Amazon.com essential video

On her first day of work, Sue Applegate (Ginger Rogers) has to escape the clutches of a lecherous client (Robert Benchley, whose favorite line is "Why don't you slip out of that wet coat and into a dry martini?").Fed up with the big city, Sue decides to head home to Iowa with the precious $27.50 train fare she's kept in a sealed envelope since her arrival.The fare has gone up, however, and she is forced to pose as a 12-year-old to buy a half-price ticket.On the train, she has to dodge the suspicious conductors and bursts into the compartment of Major Phillip Kirby (Ray Milland), who falls for Sue's masquerade and harbors her for the night.The situation is further complicated by the major's fiancée (Rita Johnson) and her savvy 12-year-old sister (Diana Lynn), the only one who sees through the ruse.Add a stay at the major's academy and some escapades with young, hormone-driven cadets, and you have an enjoyable, if not quite classic, silly comedy, well paced by Billy Wilder in his first directorial effort.Rogers's real-life mother appears in a small role as Sue's mother.Rogers is only occasionally convincing as a 12-year-old, but after all she was 30 at the time.--David Horiuchi ... Read more

Reviews (22)

Priceless Classic, lots of fun!
What a wonderful film! Billy Wilder has directed a cute and wonderful film that is timeless! When Susan Applegate (Ginger Rogers) has had it with the big city (New York) she discovers that while she was trying to build a career that her train fare has increased. The laughs begin there as she adapts her wardrobe to become a 12 year old half-fare customer. The suspecting conductors chase "Sue-Sue" as she hides and meets Major Phillip Kirby (Ray Milland). Major Kirby takes "Sue-Sue" to the home of his fiancée (Rita Johnson) and her 12-year-old sister (Diana Lynn). She is the talk of the cadets at the boys school, and causes a very lighthearted stir. Sue-Sue's relationship with the young girl (Diana Lynn) is impressive as is the insight of the young girl. This film is truly a classic!

Suspend Your Disbelief
This film has raised a few eyebrows over the years, since the subject matter is of a grown man falling in love with a woman pretending to be a twelve year old girl. However, upon viewing, you will discover that this comedy presents the material in such an innocent way, you simply have to suspend disbelief and enjoy the complications that ensue. Ginger Rogers is the woman/girl who pretends to be the child to get the child's fare on the train since she is short on cash, and Ray Milland is the officer she meets on the train who takes care of her. She ends up at the military school where he works, and she causes quite a sensation amongst the young cadets. But more than that, she stirs up things in the relationship between Milland and his fiancee. Rogers does as well as anyone could playing a twelve year old in pigtails, making it almost believable that she could fool everyone. She's a lot of fun and well matched by Milland. Diana Lynn is terrific as Milland's fiancee's young sister, the only one who sees through Rogers' masquerade. There's a number of really funny moments, such as Rogers fending off the juvenile advances of the young cadets, and the hair "epidemic" of the girls at the dance (I don't want to give the funny visual away). Billy Wilder's clever dialogue is a treat to listen to (as usual) and deceptively adult. If you accept the premise of the film at face value, you'll find a number of laugh-out-loud moments and endearing characters in this comedy that is one of my favourites from the early Forties.

Discovering Ginger Rodgers, without Fred Astair
attached. I was pleasantly surprised by this excellent first time comendy directed by Billy Wilder. Some of the outside scenes were set at St. John's Military Academy in Delafield, Wisconsin.
The dialogue is smart & mature enough to hold up well 60 years later. Ginger disguies herself as a 12 yearold to get half fare on a train taking her home to Iowa from NYC.Anyone who cannot see that she is a sexy, beautiful, full grown women is an idiot. But she fools the Major played by Ray Milland. She stumbles into his private compartment, fleeing the conductors. They bond, in a way that wold get him arrested today as a pervert. But it's all innocent & hilarious in 1942. He becomes Uncle Phil & falls in love with her, uncomfortable with the fact that he thinks she is 12 year old "Zue Sue".
The scenes of her being pursued & kissed by eager, unknowing cadets half her age, are kind of 'corny' especially the seduction scene when she breaks out in a brief tap dance.
This is my second Ray Milland film in as many weeks. It could not be more different than his role as a drunk in "Lost Weekend" only several years later. I'm becoming a "late" fan of Milland & Ginger sans Fred.

classic
who says this movie isn't classic? it's one of the funniest. Ginger somehow manages to be a surprisingly good little girl. (if not 12, then 14 maybe, but who cares?) she should have been nominated for an oscar at least. i don't know how this one made it past the censors untouched! on the train, when Ginger wakes because of the lightning, and Ray MIlland comes down to comfort her in her bed (he doesn't know she's really an adult) we can only imaginge what's going through her mind! and when she presse her cheek against his chest? HOLY MACKERAL! He thinks she's shaking because of the lightning, but we know better, heh heh...
Ginger is also Hilarious with all the looks and wisecracks that she gives. One of the best lines she has is, after being compared to a lightbulb (moths like lightbulbs) when Ray sees a cadet smooch her. He explains ( in another risque conversation!) that she should be careful around the boys, becase they're attracted to her. She replies: I'll try to be a well behaved lightbulb! Also watch for a little tap-dancing on her part, brings back memories of the thirties. But this movie is definately one of my favories dancing or no.

