a national celebrity on a national TV News Network. As proof of her warped psyche, she tells the audience "You're a nobody if you're not on TV" - which unfortunately does seem to accurately describe the feelings of many people these days. She's also determined to move up the social ladder in her little town, and so as the film begins she seduces and marries the handsome quarterback of the high school football team (Matt Dillon), the most popular boy in town. Dillon's sister despises Suzanne and sees right through her facade, but Dillon is so entranced he doesn't listen. Dillon goes on to work in his father's pizzeria, but Suzanne obtains a job as the weather forecaster for the local rinky-dink TV station, and begins to have dreams of glory. One of the darkly funny aspects of this film is that for all of Suzanne's scheming and ruthlessness she's not very bright, and her attempts to sound and act "sophisticated" are often hilariously inept. When her faithful but old-fashioned hubby tells her to quit her job and help him with the family business, she decides he's "impeding" her career and that she'll have to kill him. So she seduces an underage teenage geek (hilariously played by a very young Joaquin Phoenix), has a torrid sexual affair with him, and then convinces him to murder her hubby. At first she uses the shock of the murder to obtain further publicity - "you've got to think of your career first" - from the local and state media. Unfortunately, her underage love affair is discovered and she is ruined. Ever undaunted, she begins plotting her comeback, but Dillon's family (they are Italian), has a little surprise planned for their murderous in-law. Kidman's performance is dead-on - she plays Stone as a parody of the type of person who will do ANYTHING - even murder - to get on TV and become "somebody". The supporting cast is also excellent. The most troubling part of this film is that it was loosely based on a real story - an attractive New Hampshire schoolteacher who by most appearances had everything seduced a fifteen-year-old student and convinced him to kill her husband - apparently so she could leave her hometown and try to become "famous" in the big city. "To Die For" may seem like a delicious but improbable story - but it's really not all that far from today's news headlines. Ouch!

Not bad because of Joaquin
This movie is not bad but it's not that great either. I always like Nicole Kidman, with or without Tom Cruise. But what I really like about this movie is Joaquin Phoenix' acting. Call me at 156-38-3461.

not the worse film or acting...
but definately not the best or even above average. why does kidman have to inhale rapidly like that after she finishes a sentence (referring her private video segments)? isn't she a trained actress that has learned breath control? i understand she wanted to protray a psycho-ditz, but... anyway, i watched it to the end, i guess mostly because it was based on a true story.

A Train Wreck
This film really misses its mark. Billed as a black comedy, it fails to deliver any satirical bite whatsoever. Suzanne Stone's frequent video segments where she speaks directly to the camera and the flashforwards to some sort of Jerry Springer-like show are painful to watch. Yeah, Nicole Kidman is extremely sexy (duh), but it's not nearly enough to overcome her marginal acting, the clumsy dialog and the amateurish direction.

See this movie for all the humor of "Dying Young" coupled with the social commentary of a SpongeBob episode. ... Read more

Reviews (1)

Domestic comedy
This Hayworth's movie is a domestic comedy, but a vey charming one. The performance of Brian Aherne is excelent and Rita looks like a future movie star. ... Read more

Amazon.com essential video

Jane Fonda's memorable, zero-gravity striptease during the opening credits of this 1968 Roger Vadim movie is the closest the film comes to a liberated marriage of wit and sex. Based on a French comic strip, the story concerns the adventures of a 41st-century woman, who pretty much gets it on with whomever asks. The sci-fi sets were pretty interesting at the time, though they look rather anachronistic now. Appreciated today mostly as a camp classic, the movie is actually more trying than anything else. --Tom Keogh ... Read more

Reviews (50)

Funny, Intentionally-Horrid Camp / Cult Sci-Fi Flick
Jane Fonda may regret opting Barbarella as one of her earlier films, but fans of bad camp and cult sci-fi are happy to see the actress in this horridly funny sixties film.

Fonda plays the title role of a spaice vixen / astronaut in the exceptionally distant yet sixties-fied future. When genius but mad scientist Dr. Duran Duran (presumably from whom the band took their name) disappears, Barbarella is sent to track him down and given weapons she has no clue how to use (war has been outlawed for ages) and little warning of the planet she'll be landing on.

Pursued by evil children with cannibalistic dolls and rescued by a tough man in furs, Barbarella finds out about real sex (thankfully not pictured) when she offers to use a mood-linking pill, the 41st century method of copulation. From there she's off to a city of evil, avarice, and sin, to be caught by the demented Dr. Duran and put through such tortures as a cage of pecking budgies to the doctor's notorious and sensual machine for execution by sheer pleasure to a lake of liquid evil whose effects look to have been done by lava lamp. Along the way she meets various helpers (most of whom she ends up sleeping with), including a blind angel named Pygar.

Barbarella's costumes vary with each scene, all skin-tight and definitely satirizing the garb of women of golden-age science fiction. On the whole, the movie pokes fun at the field of early science fiction rather well with a heaping helping of sixties hippie culture thrown in for good measure. The DVD doesn't include any exceptional special features.

Barbarella is by no means a good movie, but it is excellent fare for fans of campy sci-fi that would be right at home on MST:3K and quite humorous when taken with a grain of salt.

The hottest hottie ever?
Okay, so these days Jane Fonda is weird, which is entirely understandable given that she is married to Ted Turner, who can often be found snoozing during Braves games, wearing a cap 3 sizes too big for his head. But in "Barbarella," Jane Fonda is unbelievably hot, to the point where I questioned whether this movie was real or a mere figment of my fantastical imaginations. Well, it's real, people, and you need to see it. Not only is Jane utterly flawless (which can be easily seen by comparing her to today's "hot" stars like Britney Speers, Jennifer Love Hewitt, and Denise Richards), she also invites every male character in the film to basically have his way with her. Um, waiter, check please? But seriously, we cannot be supporting this type of wanton behavior (primarily for the reason that the women who act this way in the real world look more like George Forman than Jane Fonda), so this type of vision is best left to the campy comedy known as "Barbarella." I am 21, mind you, so I am not biased towards the 60's, but I am telling you not to miss out on the world's perfect female--watch it.

