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This 1942 satirical comedy stars Ginger Rogers as the title character, who agrees to be accused of murder so the publicity will advance her dancing career.Whether she actually committed the crime is irrelevant to the reporters, who fall all over themselves to give Roxie her 15 minutes of fame (well, this compact movie is actually 75 minutes long). Adolphe Menjou costars as the blustery defense lawyer who sees no possibility of losing, and George Chandler plays the meek husband left in Roxie's dust.Among the highlights are the judge, lawyers, and client primping for every photo opportunity, and Rogers's nostalgic tap dance on a metal prison staircase.Roxie Hart was based on the play Chicago, which later became the basis for the Bob Fosse musical with Gwen Verdon (and then Ann Reinking in the 1997 revival) in the Rogers role. --David Horiuchi ... Read more

Reviews (11)

Different but lots of fun
I watched this out of curiousity after becoming a fan of Chicago the movie. It's fun to compare and contrast the modern version against this Ginger Rogers vehicle. Check out familiar characters (such as the prison matron "Mrs." Morton and Mary Sunshine) new characters (the reporter who has a crucial role in the end) and even missing characters (no Velma Kelley.)

This 1942 film has the title character as a woman on trial for shooting a man who is strongly implied to be her lover. Unlike the Roxie Hart in Chicago, this Roxie is innocent and only on trial for publicity to bolster her show business career. Rogers is a lot of fun and chews the scenery as the gum snapping Roxie. In retrospect, it seems a natural that this story became a musical. Aside from a brief tap dance sequence, it's too bad Rogers couldn't show off her musical talents here.

Make note to watch for the totally different but funny ending.

ROGERS ROCKS CHICAGO!!
I got this movie for Christmas yesterday and I love it! I have seen the movie "Chicago" many times and have seen the Broadway musical many times on a tape I have. This is probably the most likeable of all of them because it's clean. They had to follow the Hays Code with motion pictures back then, so that certainly added to its cleanliness. The movie is a version of "Chicago" that all members of the family can enjoy, unlike the current movie and stage show which are only appropriate for ages 13 and up. Ginger Rogers seems perfect for Roxie because she gives off believable innocence, unlike Reinking or Zellwegar who not only killed their lovers, but also were too fake for the role. Reinking talked too fast and Zellwegar was just not the right choice. Rogers is a great Roxie, because she is just like the one in the original play, even though the musical's version is based on Rogers's incarnation. This is my favorite type of movie anyway because I'm a fan of old black&white movies.

I DID IT HER WAY!!!
... and BOY she sure dun 'em wrong!
A BRILLIANT gem of a black comedy from the past - superbly restored to DVD - Great in Black & White - with the "Chicago" tune most of us grew up with has the backdrop....

Well, we've seen Mr. Fosse's "Chicago" [brilliant homage to this one] ~ but Ginger's version naturally focuses more on the wronged babe! Great Costumes and Art direction - even a dance number or two - "The Black Bottom" sequence - everyone's doing it! and Gingers homage to the 'other' tapmasters' as she pounds out a little number on the prison stairs.

HUNKY George Montgomery is the perfect 'big lug' of a reporter smitten by Miss Rogers "She Couldn't possibly have done this!"
A touch a Gable there!

Even Velma cameos briefly at the beginning in prison - literally cat-fighting with Roxie. They're basicallty all here - and if you wish another slant on the tangled tale - view this one - you won't be disappointed.

[Especially when the Judge tries to hone in on the background action - mugging for the camera in court - SO indelible in recent times considering it all .... after all it's all "Razzle Dazzle"].

A 'don't miss' experience.

KISS! KISS! BANG! BANG! ROXIE HART IS ON HER WAY TO DVD!
Never has a girl with so little done so much. When a 1920s has-been showgirl's husband shoots a burglar in her apartment, "Roxie Hart" (Ginger Rogers) decides to take the wrap. Why? Good business...and because outside of 15 minutes in the pen she becomes the biggest little murderess in old Chicago. Based on a true story, but this time played strictly for laughs, the bawdy, gaudy and luscious Roxy kicks up her high-stepping heels into one of the most publicized trials of the last century. There's much to admire in the story and Rogers is outstanding as the vixen turned hot property. Adolph Menjou costars as Roxy's ubiquitous attorney.
TRANSFER: Kiss! Kiss! Bang! Bang! This one's a winner. Despite a few scenes that lay claim to considerable film grain and minor mis-registration (resulting in some minor pesky halos) this DVD is minted from a remarkably clean camera negative. The gray scale is wonderfully realized, with rich, deep, solid blacks. Occasionally the contrast level appears a tad on the low side but only occasionally. For the most part what you get is a genuinely impressive looking transfer. The audio has been rechanneled to stereo with predictable dated characteristics.
EXTRAS: A couple of trailers that illustrate just how awful this DVD might have looked if the good people at Fox hadn't worked some digital magic on this restored print.
BOTTOM LINE: Get ready to shoot it out with "Roxie Hart" on DVD!

A riot of a film
I have never seen chicago, but I cannot imagine that it can be any more fun than this film. Ginger Rogers plays Roxie Hart with great gusto shwing she was a star long before Fred came on the scene. The court climax is just unreal with total chaos unfurling throughout the film.

Also good to see some excellent dancing from Rogers as she really hams it up in this tremendous film. Pure enjoyment. ... Read more

Reviews (4)

Great!
This is one of my all-time favorites, not just of Mr. Bean either. His comical scence not only draws every last laugh from children, but also hysterical for adults. A family must- have. Through his wild dentist apointment to a wasp frenzy i was already on the floor. After my favorite 'packing scene' i could relate to Mr. Bean's mishaps, except maybe not as extreme. This is one to go down into the history books, you won't know what your missing. The only sad part is when the tape finally wears out. :-)

I love this guy!
I got this video in a box set called 'The Big Box of Beans', and it is the third of six videos in that set. Rowan Atkinson is without a doubt a very odd character, especially as Mr. Bean, but he is hands down hilarious. Many British comedies are so different from North American comedy that they don't seem funny to the general American public, but I think Mr. Bean should without a doubt be seen at least once by everyone in America, because he is hands-down the funniest oddball I have ever seen. If you get any satisfaction whatsoever from laughing, get this video!

Terrible Tape
This is definitely not one of the best »Mr Bean« tapes. It basicly consists of some everyday situations to which Mr Atkinson's sketches do not really succeed to add a little spice. Avoidable without consequences.

So Very Funny!
Mr Bean did it again, he managed a way to find trouble and make it funny. In this viedo, Mr Bean's day starts off with a trip to the Dentist. In the second feature, Mr Bean makes us laugh again when he finds a man having a heart attack at the bus stop. This video is extreamly comical, and I would recomend this to anybody. ... Read more

Reviews (1)

Overlooked thrilled--and Sophia Loren
Firepower is a surprisingly good late 70's thriller with James Coburn and Sophia Loren. All of the key elements are here--"faceless" billionaire a la Howard Hughes, the saavy renegade in James Coburn, and Sophia Loren looking as striking and stylish as always--while making you wonder what side she's on. The plot--bringing the billionaire to justice--is a so so one...but the aforementioned elements as well as several exotic Caribbean locales make this a worthwhile thriller with a good ending. ... Read more

Reviews (4)

One of the best epic westerns
Ford is perfect for this role, and the story is told very well. Fantastic cinematography, including wagons and horses racing to claim land and Ford's strong moral stand at a party with big-time politicians trying to change his views. Timeless and powerful. I loved the ending and Anne Baxter's performance. A great plot with suspense and unpredictable consequences. Very handsome movie, with strong cast.