EVERYTHING IS JUST GINGER!
Last night (040404) I couldn't stop watching this movie, although I hadn't planned on it. Ginger may have gotten her Oscar for the unworthy Kitty Foyle, but she deserved a nomination for this first directing effort by Billy Wilder.
Just think of all the great acting and dancing Ginger has recorded! Awesome. ... Read more

Description

Jim Moore is a tough-as-nails Drill Instructor with a chip on his shoulder: Pvt. Owens, who isn't quite up to snuff. Sgt. Moore is convinced that "there's a man underneath that baby powder" and sets out to force the private to rise to the occasion. Instead, he drives Owens to bail out altogether. Things only get worse when the Captain steps in and givesMoore three days to make the a Marine out of the petrified private. ... Read more

Reviews (15)

A great glance behind the scenes of 1950s Parris Island
Jack Webb portrays a tough Marine drill instructor trying to mold his platoon of recruits into United States Marines. Resistance from one of the recruits provides dramatic interplay. Webb's infrequent visits to town include a not-well-developed romantic angle. The training shown is for real, though understated -- the viewer doesn't see how tired and hungry and frustrated a recruit can get. Anyone who has been through Marine boot camp will identify with many of the scenes in this film. Of historical interest to former Marines: the credits show Webb playing a "Tech Sergeant" and several of the advisors to the film hold that grade, yet Webb is called by the more familiar "Gunny" throughout the movie. Yes, Gunnery Sergeants officially disappeared from the Corps for a few years, though Marines never let go of the term. This film is highly recommended, both for Marines who want to remember and for those who have not served in the Corps who want to catch a glimpse of what it takes to make young men into Marines.

One of the Best
This film having been produced in 1957, was seen by me in 1958 while serving as a D.I. AT P.I. It showed for two consecutive nights and I think every D.I. on P.I. somehow arranged to see it. We wanted to see if they got it right I guess. I viewed it again recently and it was most nostalgic. A most memorable time and the film was reasonably accurate for the times. I highly recommend it.

Greatness In Film Making -- Why Not On DVD?
Pardon me for venting... Why is a great film like this not in DVD? Or for that matter, "Thirty Seconds Over Tokyo"? Or "Battle Hymn"? Or "The Last Days of Patton"? It makes me wonder why idiotic drivel like "American Idol" or "The Real World" pop right onto DVD, and the best things are left in the can in a dusty archive waiting for a building fire.

I walked the walk and talked the talk
I served as a Marine Drill Instructor at Parris Island S.C. from 1978 to 1981. In my opinion this is the best movie depicting what it takes to be Marine second only to the Discovery channel following real recruits in boot camp.

Fan for 45 years
I love this movie. I saw it with my brother when it first came out and I loved it then. I had it on tape from a TBS showing but the tape was poor quality and I was happy to buy it on amazon. I heard the actor who played the D.I. in Full Metal Jacket (he was a real DI) mention on the radio he liked Jack Webb as a DI in the movie. I have often wondered what happened to the real Marines who played the platoon. I know that Dan Dubbins was a Marine in real life and died quite a while back. He was one of Webb's recurring character actors on Dragnet. The actor who played the Captain is still alive and living with one of his kids in LA. Anyway, great film. ... Read more

Reviews (272)

Another Flop From Notorious Dreamworks Pictures!
Honestly, the way I see it is that "The Haunting" was the only commendable production from Dreamworks Pictures. This feature animation, on the other hand, puts Steven Spielberg to a great deal of shame, I'm afraid; and it all the more proves how Jeffery Katzenberg can hardly survive without the expertise of the Walt Disney Company.

First of all, it is terribly non-accurate in terms of restoring a "tale" of how Moses delivered his people. And secondly, eew...imagine how the people looked! Many praised this movie for its stunning background design; I personally feel horrible-looking CGI-animated people pale in accompaniment to how "stunning" the audience opines the animation to be - either in a positive or negative way. Why, I think even Don Bluth's "Anastasia" could do many times better!

The soundtrack itself isn't all the more that fantastic, despite the several rather meaningful songs like "River Lullaby", "Through Heaven's Eyes" and "When You Believe", due to that familiar sensation from listening to scores of similar tones. I suppose this is the only portion of "The Prince of Egypt" which persuades me to only hang on to it with an unimpressive 3-star rating. Better luck next time, Dreamworks - looking forward to your much anticipated "The Iron Robot"!

AN ARTISTIC MILESTONE IN THE HISTORY OF ANIMATION!!
The Biblical story of Moses has become a spiritual cornerstone of faith for millions of people worldwide. To adapt it to an animated motion picture presented an epic challenge to Dreamworks founders Steven Spielberg and Jeffery Katzenberg, which they have triumphed over very successfully. Disney's somewhat disappointing Hercules made movie fans look for a different angle of story-telling as it was becoming clear that they were tiring of the tried and true Disney hit formula. .

After the Oscar-winning Pocahontas, the studios had not been to deliver its best (though I completely agree that The Hunchback Of Notre dame is one of the most underrated animated classics). Fox's Anastasia conquered a large number of hearts with its amazing character-depth and haunting tunes, but a box-office success of a larger proportion was required to dethrone Disney's monopoly. The Prince Of Egypt is easily the best non-Disney feature ever made (followed closely by Anastasia) and in every way, it as unique a classic as Beauty And The Beast or The Lion King. It is emotional, musical, captivating, and inspirational and has a profound moral meaning and beauty.

The story remains mostly true to its Exodus origin. It varies from The Ten Commandments in exploring the relationships between the two brothers who are destined to be enemies. The strength of the movie lies in the strong emotional bonds it depicts between its characters, something which The Ten commandments failed to portray. The animation is lush and vibrant, blending both classic hand-drawn cels and Computer Generated Imagery. The backgrounds and visuals and breath-taking and even the CGI sequences such as "The Parting of The Red Sea" are to be marveled at. Dreamworks artists have adapted a new angular style of character sketching which looks refreshingly beautiful on the silver screen.