A trip
This movie is a trip. In spite of what agenda-driven, right-wingers have to say about it, based on their personal dislike for Jane Fonda and her oppinions of the Vietnam war, this movie is a true classic. It's campy to a point that it makes you think how serious, pragmatic and booring people have become over the past decades. It's a total groovie trip. It doesn't take itself seriously at any moment. And best of all, it actually has lines to read between.

Hanoi Jane in her best role
The only movie she ever made that I can sit through.

Ban Jane Fonda
Read up about her role in the Vietnam War before giving her your patronage. ... Read more

Reviews (39)

Anti-human allegory
Not everybody will be able to understand and enjoy Lars Von Trier's first film in his "Land of oportunities" trilogy, "Dogville". It is long, unusual, intelligent, sarcastic, strong, tense and even violent, among other things. I'll try to explain these adjectives in the following paragraphs.

"Dogville" is long. Very long. Almost three hours in length, divided in more than ten chapters, showing a young lady, Grace (Nicole Kidman, good as ever) reaching a small and self-centered mountain town, named Dogville. Grace, at first, stirs the sameness in Dogville's citizens' lives, trading shelter and food for a job as a housemaid in the many houses of the village; then, as time goes on, Grace will be the cause of great troubles and disagreement. The viewer must have patience, because the movie is long; it is not, however, boring. Von Trier takes his time and explores all the features he wanted to portrait in his film.

"Dogville" is unusual and intelligent. I'ts unusual because of the setting. The little town of Dogville is nothing but a stage. The many buildings (the houses, the church, the mine, and such) are marked by white paint in the floor of the stage, like a blueprint that we may open atop a table. And that's why the movie is also intelligent; as the buildings have no walls, the viewer is able to see everything that goes "on stage", even if the scene is focused only in one or two characters (but the characters act as if Dogville was a common town, with walls on their houses). This way, the viewer feels almost like in a theater. The viewers are part of the play: they have, somehow, in a distant manner, to interact with the characters on screen. The viewers themselves become citizens of Dogville.

"Dogville" is sarcastic, strong, tense and violent. For sarcasm, the title Von Trier self-imposed to his trilogy: America, land of oportunities. In fact, what happens on Dogville could happen anywhere in the world, for the story deals with selfishness, intollerance, distrust and prejudice, emotions prone to every human being. Von Trier shows that, if the United States want to be the new "center of the world", they will have to deal with their own "ghosts in the closet", before attempting to judge other societies. That's why this is a strong movie: it deals with things that most people are not ready to consider being part of their own self behaviour. It's easy to judge others, but it's hard to accept others judging us, or for us to judge ourselves. "Dogville" is tense and violent (and even ugly) because of how the characters act, and because, while watching the movie, we consider that we may not be so different from the characters at all.

"Dogville" is a very well constructed movie, with an excellent script, great (stereothyped) characters played by effective not-mainstream actors (Paul Bettany, Patricia Clarkson, Stellan Skarsgard, among others) and a provocative direction. One of the great movies of 2003.

Grade 9.4/10

A lot of bite to this movie
I'm glad to see this movie has finally made it on DVD and VHS in the States. It took a long time to do so. Lars von Trier follows up Dancer in the Dark, with an even darker view of small town life in America. In this case, we find a town quite literally at the end of the road, buried in a hollow somewhere in West Virginia, where the denizens are reduced to having to pick up the scraps left behind by others and live out a marginal existence. But, in its midst there is a dreamer, Tom, who at first appears to be the moral bellwether of the community. He tries to convince the community to take in a fugitive, evocatively played by Nicole Kidman, and finds that he has to make certain concessions in order to do so.

This film unfolds on stage in a highly theatrical telling, lending to the story the strong sense of a parable. Von Trier has assembled an impressive cast including old favorites Lauren Bacall and Ben Gazzara. The story builds slowly, with some fascinating twists and turns before reaching its shattering climax. It reminded me a lot of Shirley Jackson's classic story, The Lottery, but seems to owe more to the small town vision of Sinclair Lewis and Thornton Wilder.

I suppose some will be turned off by von Trier's disturbing view of small town life, but this film is masterfully handled, and shows what an accomplished director he is, drawing the most from his actors, in particular Nicole Kidman.

"Are you for us or against us?"
Every so often, a director appears who seems determined to antagonize and challenge his or her audiences. One such filmmaker would be Lars von Trier, the creator of such uncomfortable viewing experiences as "Breaking the Waves" (in which Emily Watson's character had conversations with God and played both roles) and "Dancer in the Dark" (featuring Bjork as a guileless, nearly blind factory worker who winds up on death row, thanks to bad luck and poor communication).

His "Dogville," a parable about how community spirit can either elevate or destroy people, is lengthy chronicle of Depression-era America that's played out entirely on a large, sparsely furnished soundstage. Nicole Kidman, Paul Bettany, Lauren Bacall and others play their scenes not on actual sets, but inside chalk-drawn rectangles meant to symbolize various locations. While Kidman's character Grace Margaret Mulligan talks about finding herself in "a beautiful little town in the midst of magnificent mountains," all the viewer can see is a bunch of scattered chairs, a few wooden arches and a blank white scrim that serves as the backdrop. Locations with such picturesque names as Raccoon Road and Elm Street have no raccoons and no elms to offer.

This is, obviously, at heart a theatrical piece that's heavily dependent on lighting, sound effects and, more than anything else, the passion of the performers to put it over. For many viewers, "Dogville" will be nothing more than a curiosity piece that quickly exhausts the patience; for others, it may be a mind-bending experiment in determining exactly where stagecraft and the art of film can intersect.

It could all have been insufferably pretentious -- and at times, it comes perilously close to being exactly that -- yet the movie does have its own bitter humor, a few vividly etched characters and a kind of offbeat flavor that's admittedly an acquired taste.