Magnificent film, one of the best westerns, very artistic
Ford is perfect in this role. The cinematography, including the wagons racing to claim their land, was outstanding. Anne Baxter gives a great performance as the woman Ford leaves for another woman. Great suspense and drama, bold sweeping action, and a wonderful plot perfectly cast and filmed. An essential part of any western collection. I haven't seen the original Cimarron yet, but I cannot imagine telling the story any better. The ending is great too, powerful and patriotic. This is a timeless classic of epic proportions and beautiful storytelling.

Cimarron
I'm glad this is back in print - it's been a while since I've seen it, but it is a classic Glenn Ford role - the deep, rightous, but haunted cowboy. This is definately not a chick movie - the thought processes and emotions that Ford's character explores are no more understood by actual women than they are by his character's wife. My favorite scene is his return from the Spanish American War, and I also thought the ending was well done.

Character of Courage
Clancy (Glenn Ford) portrays the atypical hero of an era gone but not forgotten. His penchant for fun adventure and excitement, always accompanied by goodness and virtue, soon find him at odds with his beautiful new wife. Even though their newspaper business flourishes with potential and periodic problems Clancy's internal restlessness drives him on to War and remote engagements while his dutiful wife attends to the newly founded entity set in the heart of Oklahoma immediately after land rush. Nostalgic movie goers who rarely see the raw character of courage so eloquently presented in films today will relish this return to the adventure of a "humble and reluctant hero." Prepare to shed a tear or two and enjoy a hearty laugh. But Cimmaron will not quickly retire from your memory once you've watched it. ... Read more

Reviews (10)

better than what people say
people say that this is the weakest of the A/R bunch but I strongly disagree. It may not be their strongest (Top Hat & Swing Time) but it's not their weakest. It may even be in the top five. I agree with the other reviewers that the first time you watch it you're like "Ok, that was just fine." the secind time you watch it you say "that was actually very good" and the third time "that was wonderful!" This is a better than average MGM movie, and quite sophisticated too. JUdy annd Fred were fine in "Easter Parade" but who could beat our beloved Ginger Rogers with Fred? The direction is wonderful, some of the best they'd had. The acting is excellent, it's funny witty and the dances I think are superb. The technicolor is also beautiful, and it's nice to see Gin's blue eyes and deep red lip rouge. Ginger is no longer a lithe little thing with a delicate baby face, but she's beautiful and very grown up looking. She is in a woman's body now, and after not doing a real musical for almost 10 years (!) she is in incredible form. Her dancing is really up to par with Astaire.
Some intersing technical notes, in the Barkley's house. They have one bed that they share. Nowadays that seems like nothing, but back then the censors were still hot on the idea that married people shouldn't share a bed in movies, because it suggested sex. (So where DO babies come from then.) (At one point Fred does think Ginger's pregnant, but by 1949 the censors still couldn't read between the lines.) Another interesting thing is that they have their own bathroom, divided by a shoulder height wall. It comes to principal use when Roger's is undressing and we (including astaire only) see her shoulders and up.(God forbid she take off her shirt in front of her husband!)
The dance number are really exceptional in this. 0We see Swing Trot through the credits, but we catch the end alone, and it's really swell, then, Astaire croons to Rogers back at their house after bickering (again) while they're in bathrobes. (almost like the famed scene in Swing Time when he sings "the way you look tonight" and she come sout with shampoo in he hair) this time he sings, "you'd be so hard to replace" as if to remind the audience that for ten years, his partners haven't been up to the par as Ginger was. then there's 'Bouncin' the blues' i think one of their best taps together. it's a rehaersal number, and it's just adorable, sweet, and loads of fun to watch. It's that old Astaire/Rogers magic. It's almost like a grown up version of "I'll be hard to handle" Ginger and her liquid hips make a stripper's exit at the end of the number, with Fred leaning on her exended arm. Later that day, Josh and Dinah go to an art museum, where they are to see the unveiling of a new portrait of them. It shows Dinah as a pancake, and Josh, as the plate that molds her, (which is the common conception people had of A/R throughout their careers.) Ginger retorts at the sculpture in deadpan style. "Why is my face a pancake?" It's quite a funny scene. "my one and only highland fling" renews teh comical stuff they could do together. Ginger had a knack for putting on accents and mocking people. which is seen throughout her 73 movie career. 'MOAOHF' is a delightful number, and the ending is sweet. "A day in the country" is sund to Oscar Levant, as they take a trip to the country for a while, while he wants to go back to NY" Ginger's voice is extremely good in this song, it seems to have develpoed a bit. "Shoes with wings on" is Fred's customary big solo and it's very good. what else can you say about the man who defied dancing? It's really quite good. But we can''t waut for his reunion with Gin. (They'd split at this pouint) Possibly the best number in the fil, "They can't take that away from me" a reprise from their 1937 movie "shall we dance?" it's one of my favorite songs period, and he sings it beautifully to her on stage. If you watch Her face expressions, you'll realize how much this number really means. The dance is gorgeous too. After the song is over, Ginger starts to cry, which she has always done with such emotion. Manhatten downbeat is their last dance together and it's a big splashy finish, with beautiful costumes. The very end show a close up of the greatest dancing team's faces.
20 years after Barkley's, they reunites at the academy awards, where they presented an oscar. They did a swirl and dip for old times, and the applause was so overwhlmind, the forgot to stop holding hands. :-)

Really good Fred and Ginger
This movie is the only color Fred and Ginger movie. It's really good, nice dancing, fun to see them older and in color. The dance "I've Got Shoes With Wings On" is really fun and amazing. Fred sure could dance. This isn't their best movie, it's my 5th favorite Fred and Ginger. I think "Follow the Fleet" is far more romantic, but if you're a Ginger and Fred fan, this is a must see. They made this movie after years of not working together. They were so good together, it's pretty funny, too.

way of thinking
If you think of this as an ASTAIRE_ROGERS movie, then you will have some trouble. However, If you think of this as a movie WITH Fred Astaire and Ginger Rogers, then you will enjoy it. I thought it was very nice, especially when they did the "they can't take that away from me" and dance to it. Ginger doesn't look a day older than 30. (she's 38, and still adorable)We also have to remember, that this was after the depression, after the war, and ten years of different audiences since thier last picture. not to mentio MGM instead of RKO, so of course it will be different. The magic is still there, but in a different way. Don't look for it, but accept it as it is, and you'll find that Asaire-Rogers chemisrty never left.

It's MGM, by way of variety television.
It's weird the things that get stuck in your memory. I never thought of this as an inferior film just because the formula separates itself from the RKO depression-era 30's (the film was made in 1949), though I seem to be hearing this a lot from critics. In fact, when I first saw the dance of 'They Can't Take That Away from Me,' I actually thought it was a performance from a TV special, not a movie. The performance is an exhibit, not a love scene. There's something almost- I don't know- *cold* about the way they move on that bare, heavily draped, stage. It's also the first and only adagio they perform in color- which, in itself has a sense of an era ending. Nevertheless, they have the same emotional connection to each other, and at the ages of 38 and 50 respectively, they still carry off the grace and elegance. When they saunter off the stage, an excited audience breaks into applause- like they've been watching an act from THE ED SULLIVAN SHOW. It's extrordinary that ten years after Rogers remade herself doing straight award-winning drama and Astaire remade himself as a solo performer and a man who could dance with just about anyone, they could settle back into one more film and not have one strain of foot or hair out of place. MGM formula and Oscar Levant aside, it's a very nice way to end a professional marriage.

Finale in Color
Fred and Ginger put a cap on their careers together once more.