Stephen Swartz's music is melodious and meaningful; from the spine-chilling "Deliver Us" to the soul-searching "When You Believe" which won the Oscar for the Best Song in 1998. (though I must say that I love Pfeiffer and Dworsky's version much more than Mariah Carrey and Whitney Houston's pop reprise). An astoundingly deep, sensitive and piercing score almost overrides the film's music; strongly highlighting the sentimental points with its rich orchestral appeal and Ofra Haza's tantalizing choral accompaniments. Nominated for an Academy Award, it deserved the Oscar for the Best Musical Score category (though I would personally have loved to see Goldsmith win his second Oscar for his incredible score of Mulan). Warbeck's score for Shakespeare In Love which eventually won, though appealing, pales before Zimmer's work or Goldsmith's masterpiece. Then again, I have noticed that Oscars go more by popularity than by talent. David Newman's nominated score from Anastasia was most definitely the Best among the Musical scores of 1997, although the Oscar favored The Full Monty, which could not possibly win in any other field where it had been nominated (owing to Titanic) and so walked away with a very undeserving award.

The Prince Of Egypt utilizes a host of acclaimed on-screen actors and actresses; comprising the voice talents of Val Kilmer, Ralph Fiennes, Danny Glover, Michelle Pfeiffer, Jeff Goldblum, Sandra Bullock, Patrick Stewart, Martin Short, Helen Mirren and Steve Martin. It is undoubtedly the most ambitious vocal cast ever assembled for an animated movie. All the actors bring the characters to life with striking warmth and depth. Both Kilmer's as well as Fiennes' work are very praiseworthy.

The DVD offers a excellent anamorphic 1.85:1 video transfer which looks very crisp and colorful. The Dolby digital 5.1 sound makes good use of surround, nicely highlighting the score and special effects. Dreamworks has also recently released a DTS version of the DVD in April, 2003 which is an improvised version of the earlier Dolby release. The special features provide an in-depth look at the making of the movie. Also included are two trailers, "When You Believe" multi-language reel, still galleries, interviews with the cast and a "Basics of the Chariot Race" CGI explanation segment.

The Prince Of Egypt is nothing short of a masterpiece in animation history. The movie is geared more towards the mature audiences and those expecting fast pace fun-oriented stuff will not find it towards their taste. Young children may find some scenes a little disturbing, hence Dreamworks rated the movie a PG. So go enjoy Dreamworks' first animated motion picture, which is a classic to be cherished now and for generations

Excellent Animation and Story
The Prince of Egypt is an excellently animated movie from Dreamworks, with
great storytelling and characters and usually very good music. One doesn't
have to be religious to appreciate this movie (I'm not at all) -- the
emotions expressed by the characters are touching and the conflicts still
relevant.

As far as the animation in the movie goes, it is never less than excellent.
Besides the special effects sections (the parting of the Red Sea being the
most ambitious and breathtaking of all), the character animation is superb.
Each character is different and distinct, with this quality most noticable
when Moses is leading his people. Every person walking behind him, most of
whom have only seconds of screen time, is unique. As an animation
enthusiast, I appreciate this unwillingness to cut corners. Also standout
in this production is the appropriate and effective combination of computer
graphics and traditional hand-drawn animation. The dream/history sequence

that plays out in heiroglyphics on the palace wall is an effective use of
computer graphics in a 3-D setting that wouldn't work as well with
traditional animation, but the movie isn't overburdened by CG shortcuts
that just look fake.

The storytelling is also very well done. I have read reviews that say it
changed the Bible story too much, but the movie flows well and has a good
sense of pacing. Although I've never read the Bible story, the key points
I've heard of are included, and it seems the spirit of the story is intact.

The music, for the most part, is very good as well. "River Lullabye" and
"Through Heaven's Eyes" are beautiful in that they have a more
middle-eastern feel to them, with a broader range of instruments than the
hit "When you believe", which in the ending credits is sung by divas Mariah
Carey and Whitney Houston.

One complaint: The Steve Martin/Martin Short scene is bad, bad, bad. The
characters seem borrowed from too many Disney movies: as snide, snooty
henchmen with no character development, they are also way too modernized to
fit the theme of the story. And their "Playing With the Big Boys" song is
terrible -- I just want to fast-forward through it. That scene
notwithstanding, I think the movie is worth watching, for both children and
adults.

not very good
I know many rated it very high, but this movie was very disapointing. The graphics are not great, the songs are below average at best, the story "more or less" follows the biblical accounts, but worse, the characters are not attractive. I found Moses a reluctant participant, The Pharaoh a good guy and God a little sadistic (perhaps the authors should have emphasised what really went on with slavery, but then this is a film for kids). I shook my head a few times, wondering how such a wonderful and powerful historical account like Exodus could be rendered as lifeless and sadly my kids were just turned off by the story (as was I). My son's comment was "it is so much better when you read it from the Bible" and I have to agree.

I am still waiting for a good account of the Exodus to show up on film. Perhaps (instead of using their imagination to fill in the gaps) the writers should just follow the biblical text when making their movie... It has lasted and will last longer than their films will anyway.

Was the movie a good biblical account? Not bad, but not good either. The author took alot of his own inspiration when making the film. Is the movie good for kids? Perhaps some will like it... But most of the ones I know left the room before the end of the movie.