Unfolding in nine chapters (plus a prologue), "Dogville" is the story of Grace, a pale young woman who hides behind her dishwater-blonde hair and tries exceedingly hard to please everyone around her, often to her own disadvantage. She stumbles into Dogville (population: approximately 15) after escaping some gangsters and she hopes to find shelter in the backwoodsy hamlet, even though the inhabitants don't seem to have much of anything to spare.

Local philosopher and would-be intellectual Tom Edison (Bettany) takes an immediate interest in the soft-spoken stranger, but most of his fellow Dogvillians (including Patricia Clarkson as a prissy sort, Phillip Baker Hall as a sickly physician, Jeremy Davies as Tom's dopey buddy and Chloe Sevigny as a curly-haired cutie) cast a wary eye in Grace's direction, at least until she volunteers to help out around the place. Suddenly, everyone is quite fond of her -- and why not, when she's willing to work for free? -- and Grace finds herself laboring day and night for mostly thankless bosses. "There's an awful lot to do here in Dogville, considering no one needs help," Grace muses, as she scurries from task to task.

In von Trier's eyes, the residents of Dogville represent not just the stereotypical "ugly Americans," but the very ugliest America has to offer: On the average day, they're merely suspicious, hostile and greedy, but when something really gets them worked up, they're capable of every kind of abhorrent behavior, including the enslavement of the weak and sexual humiliation.

Despite the vaguely 1930s setting, "Dogville" is very clearly designed as a skewering of the jingoistic, anti-foreigner sentiments that swept certain corners of the U.S. in the months following the 9/11 attacks. In the story, the community's happiest times come, not coincidentally, around July 4; not long afterward, circumstances cause most of Grace's new "friends" to turn on her. Even the children Grace has taken care of resort to blackmail to get what they want, as the adults begin barking slogans like, "Are you for us, or against us?"

Kidman, in a performance as emotionally stark as any she's ever given, makes Grace's journey achingly real, even though everything around her is deliberately artificial. Initially, Kidman and von Trier had planned to collaborate on a trilogy of stories following Grace's misadventures, but Kidman has since pulled out of that project. Considering what the director puts her through in "Dogville," it's not hard to guess why she didn't sign up for more.

Priceless lesson.
All angles of Von Trier's genius bursting in this movie have been more or less thoroughly explained in the previous posts. I'd just like to add one thing that wasn't much talked about, yet I thing it was the crown jewel of this movie.

Yes, the movie is a brilliant study of characters and (dark) human nature, but more importantly it gives viewer a priceless lifetime lesson. It displays a battle between moral purity, youthful idealism and unaware-of intellectual arrogance on one hand and pure-and-simple concept of responsibility on the other. It is in fact this battle that squeezes and twists our stomach throughout the whole movie; it is this opposition which, in all its clarity, finally unveils itself in the final dialogue. Intellectual exchange of argument defines the "winner". And leaves the viewer contemplating, speechless in awe.

A masterpiece that raised the bar of cinematographic creativity on a brand new level.

Flawed Masterpiece from Von Trier
I don't want to repeat what a lot of the reviews have said. Yes, Von Trier has done an excellent job, the set was a brilliant choice to film on, and the acting is all excellent. I just wanted to point out a few flaws I felt the film had.

First, it did not have to be 180 minutes long. I understand the long time Von Trier took to introduce us to the town of Dogville, because it made everything that followed in the story more powerful because of the understanding we had for the village and it's characters. However, Von Trier proved his point again, and again, and again. I felt between the two and a half hour point and three hour point that a lot could have been cut. The story lost its fury and steam through that half hour. It felt like rambling, and it could have been condensed in the screenplay to still showcase everything the filmaker wanted to.

Next, one of the reviewers said that critics "pounced" on this film for being anti American and gave it bad reviews. They didn't. Most reivews of Dogville are positive, and those that aren't clearly state problems with the film, and not the anti Americanism in it.

Finally, I felt like Von Trier took all this time, three hours to be exact, to construct this pretty darn good cry out against humanity, and not America, and then after the powerful ending the credits just let me down. I felt like Von Trier took all that time creating this masterpiece, only to side swipe it with a cheap jab at America. Those who say it's not anti American need to review it again. The end credits play over homeless people to the tune of David Bowie's I'm Afraid of AMERICANS. HELLO, thats a big clue people! The film itself is not anit American I believe, but the end credits really let you know what Von Trier thinks. The end creidts also felt like they had no relation to the film. After watching the bare bones scenery, set to classical music, the glam rock Bowie tune did not fit at all. It was cheap, sloppy, and unfortunate that it degraded such a fine piece of cinema. Bad choice Von Trier. It quickly numbed the sting I felt after the actual film ended, instead of letting it stay.

Overall, see this film if you are curious about it. It is a mini masterpiece from Von Trier, but a flawed one at that. ... Read more

Amazon.com essential

Cover Girl was one of the big hits of Rita Hayworth's run as movie queen (and World War II pinup girl), a splashy musical geared to the talents of its redheaded star. Be warned: this is the kind of movie in which a single magazine cover turns an unknown dancer into the toast of her own Broadway show, virtually overnight. The corn runs high, but so do the spirits; plus, Eve Arden is around to toss in her trademark one-liners. Gene Kelly, as Hayworth's sulky choreographer and part-time boyfriend, stops the movie cold with his brilliant dance alongside his own reflection. The Jerome Kern-Ira Gershwin songs are middling, except for the lovely "Long Ago and Far Away." One number presents a parade of magazine cover girls come to life (great snapshot of an era). And check out the movie's hats: a parade of insane creations, perched uncertainly on many beautiful women's heads. --Robert Horton ... Read more

Reviews (12)

Wonderful, charming, sweet story!
I can't help but love this movie. Every time I feel blue, I can pop it in the VCR and feel wonderful by the time it's over. Rita Hayworth has never been more beautiful than in this picture. Her dancing talents are showcased beautifully, though as usual, not enough. Gene Kelly sparkles brilliantly as her nightclub-owner boyfriend who wants her to work hard to get to the top, not go the easy road as a "Cover Girl". Gene's "Alter-Ego" dance in this picture was at the time technically revolutionary.