Its silly to spend words on what is so pleasing to see...so
Comden and Green, Harry Warren and Ira Gershwin under the hat of the unique Arthur Freed. Wonders never cease

CP ... Read more

Reviews (1)

The final season for the Not Ready for Primetime Players
If you love the Not Ready for Primetime Players then you'll love the best of 1980. Although it's the first season without Dan Aykroid...it's also the last season with Lorne before his hiatus. Bill Murry sings his heart out as Nick the Lounge Singer. Gilda, Jane Curtain, and Lorain Newman also display their comedic genius with Teri Garr in the Mr. Potaoehead sketch. Kirk Douglas and Buck Henry are excelent hosts as well, and hilarious performences by Tom Davis and AL Franken make this tape a classic. ... Read more

Reviews (11)

Great Pairing.
This film was the very first screen pairing of Jack Lemmon and Walter Matthau. Along with 'The Odd Couple', I would say this is the best.

It was directed by Billy Wilder, who by this time had already made some memorable movies with Jack Lemmon. 'Some Like It Hot' and 'The Apartment' to name just two of them.

The basic story is:
Jack Lemmon is this cameraman who gets injured while he is filming an American football game. Walter Matthau plays his brother-in-law, who happens to be a lawyer. Matthau tries to convince Lemmon to make out that his injury is worse than it really is, since Matthau decides they should sue the insurance company and make a load of money out of it. Lemmon goes along with it, while the football player, 'Boom Boom' Jackson (played by Ron Rich), who was the person who partly injured Lemmon in the first place, becomes his friend and helps look after him. Lemmon's ex-wife comes back and decides to take over Jacksons job of looking after him. Is she there for the money, or because she really cares? 'Boom Boom' kinda loses it from there and gets into trouble as his career fades. So, watch it to see how it all turns out.

Overall, I think this movie is brilliant, although I do have one problem with it. That is with Judi West who played Lemmons ex-wife. I believe (May be wrong) that this was her screen-debut. I really think she is the only person in the movie who lets it down slightly due to her acting.

A quick mention about the DVD. The print used here is very good. However, it lacks any decent extras.
I recommend this movie very highly. Especially if you are a fan of Jack Lemmon.

PLEASE NOTE: I am the owner of the UK Region 2 release of this DVD from the same company, so the discs, besides the region coding, should be the same.

A wonderful CYNICAL comedy
Jack Lemmon is a TV camerman. During a pro-football telecast, he is hit along the sidelines by an out-of-bounds player and immediately taken to the hospital with possible injuries. Enter his crooked lawyer brother-in-law, Willy Gingrich (Walter Mathau). This lawyer convinces Lemmon to fake a back injury in order to collect BIG bucks from the insurance company. The movie title refers to a message in a fortune cookie (You can fool all the people some of the time......).

Although not at the level of "Some Like It Hot", this is one of Billy Wilder's best comedies. His view of humanity is certainly cynical and bleak, but not nihilistic. The best performance is by Mathau who plays Willy to the hilt. He's wonderful and deserved his Oscar. The music by Andre Previn is also very good and very sly. You won't be disappointed. Bring on the DVD!

Whoa Nelly!
Andre Previn's music sets the scene for Billy Wilder's black-and-white world. From slinky jazz to raucous Central European classical, Previn captures the cynical and the sentimental in the sly director's unmistakable touch.

Jack Lemmon captures it too. All-American with a nervous twitch-- I mean, twist-- Lemmon is a good guy, a normal guy, with a mad streak. In this case, he wants his wife back-- wants her bad.

Walter Matthau-- "Whiplash Willie"-- exploits his brother-in-law's unrequited love by bringing a lawsuit (for one-million dollars) against the Cleveland Browns, CBS, and Municipal Stadium. If you know the rest, I need not repeat; if you don't-- that is, if you haven't seen the movie--I won't give it away.

But you might want to know a few things.

Hapless Harry Hinkle (Lemmon) is a camera-man for CBS, at a Browns game, and punt-returner Boom Boom Jackson (Ron Rich) runs into him. Fans of football (though college instead of pro) will be happy to recognize a younger version of the great-- the legendary-- Keith Jackson (of ABC).

So, with his big sad eyes, Hinkle wants his wife back. There's something sentimental in here about love, about how much we need it. But brother-in-law Willie is all cynicism-- delicious, laugh-out-loud cynicism.

There are a few uncomfortable moments-- for me anyway-- regarding the treatment of Ron Rich's character. He does a lot of smiling, cooking, cleaning, encouraging, making up of beds, and (not to spoil the plot), drinking, punching, and so forth.

But the punch-line-- yes, the punch-line-- of the movie rests on a very progressive, an enlightened, handling of race matters, and really, it would be unfair to say Boom Boom Jackson is a stereotype of an African-American athlete. Two of the equipment guys say he's the last guy they'd expect to get in a fight after having too many drinks.

It seems Billy Wilder never wants us to get too comfortable as we're watching his pictures. Beware of thinking too deeply about these things, but this movie-- one of his very best-- has an edge to it that makes you say "pure genius." Jack Lemmon in his wheelchair whirring about the room to "You'd Be So Nice to Come Home To"-- you feel like crying even as you're laughing. Well, I do at any rate.

Walter Mathau's Oscar-Winner
This Billy Wilder creation is the first film in which Jack Lemmon and Walter Matthau were teamed. Matthau as a less than ethical lawyer is in constant persuit of justice and settlements for his brother-in-law (Lemmon) who got hurt on the job. Matthau won Best Actor Oscar. The Matthau/Lemmon chemistry was so smashing that the two teamed up six more times....

Four stars for content, but........
"The Fortune Cookie" has long been one of my favorite Billy Wilder movies, and I was pleased to see it's release on DVD, especially in the original widescreen format. While the movie and performances are great (especially Walter Matthau in his Oscar-winning turn), and the script by Wilder and I.A.L. Diamond hits the target, I was very disappointed in the lackluster transfer to disc that this unqualified classic received. Sure, the letterboxing is great, but halfway through the film, the sound quality takes a turn for the worse - less audible, and almost scratchy at times. Plus, the only "extra" is the original trailer, and there is no additional booklet. Surely a genius like Wilder deserves better preservation than this! ... Read more

Amazon.com essential video

In the opening sequence of The Letter, director William Wylerdelivers a primer on film directing: at a rubber plantation, in the tropicalfunk of a Malaysian night, the heavy stillness is suddenly broken by shots...and a woman with a gun, descending a staircase. She is the wife of theplantation owner, and the dead man is, ahem, not her husband. Holding the gun sosecurely is Bette Davis, in one of her greatest performances (her acting of abig revelation, late in the film, is still an astounding piece of emotionalfluency). The story is taken from one of those sturdy Somerset Maugham talesthat has proved itself in many versions, but this is the keeper; it wasnominated for seven Oscars®, including best picture, director, and actress,winning none. Wyler's impeccable direction, and Davis's take-no-prisonersapproach to an "unsympathetic" character, make for a completely satisfyingpicture. --Robert Horton ... Read more

Reviews (22)

GREAT FILM WITH A HOLLYWOOD ENDING
I call this a "Hollywood ending" not in the sense that it is a happy ening, but one which seems to be contrived to follow the production code of the day which stated that all wrongdoers must be brought to justice. Bette Davis, in one of her great performances, is killed off by Gale Sondergaard who herself is arrested by the police at the end. I really don't know if this ending is in the novel but it does not ring right with me. After all, Leslie Crosby was cleared of the crime and could have gone on living even with the torture memory of the lover she murdered in cold blood although I doubt if she would have remained faithful to wimpy Herbart Marshall for long. Gail Sondergaard, the dragon lady wife of the knocked off husband, just seems to be unable to get enough revenge. The 10 grand she got for selling the incriminating letter to Bette apparently was not enough to satisfy her. I especially liked the scene where Leslie tells her husband how much she still loves her vengefully slain adulterer.