A Wonderful Movie!!
When I first saw it when I was like 8 or so, I liked it... and now, many years later, I still do! The songs are breathtaking and original, and match the scences. The characters, storyline, colour... oh, the list goes on! It's a fabulous movie! ... Read more

Reviews (19)

Naked Does Not Mean Defenseless
Most films which have the basic premise of a white man battling native Africans somewhere in the Dark Continent usually portray these natives as nameless, unmotivated ugga-mugga tribesmen whose only purpose in life seems to be able to toss missionaries into a round cooking pot. Thankfully, Cornel Wilde acts in and directs himself in THE NAKED PREY, a movie that is as astoundingly gripping as any film whose plot revolves around the hero's struggle for survival in a savage environment.
Wilde is a guide whose safari of foolish white hunters antagonizes some ferocious natives, who proceed to kill the hunters in a variety of graphically nasty ways. The natives allow Wilde a head start, then chase him. It is this chase that forms the bulk of the movie. Along the way, Wilde shows the natives (and the audience) that a near naked white man can still be a formidable foe. The pursuing natives, led by Ken Gampu, are a diverse lot, not all of whom are as dedicated to the chase as he is. They have numbers, food, knives. Wilde has only his fierce determination to live. What starts out as a standard chase movie, morphs quickly enough into another sort of chase. This time, though, it is Wilde who starts calling the shots about who is chasing whom. THE NAKED PREY is full of magnificent vignettes of survival on the African plain. This is no jungle movie. It is an engrossing film that allows the camera frequent panoramic sweeps over vast desert plains that are quite capable of supporting life if one only knows how. The natives are astonished that Wilde's knowledge is at least as full as theirs. Along the way, Wilde befriends a very young boy whose family was captured by Arabic slavers, and it is this boy whose very initial helplessness reminds Wilde that vulnerability is a trait that has the practical value of reminding one that arrogance on the plain is a negative survival characteristic. The latter half of the movie is a continuing series of confrontations between Wilde and Gampu. By the end, both the pursued and the pursuer recognize that sometimes the distinction between the two is a muddied affair at best, and the winner is not necessarily the one with a trophy, but with a recognition that all life, even the life of your enemy, has some value during a deadly game of chase.

Exciting, well paced adventure shot entirely in Africa.
Actor/director Cornel Wilde has fashioned a tight, well crafted adventure story of survival in the African bush with "The Naked Prey". The story involves the capture of a party of white trophy hunters by a tribe of native Africans, who are gruesomely tortured to death one-by-one. Cornel Wilde, whose clothes had been removed by the natives in preparation of his execution, succeeds in escaping (hence the title of the movie). The rest of the film involves his fight for survival in the wilderness while being pursued by a group of native warriors.

The film starts out slowly but the tension builds as the white hunters ignore and insult the natives that they see as harmless. The scenes of torture and death are quite graphic for a mid-60's film and because of this the film is not for family viewing. The movie really takes off once Cornel Wilde escapes and his fight for survival is as realistic as it is gruesome.

one of my all time favorites
I accidentally caught this movie late at night when I was a kid...and found it the most gripping movie I had ever seen. 30 years later my opinion has not changed one bit. After an hour into the movie, I remember finding myself amazed at how much I cared about the characters and how strongly their personalities came through - even with virtually no dialogue!! This is perhaps one of the most underrated movies in the latter half of the 20th century. Other reviewers here have already done an exceptional job of running down the highlights, so I need not do the same.

This film leaves me with 2 questions that I would love someone to answer. First, why do they not make movies like this anymore? And second, when oh when will this come out on DVD??

Sometimes the oldies are the freshest
Tarantino wishes he could make a movie like this---exact opposite of his over-dialogued palgiarisms, this gem has almost no dialogue!

The setting shows the beasts of africa acting out a passion play for survival. The beasts are all that inhabit the landscape---the tribesmen, the "Man", and the assorted toothed mammals running about!

this flick knocked me out when i first saw it, I cannot understand why it is not on dvd yet.

For those who would say that this movie is racist, give me a break with that old tired song! All who inhabit this movie are seen as both bad and good, with no regards to color. One of the heroes is a young child, in fact, who befriends "the man".

great stuff!

THE ULTIMATE IN EXOTIC ADVENTURE
A true rarity in the action/adventure genre, this film lingers in the viewer's mind long after it's over. Haunting. Satisfying. At times even moving. I am always amazed at how modern this film appears today. Though the actions of the African natives who pursue Cornel Wilde may be seen by civilized people as brutal and savage, the warriors are depicted as a people who truly believe that their motives are justified, thus no stereotypes in this film. Perhaps just as good as the other great survival adventure, JEREMIAH JOHNSON. By the way, before I forget-- the "little boy" in the film mentioned by some viewers is billed as 'Bella Randles as "the little girl'". Peace, bro. ... Read more

Amazon.com

Big Jake is not one of the Duke's classics, but a diverting attempt nonetheless. Everyone seems to think that Jacob McCandles is six-feet under ("I thought you was dead" is a running line throughout), so some bad men kidnap his grandson. They want a piece of the family fortune and will kill to get it. Patrick Wayne, the Duke's own son, plays one of Big Jake's kids, and together they start out after the boy's abductors. Richard Boone makes a worthy adversary to Jake's larger than life figure, and the final confrontation between the two contains some great gritted-teeth dialogue. Maureen O'Hara is barely in the feature, sharing the same fate as Bobby Vinton as the boy's father. He seems to be onscreen just to get shot. --Keith Simanton ... Read more

Reviews (30)

Big Jake, the man who put the bad guys in their place!
Big Jake has always been a family favorite. Whenever it aired on TV, we watched it. If it were played 3-4 times a year, we watched it. You just can't beat the all-star cast. John Wayne, Bruce Cabot(very famous in the 1930'3 and 1940's) Richard Boone, as the lead bad guy, was a great choice. PAtrick Wayne and Christopher Mitchum were both excellent choices to be his sons. Maureen O'Hara, as the ex-wife, she is still as beautiful as ever. All-in-all, a great action-packed western that holds up to the best. Big Jake, a real treat for all.

don't call him DADDY!!!!!!!!!
This film is one of the better later-day John Wayne films, though strangely violent for a Wayne film. The Duke stars Jacob MacCandles (maybe a reflection of his real life family situation) as a tough man, estranged from his wife and grown sons. Bobby Vinton gives a quickie performance as Wayne's eldest son, shot when (the great) Richard Boone and his band of cutthroats nearly slaughter all on Jacob's ranch in the kidnapping of his grandson (played by Wayne youngest son Ethan). Patrick Wayne, his real son, plays second eldest son and youngest son, Michael, is played by Christopher Mitchum (Robert Mitchum's son!).