Also featured is Phil Silvers is a crackup as Gene's wisecracking friend, and the always wonderful Eve Arden gets her witty two cents in as well with a big cast of colorful characters to back it all up. Also, it is said that a very young Shelley Winters can be seen as one of the chorines, though I haven't found her yet! :o)

Shakespeare it's not, but Cover Girl is what it is: a lighthearted, romantic musical and a really fun ride the whole way!!

Watch it and enjoy!

ravishing, enchanting musical dream
Rita Hayworth has never looked better than in the charming musical COVER GIRL, where she displays her astute dancing and singing skills.

Also starring, Gene Kelly, Phil Silvers and Eve Arden, COVER GIRL tells the story of nightclub hoofer Rusty Parker (Hayworth) and her rise to stardom after being made the cover girl of a magazine's 50th anniversary issue. The editor of the magazine (Louis Calhern) is taken with her, she reminds him of a girl he fell in love with long ago, who turns out to be her grandmother!

Hayworth plays the grandmother in several well-costumed flashback scenes, and she is very fetching .

Featuring the song "Long Ago And Far Away" and Kelly's bravura "Alter Ego" dance number, COVER GIRL is a bright, bouncy, musical delight.

GREAT MUSICAL WOTH THE MONEY
I don't know what the other neg. reviewers are talking about. This is a great film. It's very entertaining and wonderful to look at. Your DVD collection is incomplete without this film.

LOVELY RITA.....
If you can get past the zany (and tiresome) antics of Phil Silvers and the corny, cliched script, there's a wonderful Technicolor musical here called "Cover Girl". Gorgeous Rita Hayworth is Rusty Parker, a nite club chorine who becomes the toast of Broadway overnite when she's chosen to be the cover girl of Vanity magazine---albeit to the chagrin of the club's owner Danny McGuire (Gene Kelly) who's her boyfriend and her catty co-workers. Hayworth is absolutely beautiful and dances with the most natural grace and elegance ever captured on screen as far as I'm concerned. Gene Kelly's acting is stiff but HIS dancing is what you're watching here as well. Boy, could he dance! He has a great solo number on an empty street where he dances with his reflection from an empty store window. Absolute artistry in motion. Eve Arden, as a talent scout, brings much needed relief to the tired script with her right-on-the-money delivery of brittle comebacks and one liners. She's also outfitted in the most outre' chic costumes and hats Hollywood ever laid out. All the costumes (by the great Travis Banton) are something to behold. But it's the Technicolor that brings things to life and Hayworth who brings the Technicolor to life. In her Broadway debut, she comes running down a seemingly endless elevated platform in a flowing gold gown like a goddess descending from the heavens---her long red hair cascading behind her. Then, after a dance number with chorus guys, she runs back up the platform through a downpour of shimmering sparkles and into a cloud of pink smoke. Sheer Technicolor movie magic. "Cover Girl" isn't the best musical ever made, but as a showcase for one of the most beautiful actresses ever photographed in Technicolor and a very nice song called "Long Ago and Far Away" it gets 5 stars from me. When you watch this, you can see there was only ONE Rita Hayworth and her grace, talent and beauty are captured in splendor on this DVD print.

VERY NICE LOOKING TRANSFER FROM COLUMBIA - HOW UNUSUAL!
"Cover Girl" is a star vehicle for Rita Hayworth. Having stated the obvious, its quick paced and elegant good fun, bookended by Gene Kelly's superb dancing and Eve Arden's "hotter than fire" one-liners. Rita is cast as a nobody who gets her face plastered on one magazine and overnight becomes the toast of Broadway. Her duet with Kelly, "Long Ago and Far Away" is the real highlight in this nimble minded programmer that really took audiences by storm. - people used to be so easy to please!
TRANSFER: Well, what do you know? After a slew of bargain basement trasfers (though by no means was Columbia's pricing what this reviewer would consider a bargain) we at last get a transfer that's worthy of the digital format. Colors are vibrant and well balanced. Contrast and black levels are bang on. Film grain and age related artifacts are present but they don't terribly distract. There are no digital compression artifacts. The audio is MONO but nicely balanced.
EXTRAS: Forget it! Columbia remains on their penny-pinching kick, but hey - at least the film looks good.
BOTTOM LINE: This is not an outstanding example of the Hollywood musical. However, it is adept at poking fun at itself and having a good time doing it. For a night of light fluff that will put a smile on your face, I recommend "Cover Girl". ... Read more

Reviews (6)

Massive Biblical Epic From A Bygone Era Of Filmmaking
United Artist's "Solomon and Sheba", for undeserved reasons often finds its way onto those notorious "Worst Fifty Films of all time", lists compiled by who knows who. Nowhere near as well known as that other great epic of the same year "Ben Hur", this film is a visual feast for the eye and displays all the trademarks of the old school of Hollywood filmmaking, lavish costumes, breathtaking sets, superbly staged battle sequences, unbridled romance and fiery sword play. I'm always impressed by the sincerity that was put into productions like "Solomon and Sheba", in the 1950's where you can see the total commitment to what they were doing by cast and director. Like alot of these epics the polished look on screen often hides the sometimes chaotic goings on behind the scenes. Just a few weeks into production star Tyrone Power suffered a fatal heart attack on set during a sword fight with costar George Sanders. The filming was thrown into disarray as a replacement was frantically sought. Yul Brynner, no stranger to the lavish types of epic productions was quickly cast to take over the role of Solomon, king of Israel. A better choice really couldn't have been made and he combines well with the beautiful Gina Lollobrigida who is ideally cast as the alluring Queen of Sheba.