Getting Away with Murder
Who else could get away with murder and still get the approval of the audience but Bette Davis? Based on Somerset Maugham's story, THE LETTER relates the murder of a rubber-plantation owner (Herbert Marshall) in Malaya by his wife (Bette Davis). It is interesting how Davis approaches this part. She gives a brilliant study of a cold yet proper woman who intoxicates her society friends and authorities through a pretense of female sexual virtue. She deliriously illustrates the passion of a woman who would kill a man for attempting to leave her and in doing so entices the audience on her behalf. Davis is so brilliant at conveying such a cold woman who my in effect really need the warmth and passion of a desperate soul, that even she may not realize her actions are a desperate attempt to realize her own desires. Is her behavior a pretense or not? This was very erotic stuff for its time. This film was nominated for 8 Academy Awards. Carl Jules Weyl's Art Designs combined with Tony Gaudio's Cinematography made a very provocative setting for the images. However the only fault I found with this film was Max Steiner's score. Max Steiner is one of my favorite film composers but I found his score too full of that heavy-handed Warner Bros. sound and not sensitive to the nature of the main character or the film.

seven well-deserved Oscar nominations
"The Letter" is a superb adapation of the Somerset Maugham tale set in Malaysia. Bette Davis is at the top of her form in her role as a deceitful, anguished wife caught up in an illicit love affair. Her pleasant, steady, unexciting husband, a rubber plantation manager, is played exceptionally well by Herbert Marshall. James Stephenson, in the role of her defense attorney, turns in an admirably understated yet vital performance.

William Wyler's masterful direction, employing exotic settings and mysterious minor characters, make this spellbinding tale of passion and murder a can't-miss for all Davis fans.

"The Letter" deserves the highest recommendation!

Exciting exotic thriller from the colonial age
Pistol shots bang through the starlit night in the malayan jungle and rubber planter Robert Crosbie (Herbert Marshall) is stupefied to learn that his own wife, Leslie Crosbie (Bette Davis) has bumped off his best friend, Jeff Hammond. "He tried to rape me, so I shot him" she tells her husband - and we know from the start that she is lying. Hammond's body is riddled with bullets, her magazine empty. Some shots were fired when he was already lying on the ground.

While her credulous husband coddles her, she gives her lawyer, Howard Joyce (James Stephenson) her version of the story - only interrupted by crocodile tears and a simulated fainting-fit. Joyce is really considerate: he even commends her on her courage. So good is her mood when she regales the police with a dinner that she is surprised to learn that she could face a murder charge. Robert, haggard from lack of sleep tries to convince himself that everything is O.K: "She shot the man like a rabid dog". But Hammond was so dashing, charming, a real ladies man - hard to believe that he was capable of such a thing...

Robert has every reason to be worried: Joyce is informed by his asian counsellor that a certain letter exists: written by Leslie on the last day of Hammond's life, inviting him to come and see her...This letter is in the hands of his eurasian widow (Gale Sondergaard) who runs a gambling house. Leslie's smiling self-confidence dissolves under Joyce's interrogation. She denies everything, she rages, but her lawyer is not dumb: "I dont't want to hear more from you than is necessary to save your head". He feels nothing but contempt for the woman who implores him to get her the letter, but he feels compassion for her husband. The price for the letter is 10.000 Pounds - the exact amount of Robert's bank deposit - and Mrs. Hammond made it a condition that she should bring the money personally. Leslie tries to hide behind a veil, but it doesn't help her: after letting her wait for nearly one hour in an opium-den, the widow demands to see her face - and throws the letter before her feet with disdain. A male jury acquits the virtuous lady of her indictment, but there is more trouble brewing: Her husband wants to leave for Sumatra, become independent and buy his own plantation. He does not realize that his money is gone...

This exciting thriller contains one of Bette Davis' most famous performances. Herbert Marshall is equally brilliant in the role of her gullible husband, especially in the final scenes. He must have been the most often cuckolded husband on screen: Greta Garbo deceived him in THE PAINTED VEIL, and Marlene Dietrich in BLONDE VENUS and the delightful, underrated ANGEL. Perhaps he was beyond help, because he did not learn from his faults: His next film was THE LITTLE FOXES where he played Bette's victim again.

Sondergaard looks spectacular, but is psychologically wrong: Men usually fall in love with little Miss Butterfly - not with the empress of China. Bette Davis was universally praised. A very intelligent actress, she was on the right track: She wears glasses, she concentrates on her embroidery with great patience - needle-work and sex-appeal don't exclude each other, but there must have been a reason why her lover became tired of her...I think that she lacked the boldness to steep herself completely in Leslie Crosbie's true character. This type of woman ("One is getting so lazy here, the boys do everything" she says) has survived until recently in South Africa: she has no goal, no funcion, and my guess is that she was growing fat...Leslie Crosbie was porridge - and Bette plays her like caviar! W. Somerset Maugham, like Agatha Christie, is very good to read to this day: They were not dishonest authors, just one-sided: they nurture a nostalgia for the "glorious" age of colonialism, which existed only for a small part of mankind.

A great deal
It is a real crime story. Only at the end of this story you experience what happened in this special night. It is hard to feel how this nice beautiful woman can be a murderer.I was surprised that a lawyer does such a great deal (with that letter) to save the life of his client who is guilty. At the end you are in doubt if it is a fair end or not. The book is interesting to read. ... Read more

Reviews (274)

I've eaten casseroles scarier than this
Refreshing as it is to see a horror film rely more on the power of suggestion than on buckets of blood, "The Haunting," Robert Wise's 1963 adaptation of Shirley Jackson's novel, never really becomes as frightening as it clearly wants to be. Occasionally tense and mildly spooky but more often talky, overly melodramatic, and just downright silly, this is one of those films that would benefit a great deal if its characters would just shut up once in a while.

Or at least stop thinking, so we wouldn't be forced to listen to their irritating voice-overs. Granted, there's only one character erring in that direction, but unfortunately, it's Eleanor Lance (Julie Harris), a whiny, disturbed, introverted old maid who's got some serious bats in the belfry--she's feeling (what else?) guilt over the recent "natural" death of the sick old mother she's nursed for the past eight years. Eleanor, of course, proves to be the most susceptible to the eerie but invisible apparitions of Hill House, an abandoned old estate where she and three other guests (well-played by Richard Johnson, Claire Bloom, and Russ Tamblyn) are embarking on a search for the supernatural.

Harris does the best she can, but watching her wander about like Alice in Wonderland on crack, murmuring awful dialogue like "The house wants me, the house is alive," is more likely to evoke laughs than chills. There's also a protracted early scene in which Harris is driving toward her unfortunate destination, plagued by anxiety, fear, and that ever-present voice-over, that is a complete rip-off of the same scene Janet Leigh did in "Psycho" (and I apologize for even mentioning the name of that superior film in this review).

The idea behind all this prolonged psychobabble, of course, is that "The Haunting" can be considered as either a genuine ghost story or simply a story of a woman's deteriorating psyche, and that the ambiguities of the human mind are ultimately far more frightening than the sight of actual spooks. It's an excellent idea, but there's also such a thing as being too vague; in fact, the scariest moment in the entire film occurs when it finally decides to actually SHOW us something scary, rather than anesthetize us with obtrusive close-ups and creaky music. (Humphrey Searle's score blares so incessantly it could turn you off to soundtracks altogether.) Certainly, an excess of gore isn't the recipe for a successful horror movie, but if there's one thing that "The Haunting" demonstrates, it's that an excess of anything else is hardly an improvement.