In tow are Wayne regulars, Harry Carey (disgusting tobacco chewing baddie), Bruce Cabot as the Indian tracker showing age with Jacob, Glen Corbett as breed the fast gun that faces off against Patrick Wayne in a gun fight, the most natural actor to ever grace the screen, the late Richard Boone, and a lovely appearance by the eternally beautiful Maureen O'Hara, once again playing John's long suffering wife whot loves him, but cannot live with him.

It is super to watch Wayne with Cabot, Carey, Boone and O'Hara, and Jim Davis (later rose to fame once more as Jock Ewing of Dallas) and though the film is intensely violent, I don't see it was gratuitous. The violence came from the end of a very violent era, times were changing, but not fast enough. The violence of the kidnappers had to be there to show Wayne's to-the-wall rescue of his small grandson was called for. Wayne's character was a violent man when the times called for it, but it was just as willing to let things go - if ONLY the other person walked away.

He worked well with his sons and Mitchum, and the interaction between Jacob and his two sons provides the Wayne brand humour in the film.

The times were changing for the code of the old west, and in the same way, times were changing for John Wayne....

I give Wayne credit for not pulling punches in a film that does him credit.

They made the mistake of kidnapping Big Jake's grandson
"Big Jake" is one of my favorite John Wayne movies, which is not to claim that it is a classic film. This film is directed by George Sherman, who first began doing Westerns back in the late 1930s, although Wayne is known to have directed some scenes as well. In retrospect I would argue that this 1971 film is the first of a trio of film that Wayne made at the end of his career reflecting the passing of the Western. The other two would be Wayne's next film, "The Cowboys," and obviously his final film, "The Shootist." Of that trio "Big Jake" is clearly the most fun and my biggest complaint about this film is that when it is shown on television they almost always have the first commercial break at the absolute worst moment.

The film begins with a raid on the McCandles Ranch where Little Jake McCandles (Ethan Wayne, the Duke's youngest son, named for the character he played in "The Searchers") is kidnapped by a gang of cutthroats led by John Fain (Richard Boone). Fain demands a ransom to be delivered across the border in Mexico. The Texas Rangers are willing to do it, but Martha McCandles (Maureen O'Hara), the boy's grandmother, announces that this is a disagreeable task and needs to be done by a disagreeable man. At this point the came cuts to a close up of John Wayne peering down the barrel of a rifle. It is a great introduction to Wayne's character in the film and a fitting counterpart to the moment in "Stagecoach" when we first see the Ringo Kid and his Winchester. But television stations keep putting commercials before the cut because the film's opening sequence, in which narrator George Fenneman, who went from being Groucho Marx's announcer and straight man on "You Bet Your Life" ended up doing the narration for Jack Webb's "Dragnet," introduces us to all of the members of the Fain gang runs on a bit before we have the raid and the decision of what to do next. So Act I runs out for a bit and if there is a good reason to have this movie on DVD or VHS it is because that way you miss this horrendous commercial placement.

"Big Jake" is basically a chase story as the title character goes after his grandson, heading out with the ransom with only his trusted Native American friend Sam Sharpnose (Bruce Cabot) and a dog named "Dog." But there are several others things going on to make the proceedings more interesting. Big Jake did not even know that he had a grandson, and while the boy's father Jeff (Bobby Vinton, the singer) is wounded, his two brothers James (Patrick Wayne, another of the Duke's son) and Michael (Christopher Mitchum, son of Robert Mitchum who co-starred with the Duke in "El Dorado"). Clearly Big Jake has been separated from his family for a while and there are issues, particularly with James, who makes the mistake of calling his father "Daddy."

There is also a whole sub-text about relying on modern technology. While Big Jake heads off with horses the Texas Rangers take off in new fangled motorcars. Of course this is a mistake, but there is a recurring theme of the old ways being best. Michael has a motorcycle and James has a new fangled pistol, but they are able to overcome their reliance on modern technology. If the Old West is disappearing it is not disappearing until the Duke has his last fight.

Then there is the running gag that everybody seems to think Big Jake is dead. When we are treated to that great close up our hero is watching a group of cattlemen get ready to string up a sheep farmer. Big Jake does not want to get involved, not wanting to make a mistake of his youth that almost cost him his life. But then the leader of the lynch mob (Jim Davis) makes the mistake of kicking a boy ("Aw," says Big Jake, "why'd he want to go and do that for?"). There could be trouble but then it is discovered that the big man on the horse is Jacob McCandles, who apparently is not dead. This happens so often that Big Jake swears he will kill the next man who says that and, of course, he does.

Finally, this film has some great dialogue by Harry Julian Fink and Rita M. Fink. This was their first film together (he did "Major Dundee" and "Ice Station Zebra") and after this they created "Dirty Harry" for Clint Eastwood (no wonder the choice lines in this movie are so choice). When James calls Big Jake "Daddy," the Duke knocks his son on his can and announces: "You can call Dad, you can call me Father, you can call me Jacob and you can call me Jake. You can call me a dirty old son-of-a-b***h, but if you EVER call me Daddy again, I'll finish this fight." But my favorite is when Fain first encounters Big Jake (not knowing who he is, of course) and gives a very serious warning. At the climax of the film Big Jake repeats the warning word for word with a grim earnestness that is quite impressive. That is why this is not a great film, but a great movie.