In the original Bible stories only scant mention was made of the Queen of the mysterious land of Sheba and it revolved around a state visit she made to Israel. The producers have used that one mention to fashion an intriguing story of power, passion and rivalry in the Court of King Solomon. The story of "Solomon and Sheba", begins in the dying days of the life of King David (Finlay Currie) and the growing rivalry between his two sons, warlike Adonijah and studious Solomon . Always his father's choice to lead the 12 tribes of Israel, Solomon is elected King upon David's death which worsens relations between the two brothers. Solomon's great reputation for wisdom and fairness over bloodshed soon earns him the respect of the people but arouses the fears of his neighbours, in particular the Pharaoh of Egypt who fears what Solomon's real plans are, never understanding that a man can be by nature peace loving. To infiltrate Solomon's kingdon the Pharaoh sends his own ally the beautiful Queen of Sheba to spy on him and to achieve by her favours what no army would be able to do, ie, the destruction of everything Solomon stands for. Despite her well laid plans which involve getting Solomon to sacrifice everything he believes in for the pleasure of possessing her the Queen finds her own feelings changing as she begins to see the selfish plans of Pharaoh and the truly great character that Solomon possesses. His love for the foreign queen however inflames the leaders of the twelve tribes to opposition to his leadership as they see Solomon betraying their cause at the feet of a enemy queen and her Pagan Gods. The discontent also inflames the frustrations of Adonijah, long harbouring resentment towards Solomon for being passed over in the succession on their father's death. With support dwindling to almost nothing Solomon then faces the forces of Pharaoh who invades Israel only to be beaten by the much smaller armies of Israel who come together for the sake of the twelve tribes and destroy Pharaoh's armies by the ingenious method of reflecting sun off their brightly polished shields causing the Egyptians to fall into deep ravines on the battlefield. In the final confrontation after the mob attacks the Queen of Sheba with stones, Adonijah fights Solomon in the ruins of the famed temple and is killed, finally freeing Solomon from his heinous interference. In the final fadeout by a magical transformation the Queen is returned to life unmarked by her battering with stones and vows to return to her own land to try and introduce some of the wise policies and way of thinking possessed by Solomon.

Being the last directoral effort of veteran King Vidor and boasting a larger than usual budget the viewer is treated to a sumptuous production. The acting so often dismissed as hokey in these types of films is uniformily fine here with Yul Brynner excellent as the pacifist Solomon. He had great ability with handling "biblical dialogue" as was already seen in his commanding performance in De Mille's "The Ten Commandments". George Sanders, always excellent with villianous characters is also ideally cast as the ambitious Adonijah, who's life work is to steal Solomon's throne. Gina Lollobrigida makes a memorable Queen of Sheba and she is both majestic and seductive, in particular in the at times over the top orgy scene where she lures Solomon into the pleasures of the flesh. Production values are top rate with breathtaking on location photography in Spain passing for parts of the Holy Land. Special effects also play a prominent role in the stunning visuals of "Solomon and Sheba", from the outstanding battle scenes showing the destruction of the Egyptian army, to the destruction of the Temple by lighting.

"Solomon and Sheba", is a personal favourite of mine and has so much more of interest in it compared to alot of modern epics. It also still contains the eerie last minutes of Tyrone Power's life preserved in the climatic sword fight scene between Solomon and Adonijah where if you look closely enough some long shots of the actor are present. For all lovers of large scale epic productions "Solomon and Sheba", is unsurpassed entertainment.

A MOVIE OF BIBLICAL PROPORTIONS...
I must say that this film was a very pleasant surprise. It was released in 1959 when biblical epics were at their zenith. Starring Yul Brynner, Gina Lollobrigida, George Sanders, and Marisa Pavan, this film is not lacking in star power. It is a lush, compelling story.

The film details the rivalry between Solomon (Yul Brynner) and his older brother, Adonijah (George Sands), the warrior. It was a rivalry that grew out of the fact that Adonijah was passed over for succession to their father David's throne upon his death. It was Solomon who was chosen to rule Israel. This was to cause a rift in their relationship that would be irreparable.

The film also details the love affair between the beautiful Queen of Sheba (Gina Lollobrigida) and Solomon, wise in all things except love. It shows how an affair that started out as a political maneuver on the part of the Queen of Sheba would turn into a selfless, passionate love of the heart. It was a love that would almost rend a nation asunder.

Yul Brenner, as the viewer has probably never seen him (with a head of hair), is excellent as the idealistic and tolerant ruler. Gina Lollobrigida turned out to be a much better actress than I had imagined. She is sensational as the beautiful, exotic, voluptuous Queen of Sheba. She also has a figure that must have been the envy of every woman at one time. It is a perfect hourglass figure that shows off her striking and seductive costumes to perfection.

George Sands is compelling as the envious Adonijah, who sought to take what was not his by any means, fair or foul. His desire for the throne would compromise the very existence of Israel and lead to a climactic finale. Moreover, his hatred for the Queen of Sheba was as great as that of his hatred for his brother. This wellspring of emotion was to have great repercussions for all.

Despite a pagan orgy scene that is so over the top as to be laughable, this is a spectacular biblical epic that will keep the viewer riveted to the screen.

Mikka's Review
I loved this movie because i was young when it came out. Also because at that time movies were made with some class and dignity. Now that i have matured alot i referr back to the good old movies. Remakes of these old movies just don't seem to make it exciting anymore, too much special effects and not al;ot of storyline.

The Wisest Man That Ever Lived?
Yul Brynner's role reminds me quickly of his role in The Ten Commandments as he and a half-brother are rivals for the throne. He pulls off the part quite nicely and the scene in which he judges which of two women is the true mother of a child is well done. The rivalry makes sense, but the involvement of the Pharaoh of Egypt seems contrived and gimmicky. There is suspense building up steadily and it is easy to like Solomon and to sympathize with his dilemma. This Bible movie does not have as much scriptural content upon which to base a plot and therefore has more of a challenge in production than a story of King David or of Samson might have; nevertheless, a believable plot is offered and the work is admirable. On the negative side, I thought the Prophet Nathan was too young and that the beauty of the temple was greatly minimized.