The Wise choice for the Occult!
Call it horror or a supernatural thriller, "The Haunting" (1963) ruled out the pitfalls that made others of the genre seem pretentious. On first sight you are treated to a mansion set in an evil aura with baroque décor and looming statues. Doctor Markway (Richard Johnson) presides over the investigation, supplying us with an excellent catalog of phenomena to fuel our apprehension. Eleanor Lance (Julie Harris) is the hysterical spinster whose emotional fears become bound with ours. Then there is the wild soundtrack. Humphrey Searle composed a creepy score with a strong arrangement of brass and strings, creating an abstract and crazy effect to attack the senses. A perfect plot, script, narrative and good casting builds the horror through the viewer's own imagination. The best example of a movie to triumph over gore, intense violence and CGI. More evidence that "black and white" is not an obsolete format but an underused film technique. Robert Wise is a versatile director who showed a genuine skill in fright. You will not find "The Haunting" in any shallow top ten list with other famous horror films. You will find it taking refuge in your personal list of what you fear. A movie with a formula to survive repeated viewing and perpetual quality on DVD.

One of the scarest 60's films in the world.
Most people see the remake and won't bother with this one, but this film is really truely pure horror unlike the remake, one of the scarest films ever made, it also tells a classic story of a repressed women and a house that makes her lose her mind, the film is so much more than all of that though, it has all the events timed perfectly as it keeps bulding more and more untill the frightning conclution, If you're a true horror fan give this one a shot, you'll love it.

A chilling movie about an evil house
HIll House has been standing empty for almost 90 years. Whipsers of strange phenomena have kept would-be ocupants away for a long time; not even the owners will live their. That is, until Dr. John Markway assembles a small team to invesitgate the supposed supernatural events of the house. He invites Theodora, a psychic who lives a very different lifestyle; Eleanor, a sheltered young woman who recently lost her canterkaerous mother and has had experienece with poltergeist phenomena; and Luke Sanderson, soon to inherit Hill House and acting as the family's representative. Together, they begin to study the house, it's history and architecture. Or, has the house chosen one of the team for its own purposes?

Horror film director Robert Wise does a magnificent job with this adaptation of the Shirley Jackson novel. Very few visual effects are used, instead relying on lighting (the one scene with the wallpaper in Eleanor's room is eerie), atmosphere, sound and the viewers own fear to create a creepingly chilling film. They make the viewer feel like actors in the movie instead of bystanders. All the actors give fine performances: Clair Bloom as Theo, Russ Tamblyn as Luke, and Richard Johnson as Dr. Markway. But, Julie Harris' performance of Eleanor makes the film. Her almost childlike confusion, fear and determination to stay the course keep you enrapt in the film.

It's very refreshing to see a horror film that doesn't rely so much on expensive special effects to get the chills across, instead using acting, lighting and story to convey terror and fright. This is a classic horror film that still delivers to this day.

Good, but lacks the depth of the novel
I probably would have liked this movie a lot better if I hadn't read Shirley Jackson's brilliant book first. The Haunting is a decent haunted house film, not terrible by any means, but it is an inadequate adaptation. Maybe a more faithful adaptation of the book would have been impossible, since the novel depends so much on psychological suggestion and an unreliable (and possibly deranged) protagonist. That sort of subtlety is more difficult to express on film: there is the truth of what the camera is seeing, that is all. Ambiguity of perception cannot be easily communicated on film.

The most crucial change (to me, anyway), and one that makes me wonder if the screenwriters really read Jackson's book at all, is that Theo is made into a stereotypical "predatory lesbian" character. Eleanor's relationship with Theodora is more layered and complex in the novel, and her conflicts with Theo have a lot to do with her increasingly fragile mental state. In the book, /Eleanor/ pursues Theo. Theodora's rejection of Eleanor (directly or indirectly) leads to the outcome of the story. The "manifestations" in the house are more about Eleanor's essential loneliness and need for belonging than ghosts. The filmmakers of The Haunting definitely grasp this (unlike the filmmakers of the completely awful remake), but removed from its context, Eleanor's sense of rejection in the film is hard to understand. I suppose the filmmakers transferred Eleanor's romantic interest to the doctor rather than Theodora due to the controversial nature of homosexuality, but by doing this, the context of Eleanor's breakdown is removed, and movie Eleanor is a lot harder to relate to.

I'd suggest that you read the book *and* watch the movie, to give yourself some basis for comparison. Ordinarily I don't think it matters if movies are not faithful to the books they were adapted from, but in this case I think it significantly alters the essential meaning of the story (and The Haunting of Hill House is more than simple genre horror, no matter what anyone might say.) ... Read more

Description

Harrison Ford gives one of his most powerful portrayals as an obsessive inventor whose dream of creating a jungle paradise erodes into a survival-of-the-fittest nightmare.Year: 1986 Director: Peter Weir Starring: Harrison Ford, Helen Mirren, River Phoenix ... Read more

Reviews (40)

Harrison Ford's best work
Peter Weir's under appreciated masterpiece draws a striking comparison between religious zealotry and the utopian fantasies of technological imperialism. The smarmy Reverend Spellgood heads south into Central America to spread the Christian faith. Paranoid inventor Allie Fox does likewise, but his mission is somewhat different though no less religious in its intensity - he wants to bring ice, and by his logic 'civilization', to the locals. Both men are 'missionaries', both equally blind to the personal and social costs of the 'salvation' they bring. The cast is universally excellent. Helen Mirren is flawless as the devoted but cautious mother, and River Phoenix really impresses as the coming-of-age son through whose eyes the story unfolds. But Ford is absolutely perfect as the father. This was truly inspired casting, as it uses our latent feelings for the actor to put us in precisely the same position as his on-screen family: we want to love him - this quintessentially paternal hero - despite his destructive obsession. But in the end we have to accept that he gets exactly what he deserves. I'm surprised Ford doesn't seek out more roles like this one, rather than settling for repetitive action fare or trying to reinvent himself as Bogart. Adapted with considerable skill by Paul Schrader from an exquisite novel by Paul Theroux, this film is a rare find: a powerful, gripping, moving story with something important to say.

No Buzz for the Mosquito Coast.
After reading several reviews, the consensus is that the movie MOSQUITO COAST strays far from its original source..the book from which it is based upon. It seems those who are familiar with the book hate this movie and there is a hate it or love it attitude towards this film. With that aside,Harrison Ford gives one of his best performances as Allie Fox, a crackpot inventor disillusioned with society, particularly the American landscape. He moves his family to the rain forests of Central America to create a utopia so he can live in peace and build a ice-making machine (which he thinks would be the central core of his vision). Things are fine in the beginning, but Allie becomes obsessive and egotistical, and his family begins to become disillusioned by the whole concept. In this viewers opinion the movie is great for the first three quarters as Allie's ideas and dreams come to fruitition. He seems a little unstable, but his dreams are coming together. Then,the final phase of the film echoes the sentiments from an episode of the Twilight Zone called "Elegy" where in the final scene of this classic story, a character (an android named Mr. Wickwire) says "...because you are men, and you are here. And where there are men, there can be no peace!"; the results are almost identical in both stories. This is where the movie falls and where it will turn off most audiences. This is a tour de force acting vehicle for Ford, but the story, plot and somewhat downbeat ending will alienate audiences especially those who are used to seeing Ford playing strong and heroic characters. Good all around support cast with Hellen Mirren (CALIGULA),and the late great River Pheonix (STAND BY ME) who plays Charlie, Allie's(Ford) son. (Pheonix went on to play a young Indiana Jones in a flashback sequence in THE LAST CRUSADE; perhaps because of this role of playing the son of Ford's character.)

Book Expertly Brought To Life
Striking locations, solid acting, and fidelity to the original story make this an excellent film. In contrast to what has been written in certain other reviews, this is exactly the way in which a book should be brought to life on the silver screen.