One of my Favorite John Wayne Movies
Big Jake, although not his best, was still one of my favorite movies. My own grandpa was a larger than life figure, and this movie rings true to what he was in the prime of his life. One of Wayne's last, and I think it has to be on everyone's list. The adversary is a tough nut to crack, and knows just how to hit the nerves. It's not over the top violent (I suppose that compares with today's movies). GOD i wish they would have picked anything else for that kid to wear but that girlish little jumper with the white collar!

Not as good as I hoped...
I'm giving this one four stars for the quality of the video, sound, and the fact that this movie has, for at least 90 minutes, everything you would ever want in a late-era John Wayne movie. The acting is not bad at all, the story is set up very well, the villians are believable, and you have the obligatory old codger showing up his estranged smart-aleck sons while he teaches them a thing or two.

After we've been through 90 minutes of establishing trust and killing a few bad guys along the way, we come to the big showdown where the Duke tries to bluff the kidnappers, and then kill them. It's a pretty good shoot-out, and of course the good guys win.

The problem I have is that the Duke loses his best friend and his dog in the fight, as well as getting shot twice himself. When it's all over, Big Jake, his two sons, and his grandson exit with big smiles on their faces. The camera freezes on this image while the credits are rolling. It was kind of like a bad 1970's crime drama. I expected to see in bold letters, "A QUINN MARTIN PRODUCTION." ... Read more

Reviews (61)

A Typical and Atypical Western
"Quigley down Under" stars Tom Selleck in the title role as an American sharpshooter who answers a help wanted poster for the best rifleman in the world. The job is in Australia and Quigley travels there not knowing exactly what the job is.

When he arrives in Australia, Quigley meets Crazy Cora, played by Laura San Giacomo. Cora is a slightly deranged American who believes Quigley to be her husband Roy. Cora continues to believe Quigley to be Roy even after he insists his name is Matthew Quigley.

When Quigley finally meets his new employer, Elliott Marston (Alan Rickman), he is disgusted to find out that Marston wants him to shoot Aborigines. Cora has become the self-designated defender of the Aborigines and gets abused by Marston for it. Quigley intervenes and winds up roughing Marston up a bit. Marston then has Quigley and Cora beaten and left in the desert to die.

"Quigley down Under" becomes, after this, a set piece movie about good versus evil. This is typical of the Western genre. In this Western though the good guys are a little "gooder" than usual. Both Quigley and Cora are pure hearts who only want what's right for the Aborigines. Cora is more determined to see it happen while Quigley is only interested in it so far as it gets him out of Australia alive.

The most interesting part of the movie is the relationship between Quigley and Cora. In most Westerns the woman is a one-dimensional cutout whose only raison d'etre is to stand by in horror as her man goes out to fight the bad guy. However, Cora is a fully fleshed out individual with both a history before Quigley and an existence independent of him. She still does the "stand by in horror" thing; but, it's with a sense of grace and composure you don't often get from that role.

From that relationship between Quigley and Cora is where I derive my four-star rating. Absent it, this movie would only get two stars from me. The Western is one of the most overdone genres in the cinema. To be able to find a unique spin on it after so many have been done is a well accomplished task.

Another plus for "Quigley down Under" is its cast. The three main players in this movie; Selleck, San Giacomo, and Rickman; are all first-rate actors. That Tom Selleck has not become a film star similar to Tom Cruise or Robert De Niro amazes me. He has an ability to fill a screen like so few actors can. The one actor who comes to mind by way of comparison is Charlton Heston. They both have that ability to project the necessary emotions and feelings of a scene without much effort. Laura San Giacomo is also another actor that I have a hard time figuring out why she hasn't become a star. Her portrayal of Crazy Cora in "Quigley" should have been a springboard to better roles but it hasn't panned out. Rickman is probably the one from this movie to have the best movie career to date. Rickman is one of the best bad guys going and even when he plays an angel ("Dogma") he still has that sideways sneer that makes you wonder what kind of a criminal he would be if he didn't find acting.

"Quigley down Under" is not your typical Western, which is why it might not be for those who enjoy movies like "Unforgiven" or "The Outlaw Josey Wales". However, it is a good movie from a non-Western genre standpoint and one that I'd recommend.

Tom Selleck's best ever
Like many TV actors, "Quigley"'s star Tom Selleck gave much attention, during and after his small-screen career, to attempting to break into movies. If he'd been born in 1926, instead of 1946, he would probably have gained fame, not as Thomas Magnum, but in Western films and/or TV series like this one. Quigley is the role he was born to play, and in Quigley's adventures he has made, to my mind, the best movie of his career.

This slam-bang actioner, though often labelled a "Western," actually takes place, not in the American West, but in the Crown Colony of Western Australia, probably around 1875 (there are still convicts there). Selleck plays Matthew Quigley, a soft-spoken marksman from Wyoming, who answers an advertisement by Australian rancher Marston (Alan Rickman) for "the finest long-distance marksman in the world." After three months on a sailing ship, he steps ashore at the port of Fremantle, where he promptly gets into a brawl with what turn out to be three of Marston's men, come to meet him, and is mistaken by displaced "native-born Texian" Crazy Cora Cobb (Laura San Giacomo) for her husband Roy. At Marston Water he offers a display of his skill with his primary weapon, a customized Sharps .45 buffalo gun, and impresses everyone, including Marston, who describes himself as "a student of your American West" and is a fast draw, pinpoint-accurate, and quietly proud of it. Only now does Quigley find out that he was being hired, not to kill dingoes (Australian wild dogs) as he thought, but to clear Marston's lands of the native Aboriginies. He promptly throws Marston out the French window of his own house, but is eventually overwhelmed by Marston's crew and, with Cora, taken out to the desert to die. Managing to kill the two men who fetched them there, he recovers his rifle and big Stetson, but loses the buckboard and horses. Trying to walk out, he and Cora are found by a clan of Aboriginies, who take them in, and when a group of Marston's men appears to hunt the natives down, Quigley takes up his Sharps in their defense. Eventually he eliminates Marston and all but three of his men in a sort of one-man "long hunt," climaxed by a shootout in which, though wounded and battered and admitting that he "never had much use" for handguns (he doesn't even carry one), he kills three men so fast that his shots sound like one.