This Wasn't A Comedy?
Yul Bryner with hair? Gina Lollobrigida as the Queen of Sheba?

Yeah, Liz Taylor's "Cleopatra" was a stretch, but "Solomon and Sheba" is beyond belief!

When I saw it over thirty years ago, I thought it was a turkey, then! My original appraisal has not changed ! ... Read more

Amazon.com

Fifteen years after directing the florid and commercially successful Chopin bio-pic, the 1945 A Song to Remember, director Charles Vidor headed up this lush, Technicolor production about Franz Liszt--only to die a few weeks into shooting and be replaced by George Cukor. (Cukor insisted the credit remain with Vidor, and indeed there is little of Cukor's touch visible in this film.) Song Without End stars Dirk Bogarde as Liszt, and while the actor's stints at the piano are effectively dubbed by Jorge Boyet, the story really concerns the composer's entangled love life. Much, much less flamboyant than Ken Russell's Lisztomania, Song Without End is,in its own way, just as indulgent, extravagantly presuming that love is the major inspiration for the creation of music. No film about a composer would be complete without a few of his famous contemporaries, and Song Without End makes a point of bringing George Sand and Chopin himself to theproceedings. The sets are impressive, and the cinematography is by James Wong Howe. --Tom Keogh ... Read more

Reviews (6)

A Perfect Time Killer
I have gone through this film twice and still find this interesting.

This is not a documentary and as such don't expect too much depth or insight from this portrayal of Liszt, or else most of audience might be bored to death. Who cares about his study with Czerny or his religious faith in such a film anyway?

Instead, we have quite a lot of romances with pretty faces, elegant dresses and magnificent palaces. There was even a brief mention about Chopin and Wagner in the background. Visual effect was excellent and even the actor on the piano was so remarkable.

I'm not too sure though if Boglet would suit the taste of all piano lovers, probably not: Liszt is Liszt, who can compare with him when even Anton Rubinstein wanted to be his pupil. But for the general audience, it's just marvelous. The sound is wonderful too, not just the music,the dialoges too.

The plot was forceful and the rhythm fast and there is not a single scene that is boring. The result: one could easily sit still in front of it for the whole length of 130 minutes and for twice.

Highly recommended.

Dazzling Piano
I fell in love with Dirk Bogarde in "The Night Porter". I was fascinated by his acting, his expressions that revealed a dark, intrinsic tortured soul.
With this film, I discovered another Dirk Bogarde, younger and handsome, lively and passionate.
I grew tired of Liszt, but this film, with the superb piano sound, played by young Jorge Bolet, has renewed my interest for the composer.
The most enjoyable moments for me watching this film is obviously Bogarde's acting as a pianist. There are many piano recital scenes that made me realize how difficult it is to play Liszt's compositions.
Bogarde is equally moving and impressive as a pianist. He is irrefutably one of the most intricate actors I have ever seen.

Fictional portrayal of Franz!
Why does Hollywood distort reality and fabricate (...) fiction? Liszt had one of the most fascinating lives in 19th Century Europe, so why not stick to facts rather than conjure up poor fiction. Right from the start it's evident that they had little knowledge of Liszt by starring Dirk Bogarde, with short curly hair, as Liszt! Did they bother to even look at a photo or painting of Liszt... who had long straight hair! That visual inaccuracy sets the tone for the rest of this character assassination Without End.
The ridiculous notion that Liszt felt inferior to Chopin for not writing music is utter nonsense. The early version of Liszt's monumental "Transcendental Etudes" began in 1828, long before he even met Chopin! These pieces are some of the most revolutionary scores ever written for the piano! Yet, this film makes Liszt out to be a sap as a composer. Likewise, it also distorts his relationship with the Countess, who is made out to be a poor angelic figure coldly trampled upon by Liszt. Factual History knows she had emotional problems before meeting Liszt, which flared and became worse culminating into the major cause of their separation. Her brutal retaliation was to write a biting novel about Liszt years later. Some of the story is accurate especially his devotion and philosophy towards Art, which saves this film from getting a half star rating. Watch knowing the falsehoods and strong points mentioned herein and you should find some enjoyment. Especially since Jorge Bolet's sound track is the redeeming part of this film, as no matter how hard someone tries to defame Liszt...his powerful music shall eternally and triumphantly rise above such mediocrity.

Beautiful story - beautiful music - beautiful performance!
I first saw the movie when it was originally released. It was time to see and enjoy it again, so I purchased the video. It was as magificent as I remembered it to be. The video version has a problem though. While the music is very clear, the sound quality of the voices are often times very poor. Much of the time you have to strain to hear and some of the time you can't hear what they said at all.

great movie
great movie to see it several times ... Read more

Amazon.com

When Buddy Holly, the Big Bopper, and Ritchie Valens hopped a small plane after a Midwestern concert gig, early rock suffered one of its most striking tragedies. Holly's death in the plane's crash near Clear Lake, Iowa, was an obvious loss given the Texas rocker's international reputation. But Valens, a Pacoima, California, teenager, was much closer to the starting gate, his impact extending to just two national chart hits, the teen ballad "Donna" and his ebullient recasting of a Mexican wedding song, "La Bamba."

Director and playwright Luis Valdez, who had previously examined Southern California's Latino heritage through stage productions, brought a deep well of cultural identification and dramatic empathy to Valens's story. La Bamba thus probes Valens's underlying sense of cultural distance from the mainstream and acknowledges the inevitable racism of its setting, yet it's to everyone's credit that the movie avoids an excessive, revisionist emphasis; Valens's simple joy in music and the relative innocence of the era are felt, even though the script is careful not to sanitize earthier elements. Lou Diamond Phillips makes an impressive debut in the title role, matched by strong performances from Esai Morales and Elizabeth Peña, while the music gets kick started by the shrewd decision to draft Los Lobos to re-create Valens's music. Rock fans will also smile at savvy casting for Valens peers Eddie Cochran (Brian Setzer), Jackie Wilson (Howard Huntsberry), and Holly himself (Marshall Crenshaw). --Sam Sutherland ... Read more

Reviews (45)

Ole!
La Bamba is one of my top 25 favorite films. Lou Diamond Phillips comes across for real. I was surprised when I saw a picture of the real Ritchie Valens. I had forgotten what he looked like (when I was a teenager). Lou doesn't look like him, but who cares? This is a great suspension of disbelief.