To wit- much of the dialogue used in the film has been lifted directly from the book. The storyline follows the novel with nearly exact precision. Sure, some of the detail gets left out, but it's impossible to make a feature-length film from a full-length novel without losing some of the subleties. If they're that important to you, skip the movie and stick to the book.

Secondly, Harrison Ford's preformance as the self-destructive genius Allie Fox is beyond question. Author Paul Theroux was among Ford's biggest fans, once quoted as saying "He IS Allie Fox." Ford took the role after Jack Nicholson turned it down, and this is likely for the best - his performance, superlatives aside, is in fact Oscar-worthy. The rest of the cast offers standout performances - especially noteworthy are Helen Mirren and the late River Phoenix, as Mother and Charlie respectively.

Perhaps this film's biggest detriment is the story itself - the psychologically dark plot can be as off-putting as it is fascinating.

This film should be viewed for what it is - an excellent film version of the book and a fascinating, dark tale of self-destruction. Fans of Harrison Ford's lighter action films might not enjoy the movie because of the dark plot. This movie, however, was never intended to please all of the people all of the time; keeping that in mind, this is an excellent film.

Slow
This is a slow starter and finisher, but it has many powerful scenes and a great cast. Filmed in Beliz, it takes me back to jungle memories.

This is an unusual, yet successful, role for Harrison Ford.
Reviews are only subjective.

Ford as Allie Fox is an inventor, a genius, a man too smart for the world around him. He is a mechanical engineer who takes his family to Central America in search of Utopia, as he defines it. Of course, his family does not want to leave behind civilization and all of the comforts that home brings, but no one can resist his will. Perhaps that and his abrasive irritating manner are aspects of his insanity.

He does not expect to find another zealot, particularly in the form of Reverend Spellgood (Andre Gregory) who has determined to bring Christianity to the natives. Fox's goal is to bring his definition of civilization. The conflict and comparison between two very strong characters is part of what makes Paul Theroux's story work

River Phoenix as Charlie, the son who comes of age, and through whose eyes we see this story, is brilliant. Helen Mirrin, recently of 'Calendar Girls,' is stunning; her portrayal of a woman in love with her family, wanting to support her husband, yet protect her family is touching. John Seale's, directory of photography, work is outstanding, and reminds me of other fascinating movies brought to life by the careful use of lights, shadows, and lush, verdant scenery.

Ford's portrayal of the disintegration of a brilliant man, inventor, know-it-all, family despot is compelling, but gets lost in the slow, tedious complexities of a long journey - both mentally and the one his family travels. Yet, it has been almost twenty years since I saw the theatrical release, and I remember this film. I still think about it, wonder about motives and actions - and that is what makes this an excellent film, in my opinion.

This is one of the most difficult films to rate because it was overly long and somewhat wearisome, but it is also powerful. However, when actors, a story, and cinematography linger in my imagination and analysis processes since 1986, I must give it five stars. I know that some people will be bored because it is slow, but I will watch it many times to enjoy the nuances.

Victoria Tarrani ... Read more

Reviews (7)

A treat, but best enjoyed by Astaire fans
The Belle of New York is one of Astaire's lesser musicals, and for good reasons. The story line is a little simple minded. The secondary comic relief characters aren't all that comic. Vera Ellen paired with Astaire made for a screen relationship with few sparks. But the movie has more screen time of Astaire dancing than any of his other films, the songs by Harry Warren and Johnny Mercer are easy to listen to and reflect the age nicely, and Vera Ellen is a pretty good hoofer in her own right. "Baby Doll" should have become a standard, and Astaire's dancing in the "Sands of Time" number is a classic. If you appreciate Astaire, you'll want to watch this.

Watch Alice Pearce!
Fred and Vera (and Marjorie "Ma Kettle" Main) are excellent, but the one I really love watching is Alice Pearce, best known for her role as nosy-neighbor Gladys Kravitz on the TV show "Bewitched." She's wonderfully funny, and her cackling laugh is truly frightening. The "special effects" (probably very advanced for those days, though poor by today's standards) are not exactly seemlessly worked into the plot, but the movie is still worth watching for its lovely dancing, and the scenes where the Courrier and Ives postcard backdrops come to life. (If you like Alice Pearce, be sure to watch "On the Town," where she plays Lucy Schmeeler.)

Have seen better
The Belle of New York was very disappointing to me.
Considering the dancing talent involved, I would have thought this movie to be quite good. No way! The songs are corny, the plot is second rate, and worst of all, Fred Astaire and Vera-Ellen just don't fit in. It's a waste of their dancing talent.
The only thing I liked was the humor and that's about it.
Save your money and don't buy it. I would recommend "Three Little Words" instead. Fred and Vera are great in that movie.

A wonderful musical!
They don't make them like this anymore. Fred Astaire and
Vera-Ellen have some great dance numbers in this musical. Also there are some really nice songs. It's a really wonderful movie musical. I highly recommend it!

A Beautiful film, fantastic dancing!
This is defintly one of my favorite movies. I'd give it
10 stars if I could. It's a great film. Fred Astaire and Vera-Ellen are wonderful in it! They dance divinly and the choreography is fantastic. I highly recommend this film. It's a great escape. A great musical, a real classic! ... Read more

Reviews (4)

Everybody Is In The "Swing" And Having A Good Time
"College Swing" was a movie I had high expectations for. I originally wanted to see it because of Bob Hope. Of course when I bought the movie and saw the rest of the cast which includes George Burns and Gracie Allen (Who actually get top billing!), Martha Raye, Edward Evertt Horton, Betty Grable, John Payne, and Jackie Coogan not to mention it was directed by Raoul Walsh well, just try and guess how high my expectations were now! And sadly it just doesn't live up to what it could of been.

Most moviefans like myself who enjoy older films will think to themselves the movie can't go wrong. With a big all-star cast like the movie is probably a lot of fun to watch. But, that's really the problem with this movie. It's too big and splashy. There is just too much going on. And because of that no one is really allowed too much screentime. Everything has to be divived so everyone gets a chance to be onscreen. I felt disappointed not seeing enough of Bob Hope. Which is why I wanted to see the movie in the first place. He doesn't have many funny lines. Now, if I can't see a lot of Bob Hope, that's fine, then show me George Burns and Gracie Allen, I like them too. But, no! They don't have enough screentime either. Because of all the stars the movie can't really have too strong of a story because it wouldn't have enough time to really develop anything. The way the movie is now it has about 3 or 4 stories going on and not many scenes are given so the story-lines can be drawn out. What the movie basically is, is just an excuse to have a lot of song and dance numbers. Which I don't mind, but, the movie is just too much for it's own good.

The main premise for the movie has Gracie Allen playing a young student who has never passed her final exams. 200 years ago a bet was made stating that if someone from Gracie's family would never pass an exam than that same family would donate the family money to the school. But, if someone in the family can actually pass an exam then the family can take control of the school.

I'd be lying if I said the movie doesn't have some bright spots. A duet between Hope and Raye singing "How'dja Like To Love Me?" I swear it looks as if Hope is actually laughing while doing the number. Allen, when given the chance does provide some laughs. And I did like hearing some of the songs.

If you enjoy classic Hollywood movies, which I bet you do because you wouldn't be looking up this movie if you didn't then you'll probably get some fun out it. Mind you, it's not that I think the movie is bad, I'd watch it again, but I just think that too much is going on at once to really be enjoyed. ** 1\2 out of *****

Bottom-line: A fast and wild 30's comedy. Lots of stars to keep your eyes out for. But, the movie just has too much going on and a lot of scenes don't even do anything for the movie. It's all just an excuse to sing and dance.