Though there's a good deal of violence in this video--in fact, it will probably be too intense for kids under the age of 12 or so--none of it is gratuitous: each instance either serves to further the story in some way or is portrayed as an inevitable result of the choices and character of the person acting or being acted against. Selleck's Quigley is a '90's version of the classic John Wayne hero: soft-spoken, quietly competent, modest and unassuming (he "spent a night" in Dodge City once, and describes it as "a nice place to get some sleep"), chivalrous toward women and even a little unsure of how to react to them. (His early interactions with San Giacomo's Cora, on the Fremantle docks and in their first outback camp, add a whimsical touch to the movie's tone and should draw laughs from all watchers.) He also has an iron code of behavior, and he doesn't hesitate to learn even from the primitive Aborigines: one of the most delightful sequences finds them teaching him to use a spear-thrower and to suck water out of the sand through a bamboo--after which he repays them by conducting a class in the making and proper use of a rawhide lasso. Rickman is the kind of villain you love to hate: smooth, silky, sneering, yet acting from what seem to him to be completely valid reasons. San Giacomo may be "touched in the head," but she's also earthy, practical, and fiercely loyal to Selleck and to the orphaned Aboriginie baby they find; her story of how she came to be in Australia is touchingly delivered.

And, like most of the best movies, "Quigley" can serve as a starting point for some penetrating family discussion. Parallels will quickly be seen between the Aborigines' situation and, not only the experiences of the American Indian, but the "ethnic cleansing" through which the former Yugoslavia suffered, and which kids may have studied in school. Quigley seems not to be revengeful against Marston and his crew of 20-odd tough English and Irish until they act against the Aborigines who have been his and Cora's friends, and even then a case can be made for his killing as many of them as he can hit: afoot and outnumbered, he doesn't want them in the area and angry at him; after the second Aboriginie drive and the accidental killing of a storekeeper's wife, he is simply resolved to keep them from doing any more harm.

Though action is the movie's keynote, it is above all the story of how three people inspire one another to certain inevitable acts--in short, like all the best stories, it turns on character. And its characters will remain in the memory for a long time to come. (A side-benefit is the blood-stirring score by Basil Poledouris, which was one of the first CD's I ever purchased.) The cinematography gives a powerful sense of the size and loneliness of the Australian outback (filming was done in Alice Springs and other Australian locations), as well as of how important it is that Quigley seems far better able to adjust himself to it than Marston's men are willing to do. Director Simon Wincer, though not of American birth, has turned out a movie which, while not strictly a "real" Western, should become a classic of the genre. By my criteria, it's definitely a 10--or perhaps even a 12.

Great comedy
You will be laughing your tail off. Here is why:

Quigley (Tom Selleck), investigates a report on human right violations by the English settlers against the aboriginal population of Austria.

(Obviously, Quigley had improved the inter-racial relationships in his native Wyoming to perfection: black, indians, white, all live in equality, peace and harmony, and now he is on a mission to do the same in Austria)

Quigley quickly discovers the horrible truth, and being a superman, supperherro, suppersshooter, quickly brings justice. All bad guys (english, irish, scotch) are punished, aboriginals are free. No more slavery, genocide, collonialism and exploitation.

A blond Texan woman shares his passion and adopts a little black baby; the baby fell from a 200 feet cliff and survived!

Have fun!

Ernesto Ce Gevara

Western with a twist
This is an American Western to be sure, filmed in the outback! Classic good vs. bad! And lots of fun with the interaction between crazy Cora and Quigley! Fine acting all around and a nice twist at the end! Very enjoyable.

Boring CD, good movie
In glancing at the reviews I see that many of them are for the moive which is much better than the soundtrack. I've liked the title theme since I first heard it and always wanted the CD for that reason. Out of the 11 tracks I was disappointed to find that I really liked only about three selections, maybe one or two more than that. #1 Main Title is good and #11 Matthew Quigley amounts to about three different versions of the tune, it might be even better.
Out of the eleven tunes six have varying degrees of the theme worked into them in some way, thats what makes the CD boring, so little variety. I think I did like #4 Marston's Murderers, actiony but no Quigley bits. #4 Native Montage had no Quigley and certainly nothing Native to it, guess it was all right otherwise.
All I can really recommend this album for are the two Quigley selections, easily the best on the CD. Shiloh Rifle, the company that made the Sharps that Selleck used in the movie still uses the title selection on their website 12 years later, that's how good that tune is. ... Read more

Amazon.com

James Stewart was really too old in 1957 to reenact Charles Lindbergh's historic 1927 solo flight across the Atlantic in this movie, but he had no lack of enthusiasm for his role as Lindbergh. Billy Wilder directs this largely engrossing account of Lindbergh's deed, and comes up with some inventive ways (not all of them successful) of dramatizing the pilot's dangerous journey to Paris, which lasted 33-1/2 hours. Stewart is very good in the role, bringing his advanced technique from the extraordinary number of great films he made with brilliant directors (Hitchcock, Anthony Mann) in the 1950s. --Tom Keogh ... Read more

Reviews (19)

A 5 star movie? 10 stars would be more correct
Yellow Airplane book and video review: After my 10th time watching this movie, it still kept the entire family on the edge of our seats. Jimmy Stewart does a great job portraying Charles Lindburg in the worlds first trans Alantic flight. This is a movie which is an important historical document covering the flight of the Spirit of St. Louis, a significant event in the history of aviation. I have one question, however, has this plane ever been flown after its Atlantic crossing? send me email. C. Jeff Dyrek

Inside Lindbergh's Flight
The Spirit of St. Louis is a largely entertaining look at an important moment in history. I have two issues with the film. First of all, there are too many flashbacks that interrupt the story, although I understand their purpose of keeping the movie interesting through some of the uninteresting parts of his flight. Also, Stewart is too old for the role, but being the great actor that he is, he still pulls it off convincingly. This isn't the kind of film I would expect from director Billy Wilder, but he manages to create tension during the flight that surprised me since I knew how it would end! The film also gives the viewer a good idea of some of the technical aspects that went into creating Lindbergh's successful attempt, and the viewer also gets a good feel for what it must have been like to be inside the plane. Although not a perfect film, The Spirit of St. Louis entertains and informs, and I enjoyed it.