Esai Morales doing a great job as the troubled brother Bob. it is easy to feel his pain. And it is almost impossible to tell the difference between Los Lobos' rendition of the title song and the original Ritchie version. The hint is in those couple of seconds of silence that Los Lobos does near the end. And then there are those excellent imitations of Buddy Holly, the Big Bopper, Jackie Wilson and others.

The DVD has two feature-length commentaries that are worth listening to. Beyond this, I have also turned on the Spanish-language track and watched the film a few times that way. If you have some understanding of both languages, it helps to show how they get the nuances across it slightly different ways.

One of the best rock biopics ever.
I saw La Bamba the other night for the first time in many years, and was delighted to see how well it had held up. Of the many tragedies in the history of rock, there are few more bitterly poignant than that of Ritchie Valens, and director Luis Valdez makes us feel the full force of the tragedy. He makes us love not only Ritchie (Lou Diamond Phillips) but also his supportive mother Connie (Rosana De Soto) and his troubled brother Bob (Esai Morales), then ends the film as he should, on a note of raw, unmitigated grief. On the way to the tragic end, however, we also get marvelous recreations of vintage rock songs by Los Lobos, Brian Setzer, Marshall Crenshaw, Howard Huntsberry and others. Seeing La Bamba again brings up a smaller tragedy: why Phillips, Morales and De Soto didn't become bigger stars, as they clearly deserved to become from their performances in this movie. Only Phillips came at all close to stardom, and for every step forward he took--his change-of-pace villainous role in Courage Under Fire, his Broadway triumph in the revival of The King and I--he took two steps back with some straight-to-video flick. But in any case you can still see them in La Bamba, and laugh, cry, and applaud.

fantastic
I love this film!! after being introduced to it by my older sister i have never looked back!!! Lou diamond Phillips is amazing as Ritchie Valens and Esai Morales is equally great!!! the supporting cast helps what is already a fab film become a classic!! The soundtrack is great and the end music that they play in the final scenes makes it so emotional. The film really reminds us what a loss it is when someone as talented as Ritchie Valens was dies so young... The film has never stopped making me cry and i am sure i will continue to love this film.. it is a timeless piece which is a fitting tribute to one of Rock n Roll's finest!

Good but it has major problems too
Film needed more period flavor. What's with Ritchie's brother Bob's hairdo? Too 80's. Also, the film gets goofy towards the end with the Big Bopper going around saying "Hello Baby" to everyone and a weak performance by Marshall Crenshaw(Sp?) as Buddy Holly.

all musicians should see this
this movie is about late 50s rock n roller ritchie valens who along with buddy holly and the big bopper died in a plane crash ritchie was an amazing talent with a beautiful voice he was only 17 lu diamond phillips does such a wonderful job portraying how hard it was coming up as a latino in the 50s and how ritchie loved a whitegirl but her parents wouldnt let them be together but they found ways anyway and he was going to propise to her before he got killed this movie has alot of great moments and music by the band labamba youll end up crying once u realize what a musical loss ritchie valanz buddy holley and the big bopper were to that generation and generations after all musicians should buy this dvd right away if u havent seen it u owe it to these founders of rock n roll ... Read more

Amazon.com

Lou Diamond Phillips leaves a haunting impression as the late 1950s pop idol Ritchie Valens, who made the Latino influence in rock & roll conspicuous through his hit songs. Filmmaker Luis Valdez(Zoot Suit) creates a nimble, exciting, and sympathetic portrait of the boy driven to rise above obstacles of race and family legacy, and Esai Morales is equally fine as Ritchie's envious, searching brother. Great support from Elizabeth Peña and Danielle von Zerneck as Valens's sister and mother, respectively, and Joe Pantoliano is solid as the singer's straight-talking manager. Valdez brightens up the third act with a rock & roll show featuring, among others, Brian Setzer as Eddie Cochrane. Marshall Crenshaw turns up as Buddy Holly getting on that plane with Valens, and Los Lobos (who actually performs Valens's music on the soundtrack) has a nifty cameo as a Tijuana band that gives Valens a piece of crucial inspiration. --Tom Keogh ... Read more

Reviews (45)

Ole!
La Bamba is one of my top 25 favorite films. Lou Diamond Phillips comes across for real. I was surprised when I saw a picture of the real Ritchie Valens. I had forgotten what he looked like (when I was a teenager). Lou doesn't look like him, but who cares? This is a great suspension of disbelief.

Esai Morales doing a great job as the troubled brother Bob. it is easy to feel his pain. And it is almost impossible to tell the difference between Los Lobos' rendition of the title song and the original Ritchie version. The hint is in those couple of seconds of silence that Los Lobos does near the end. And then there are those excellent imitations of Buddy Holly, the Big Bopper, Jackie Wilson and others.

The DVD has two feature-length commentaries that are worth listening to. Beyond this, I have also turned on the Spanish-language track and watched the film a few times that way. If you have some understanding of both languages, it helps to show how they get the nuances across it slightly different ways.