DAFFY PARAMOUNT FLUFF
This is a pretty non-sensical little flick for enthusiasts of vintage corn! Gracie Allen is cast as the dumb-bell ancestor of a founder of a University. Whether she passes her exam or not will determine the future of the college. Burns and Allen are only okay here, given a mediocre script and not-too-funny situations (the one-joke theme loses its novelty quickly, unfortunately). Bob Hope is easily the best thing about the film, which isn't saying all that much, as his material is mediocre as well. The loud, obvious, sometime hilarious Martha Raye is at her most forced here, and there is ample support from Edward Everett Horton (he has a morbid fear of women but somehow succumbs to the - ah - charms of Gracie!) The cast includes a curvaceous 22 year-old Betty Grable (here she dances with her then real-life love Jackie Coogan who was Charlie Chaplin's THE KID in 1921 and Uncle Fester in THE ADDAMS FAMILY in 1964!) Richard Denning is also seen in this very mild, sometimes amateurish looking diversion from the era of Swing, which - in its day - was obviously aimed at young audiences.

Just Another "B" Movie!
This film is really good. I'm telling you its worth having it in your collection. Bob Hope, Gracie Allen, George Burns and Martha Raye is funny as usual. Betty Grable in this film dancing it up. She isn't her usual pin-up girl self but if you want to see the early years of her, this is it. This film is a good film to watch you can kind of see what the 30s and 40s were about, the music and dancing, they way they talked, the slang they used. Out of all the films, I think this if the film that will let you see the culture of the 30s and 40s, and how they were young and wild, not much has changed. Just different music and dancing. The songs in this movie are great, Martha Raye singing How D'Ja Like To Love Me, What A Rumba Does To Romance. Great Fun.

All-star Paramount comedy is loads of fun!
Paramount continued its string of all-star, mostly forgettable comedies with this sparkling gem. Mostly curiosity pieces now, these silly plotlines were mainly a gimmick on which to hang Paramount's roster of stars. Watch Bob Hope trying not to crack up as he and zany Martha Raye sing a duet. Anytime you can catch Hope and Raye on the same bill, you're in for some laughs. Betty Grable hoofs it up with then-husband Jackie Coogan. Burns & Allen add tons of fun, although curiously not working as a team. The music as typical swing of the 1930s, but the zest, energy, and pure fun with which it's performed makes this a very pleasant entertainment. ... Read more

Amazon.com

If not a seminal World War II submarine picture, then OperationPacific is at least an entertaining one. John Wayne stars as "Duke" Gifford,first officer of the submarine Thunderfish. Patricia Neal is Duke'sex-wife, and when they meet again after four years, the couple tries to recapture"that old zing." Complications arise when Duke goes on a mission with dudtorpedoes, and his best friend's younger brother goes after Neal. Fans will bepleased with Wayne's role, as the Gifford character is one of Wayne's simplest,but most honest performances. Wayne regulars Ward Bond and Jack Pennick are onhand as well; Bond plays sub captain "Pop" Perry, and Pennick the sub's Chief.The scene in which Pop tells his crew to "Take 'er down!" came from real life; asub skipper uttered the famous command during a desperate surface action.--Mark Savary ... Read more

Reviews (4)

Operation Pacific
Since I grew up with this movie, I have seen it at least 30 times. This is one of the best Submarine Movies of WW-II action made. And not everyone knows this but this movie did deal with some truth. When the skipper is shot by a "Q" ship in a surface attack, he uses the command "Take Her Down" which was in actuality used by the CO of the USS Growler, after being critically wounded in action in 1942. And the torpedo trouble in the movie was also true and they did drop warheads from on high to test out various firing options. One submarine mentioned in the Movie was the Corvina, which really was a USN Sub, and she was suck by a Japanese Submarine like the movie portrays. Unlike other Sub Movies, this one has a lot of truth in it and is an excellent watch. It is made more realistic by being in black and white. Sources for the above "Sink em All" By Vice Admiral Charles A. Lockwood, USN COMSUBPAC during WW-II

When things go wrong and one is in harm's way.
This is a chilly saga of an American sub captain plagued by failure-prone weapons and an ocean full of Japanese to fight. They find the reason the torpedoes didn't work and put back to sea, this time, to take good care of the nasty business at hand. One scene that brings the cost of war home is that the Thunderfish loaned another sub a movie, "Washington Slept Here." Sometime later, they find wreckage of an American sub, and the movie tells them who is at the bottom of the ocean. The Thunderfish strikes back at the sub that got their friends, showing how dangerous it was out there and what courage it took to fight this war. The climax scene shows them in a Japanese-controlled harbor, with a waiting task force. They fire their new and deadly torpedoes, and radio back to Cincpac about the taskforce and its location. They run for cover, and barely survive massive retaliation: the outcome is in doubt until the last, as it was for many other submariners. A moving, poignant, and bittersweet tale that stresses the fact that nothing ever comes for free, even in war.

Authentic in Every Detail
What makes "Operation Pacific" stand out is its authentic pigboat crew dialogue and operational procedures. It is also unique in that it took from a real life WWII sub commander's life. Cdr. Howard W. Gilmore (played by Ward Bond as the fictitious 'Pop Perry' in the movie) who actually did speak the words, "Take her down" as he lay mortally wounded on the bridge of his sub, USS Growler", thus saving the lives of his crew. This is an exceptional WWII submarine movie, a huge step above all of the rest.

Classic, but only amongst sub movies
This show depicts JW being handed what he least wants, to be left ashore during wartime to solve a technical problem with torpedos -- something that really happened.

There is much of the standard John Wayne character in the movie -- he's strong and larger than life, even when he faces a ruggedly handsome younger man who is vying for the same woman. John Wayne is, of course, the hero, and that's OK.

The best part about the movie, however, doesn't have anything to do with subs. The best part is the showdown between two nurses when one tells the other how things really are, and to quit whining about things (I paraphrase, badly).

Nevertheless, this movie is a great option for a free Saturday afternoon. ... Read more

Reviews (15)

Cloudscapes form a Great Director
The great Italian director, Michelangelo Antonioni spins four dreamy tales into an uneven confection concerning passion and connectivity. Though not as bitter as La Notte or L'Avventura (two of his masterpieces), in this film Antonioni seems more pensive and nostalgic for the tragedy of passing time and lost love. A great cast fills the landscape of lovers trying to connect and passions boiling beneath the surface, some fulfilled, others disappointingly engaged. John Malcovich wanders through the film as a narrator connecting the threads of the four stories (the direction assisted by Wim Wenders due to Antonioni's age and the after effects of a stroke), and the international cast of Peter Weller, Irene Jacob, Vincent Perez, Sophie Marceau and Jean Reno are perfectly tuned in to the director's icy, haunting style. A brief cameo by Marcello Mastroianni and Jeanne Moreau (stars of La Notte) is touching and sad. This film is a must for Antonioni's fans, his scene composition and camerawork are still among the best of any living director.

Whole Lotta Brooding Goin' On
I think a more apt title for this film would be "Who is John Malkovich and why is he following me?" Leaving that mystery aside, BYC has obvious merits. It's visually evocative and pleasing, as all Antonioni is (though not on the richly symbolic order of L'Avventura or the other films in the "tetralogy"); and from the standpoint of a heterosexual male, you can't beat the triple whammy of Sastre, Marceau and Jacob. Beyond that, however, I found it to be pretentious and overly-ponderous, as if it were a parody of all things bad in foreign films, in the same way that a parody of an American movie would be overproduced with scant character development and an excess of car chases, gunplay, and explosions.

Tschuess to Philadelphia
I believe elmoderno saw some forein films, but it was obviously useless for him. He didn't understand a word in the film. This is the reason why most of Russians laughing at Americans adolescence maximalism and inability to think about and understand really deep and serious European films. They can't even hide their narrow-mindedness, as we can see. Every person can read the texts (it can be texts in the books and in the films and anywhere else as well - all our world is the text for reading and understanding) using some interpretative codes, which he has by force of his education and his environment. So this is not the question of Wim Wenders absolute Genius - this is the problem of personal ability for reading and understanding the meanings which contain the text (the film in this case)!

A Short Guide to Beauty vs. Meaning
There are those who appear to have difficulty understanding or appreciating this film.

BEYOND THE CLOUDS obscures meaning with its beauty for many viewers. However, perhaps the director wishes us to exercise our imaginations and understandings beyond the perception of surface beauty.

It is difficult in spots. The scene where the young male lover can barely get himself to touch his girlfriend, then leaving in disgust, is disturbing. It is reminiscent of the painful moments in Antonioni's 1964 color film, 'Red Desert.'

Yet all of Antonioni's films, as other viewers have here and elsewhere indicated, are throbbing with meaning underneath their often quiet surfaces.

Some of the cafe style speech of some of the characters in these four strung-together tales is considered a little too 'New Age,' and superficial in tone. True, that which sounds like pseudo-philosophy can be irritating...

However, such stretches do appear in Antonioni's other films. The director ventures to depict such ramblings in order to reveal their social and psychological style, 'music,' and their possible real meaning. Perhaps they take a little thought for the viewer. An Antonioni film is a real experience. Watching BEYOND THE CLOUDS more than once may be necessary, in order to come around to the director's point-of-view.

Perhaps approaching this film as a lengthy contemplation or meditation, rather than just a clever stretch of footage, is the best approach. It is difficult to appreciate right away, like most of Antonioni's films, because it is deeper than it seems on first viewing.

Some have been annoyed with the apparent lack of unity of these four tales. Yet look again. Perhaps an underlying unity in this film eluded you on first viewing. Perhaps perceiving needs a chance to gestate, and grow.

Others have been annoyed with the choices of 'pop' music the director chose to line his film with. Yet we have come to lose sight of the issue of 'layers of meaning' in a film or other works of art. We no longer wonder why a director chooses his music: we simply condemn him for his choices outright, and at first hearing, without thinking.

Still others condemn the film for what they perceive as gratuitous soft-core nude scenes. Perhaps they are. Yet, perhaps they mean to say something else within the context of BEYOND THE CLOUDS.

I think this thoughtful, demanding, and beautiful film is one of the best bargains on the 'art' film market today (or any other day.) It is definitely worth owning and watching more than once...

I hope this helps.

BEYOND THE CLODS . . .
...some of us, I bet, are getting a little tired of the childish Antonioni bashing that seems to go on. Antonioni bashing not just here, but all over the place...

... I resonate completely with the Amazon.com reviewer who asserted about one other Antonioni film, that it's no surprise that in the age of Attention Deficit Disorder (ADD), there is little appreciation for the subtleties, delicacies, and
savoir faire of the patient, conscientious, understanding, intuitive, unpretentious, careful, and wise efforts of Michelangelo Antonioni. . .

... the truth is Antonioni's subtle work is TOO good. By some sort of all-too-common common flip-flop neanderthal logic, jewels like BEYOND THE CLOUDS run afoul of lesser minds who are be predisposed to insist it isn't good ENOUGH ...

. . .I think people are afraid of being thought of as thoughtful, and therefore "dangerous," in this day and age. Hence they bash quiet films like BEYOND THE CLOUDS.

...well, I've seen BEYOND THE CLOUDS six times before I bought my copy the other day. It is fit to stand beside Antonioni's RED DESERT as one of the most beautiful color films ever made. Without a Monica Vitti to "guide" us through the film, perhaps the four subtle tales of love, loss, trauma, and reflection that make up BEYOND THE CLOUDS take a few viewings to truly appreciate. But that's what many serious critics say of ALL Antonioni's films...

...sip like a fine wine. Smile at the adult children who look down on BEYOND THE CLOUDS. Rest in the hope they all come across the experiences they need to come around to an appreciation of Antonioni, via intelligence and a newfound understanding...

... I've watched my recently acquired VHS copy of BEYOND THE CLOUDS six times already in the past few days. It is divinely worth it, and my love for it grows with each viewing...

...get your own copy, and do the same...

... the flower, unmolested, blooms and shows all its colors. ... Read more

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Vincente Minnelli's 1958 adaptation of Colette's story about a girl (Leslie Caron) groomed as a courtesan--but desired as a wife by a Parisian playboy (Louis Jordan)--won a lot of Oscars, but it also has the unusual distinction of being an MGM musical shot on location in the City of Lights. What a musical it is (by Lerner and Loewe): Maurice Chevalier and Hermione Gingold crooning "Ah, Yes, I Remember It Well," plus the songs "Thank Heaven for Little Girls," "Gigi," "I'm a Bore," and "She's Not Thinking of Me." Director Vincente Minnelli (Some Came Running, Meet Me in St. Louis) makes a sumptuous, dreamy, almost laid-back affair of it all, and the indispensable cast is forever etched into memory. Hollywood's long-running infatuation with continental grace and manners, the memory of a much earlier time imported to American movies through such immigrant directors as Ernst Lubitsch, may have finally come to a gentle end with this film. --Tom Keogh ... Read more

Reviews (62)

"GiGi" - 9 Oscars / Best Pix 1958 now on WideScreen DVD!!
MGM's "Gigi" was their last big Musical production. MGM won 9 Oscars including; Picture of the Year (1958), Best Director - Vincent Minnelli, Best Song - "Gigi", Best Cinematography, Art & Set Design, Best Costumes.

The Colorful Metrocolor WideScreen production was directed by Vincent Minnelli - Oscar Winner!! Lerner & Loewe provide us with the great lyrics & music. Gigi title song won an Oscar! Another favorite is Maurice Chevalier's singing of "Thank Heaven For Little Girls".

Summary: We are in the Summer of 1900 Paris. Leslie Caron as "Gigi" was perfectly cast as the young Parisian grand daughter being groomed & refined to be the socialte wife for a rich to do gentlemen. Gigi is infactuated with her Grandmothers (Herimone Gingold)ex's nephew Gaston (Louis Jourdan) a rich playboy who befriends the young rough around the edges, Gigi. As this story developes Gaston's has numerous public affairs that continue to fail & his only joy is being with Gigi. As the story evolves we have lush & colorful sets and lavish scenes of 1900 Paris & a complex love story begins. Hollywood Happy endings, prevail!

This DVD has a Full Screen & WideScreen (LetterBox) version. the movie is 116 minutes long. Excellent Quality picture & Color. Only extra is a trailer. Very delightful family movie.
Enjoy.

A BEAUTIFUL MUSICAL.
A lavish, glossy and eminently tuneful movie treat, GIGI tells the story of an illegitimate waif who lives in 1890's Paris with her Aunt Alicia and her Grandmother (Hermione Gingold). Their plan is transform this waif into an elegant courtesan so that she can become the mistress of wealthy Jourdan, who eventually takes her as his bride because he truly loves her. This throws Gingold for a loop; the family is not used to marriage: Chevalier - Jourdan's father - was once her lover...Produced in Paris, it's a delight from the first frame to the last. All the usual Parisian landmarks are featured: the Tuileries, the Bois de Boulogne, the Palais de Glace, etc. Chevalier steals every scene he's in (except, perhaps when he's singing I REMEMBER IT WELL with Gingold). The original story was based upon a French story by Collette and was ingeniously adapted for a musical stage play by Lerner and Lowe. Caron had played the role on the Paris stage, and here