One of the best rock biopics ever.
I saw La Bamba the other night for the first time in many years, and was delighted to see how well it had held up. Of the many tragedies in the history of rock, there are few more bitterly poignant than that of Ritchie Valens, and director Luis Valdez makes us feel the full force of the tragedy. He makes us love not only Ritchie (Lou Diamond Phillips) but also his supportive mother Connie (Rosana De Soto) and his troubled brother Bob (Esai Morales), then ends the film as he should, on a note of raw, unmitigated grief. On the way to the tragic end, however, we also get marvelous recreations of vintage rock songs by Los Lobos, Brian Setzer, Marshall Crenshaw, Howard Huntsberry and others. Seeing La Bamba again brings up a smaller tragedy: why Phillips, Morales and De Soto didn't become bigger stars, as they clearly deserved to become from their performances in this movie. Only Phillips came at all close to stardom, and for every step forward he took--his change-of-pace villainous role in Courage Under Fire, his Broadway triumph in the revival of The King and I--he took two steps back with some straight-to-video flick. But in any case you can still see them in La Bamba, and laugh, cry, and applaud.

fantastic
I love this film!! after being introduced to it by my older sister i have never looked back!!! Lou diamond Phillips is amazing as Ritchie Valens and Esai Morales is equally great!!! the supporting cast helps what is already a fab film become a classic!! The soundtrack is great and the end music that they play in the final scenes makes it so emotional. The film really reminds us what a loss it is when someone as talented as Ritchie Valens was dies so young... The film has never stopped making me cry and i am sure i will continue to love this film.. it is a timeless piece which is a fitting tribute to one of Rock n Roll's finest!

Good but it has major problems too
Film needed more period flavor. What's with Ritchie's brother Bob's hairdo? Too 80's. Also, the film gets goofy towards the end with the Big Bopper going around saying "Hello Baby" to everyone and a weak performance by Marshall Crenshaw(Sp?) as Buddy Holly.

all musicians should see this
this movie is about late 50s rock n roller ritchie valens who along with buddy holly and the big bopper died in a plane crash ritchie was an amazing talent with a beautiful voice he was only 17 lu diamond phillips does such a wonderful job portraying how hard it was coming up as a latino in the 50s and how ritchie loved a whitegirl but her parents wouldnt let them be together but they found ways anyway and he was going to propise to her before he got killed this movie has alot of great moments and music by the band labamba youll end up crying once u realize what a musical loss ritchie valanz buddy holley and the big bopper were to that generation and generations after all musicians should buy this dvd right away if u havent seen it u owe it to these founders of rock n roll ... Read more

Reviews (27)

Jaime Pressly is the only feature here
Jaime Pressly is a knockout, but that's about as far as the movie goes for interest. She's a young woman who returns to a home where her mother had an affair with the father of a family when Jaime was a child. Supposedly her mother's life was ruined by the family after the affair was compromised and Jaime holds the family responsible. So she's up to some evil tricks for revenge. It's fairly erotic and Jaime Pressly is worth seeing. Not a lot of difference between the "R" and "Unrated" version (both available on the same DVD). What's hilarious is the "letterbox" mode that only imposes black bands on the upper and lower sections of the screen, there's no actual change in the ratio of the screen, except that the upper and lower sections are covered to create a letterbox format. Best to watch in the full-screen mode.

A sexy, fun movie
I was incredibly surprised by this movie. After having endured and zapped countless, boring Cinemax-like erotic thrillers, it was great to see one that is extremely sexy, intelligent, witty and fun. Jaime Pressly is absolutely stunning as the girl out to avenge her mother. Her performance is also outstanding, a great balancing act between being a teenager, a femme fatale, but all this done in a tongue in cheek way. By the way, her nude scenes are jaw dropping.
The movie also has fun with itself, playing with many of the genre's clichés. All in all, a great surprise.
The DVD contains the R-rated and unrated versions, as if anybody would want to see an R-rated version. It contains no extras. It would have been great to have seen behind the scenes footage and interviews with the cast and director. Still, a great buy.

Greg and Jamie
Greg Vaughn was so hot in this movie. His facial expressions and body are great. He doesn't look too hot now on GH, bad casting for character Lucky Spencer :( Jamie is soo hot. She has a great body. In this movie you get to see Jamie and Greg nude!

The joke is on me
Picked up a used copy of this DVD and didn't look carefully--I fully assumed I was taking home the original "Poison Ivy" with Drew Barrymore and Sara Edwards. As I now know, this edition of "Poison Ivy" brings the Violet character (lovely Jaime Pressly) into the lives of banker Michael Des Barres (Ivan) and tennis star Megan Edwards (Joy), who's eager to please a hard to please dad. Violet is returning to her childhood home a decade into the future and carries considerable baggage from her past--which is intertwined with the aforementioned characters.

Although the first "Poison Ivy" wasn't exactly "Citizen Kane," it did feature fine performances by Barrymore and Edwards. Not in this bomb, however. There's nothing mysterious whatsoever about this flick--it's clear that Pressly is on her way to seducing and/or killing each member of the family. This is supposed to be an erotic flick, but because there's nothing remotely sexy in Violet's mannerisms and actions, the sex scenes are ice cold. Eventually the maid gets wise to Violet, but it's too late for her. Ditto for Joy's boyfriend (whom Violet has already seduced). Ditto, eventually, for Ivan (whom Violet has already seduced). But what's truly ridiculous is the ending. There's no point in going into it--suffice it to say that it makes no sense whatsoever and completely sinks this wretched film.

There are rabid five-star reviews for this film, and I have no doubt that most of them came from the enjoyment of Jaime Pressly in the buff. I understand--but it is possible, guys, to make good movies with steamy sex scenes. Takes good directing and acting. This has neither.

Oh, yeah--if it's worth anything to you, you can watch both the R-rated version and the unrated version on this DVD.

DAMN!
I didn't give this movie five stars for Oscar-winning performances. Yes the cast does do an okay job, but Jaime Pressly's flawless body steals the show. Like I said, DAMN! So, if you're looking for a deep, thought-provoking movie look esle-where, but if you wanna see a great T&A flick this is the one. ... Read more

Reviews (1)

A Sexy,Sensuous Delight!!
Matthew Modine stars as a dashing swashbuckler in old Italy being relentlessly pursued by the beautiful woman (Faye Dunaway) after losing a gambling debt and escaping with various physical and romatic encounters along the away.Also,starring the beautiful Jennifer Beals(Flashdance).It's a must see movie!! ... Read more