A DVD Release Is Needed
The Spirit of St. Louis was a box-office disappointment. That will never change. But what may change is the opinions of critics and the public on how this film should be viewed. It has all of the makings of a successful film: a great director in Billy Wilder, a legend in Jimmy Stewart, and it's based on the autobiography of an American hero in Charles Lindbergh.

No matter what ticket sales were like, it is a well-done film. One cannot deny the fact that Stewart was not the correct age to play Lindbergh, but it doesn't really take anything away from the film. Lindbergh always seemed to be more wise than his age would suggest anyhow.

The VHS version is fine, and until the DVD version is released (if ever) this is the only way to go.

THE SPIRIT OF BILLY WILDER
When I read about the passing away of "The Great Billy Wilder" last year, I was deeply saddened and as soon as I went home I watched one of his finest films THE SPIRIT OF ST.LOUIS. It reminded me of the first time I watched this film several years ago and how impressed I was with everything about the film. I became an immediate fan of Billy Wilder and over the years I've watched all his classic and not so classic films. I'm happy to say even his not so classic films were better than some of the "so called classic films" that idiotic critics love to praise. He was adept at Suspense, Drama and Comedy. Tell me who else past or present can boast of such versatile talent.
I think all young people should be made to see this stunning film not only for inspiration but about learning to believe in themselves to achieve their fondest dreams. Billy Wilder was the greatest film director of his time and I wish all students of Film and Drama and all movie lovers get to see and enjoy this beautiful film. I promise you it will remain in your mind for a long long time.
Billy Wilder loved to entertain the masses and he truly had the midas touch in eliciting the finest performances from his Actors, if you don't believe me just see his films and judge for yourself.
Long live Billy Wilder the "Emperor of Film Directors" through the medium of films.

Stuck in the hangar
Jack Warner confessed that he was startled when this movie flopped at the box office. Two talents as huge as James Stewart and Billy Wilder should have been proof against that. But as the Amazon review suggests, when he made this movie James Stewart was literally twice as old as Lindbergh was at the time of his flight, and completely misses the youthful exuberance and daring that fueled the project in the first place. Viewers would be far better off reading Lindbergh's memoir of the same title, a book which cries out for a movie remake. ... Read more

Reviews (112)

AFI top 100 film, Universal's Frankenstein is#1, now on DVD!
Universal Studios made its indelible mark in Hollywood due to its famous mastering of the Horror movie. In 1931 Universals "Frankenstein" changed the film world forever. Even today it remains a very basic classic horror movie. The American Film Institute (AFI) voted it into the top 100 films in the first 100 years of film (1998).

Universal gathered the movie genius' and embarked on adapting Mary Shelly's novel to the screen. James Whale was chosen as the director and the make-up master Jack Pierce to create the giant Frankenstein Monster (played by Boris Karloff).

NOTE: The movie actually had a opening caution film introduction because of its 1931 unspeakable subject matter. People were genuinely scared, horrified but curious to see this film.

Summary: The mad Dr. Frankenstein (Colin Clive) & his hunchback Assistant Fritz (Dwight Frye) are robbing graves for bodys to construct a man to bring back to life. The Dr. still needs a brain to fullfill his inventory. Fritz steals a brain from the local medical school. Unfortunately the only one available is an abnormal one. The Dr. creates his monster being with the abnormal brain unknowingly. Through lightning storms, electrical shocks and unbelievable special effects brings the Monster to life! Now the horror is unleashed.

This is the first in Universal Studio's "Classic Monster Collection" DVD Series. This collection is the very best of their horror movies completely digitally remastered and uncensored. With lots of special features, photos and narratives. A must have DVD collection of classic Hollywood horror films.

It's Still Alive After All These Years
After repeated attempts of securing a Frankenstein, director James Whale hired a middle-aged character actor named William Henry Pratt (stage name: Boris Karloff) who had previously been limited to cameos, stand-ins, and predominantly small eccentric parts to play Frankenstein's monster. Karloff's restrictive age, massive obscurity, and absence of experience may have emerged as hindrances for this newly discovered personality. However, time and popular opinion has obliterated these fears into long lost paranoid hallucinations.

It is Boris Karloff's indisputably iconic and singularly haunting performance as the child-like brute, misunderstood and despised by all, whose only longing and desire is to be loved and cared for by others that continues to be one of cinema's timeless jewels of acting perfection, dramatic magnitude, and note-fully seamless pathos. Karloff's monster, like Anthony Perkin's Norman Bates or Robert De Norio's Travis Bickle, is one of cinema's fortunate accidents of how the exact casting of just the right perfect someone can unbelievably bolster the film. Karloff's casting as the inevitably sympathetic artificial concoction of a mad scientist with a deity complex turned out to be one of many grandiose happy accidents that has allowed this 70 year-old gothic horror film to continue to be copiously admired, internationally beloved, and enthusiastically cherished up to contemporary times.

Frankenstein retains numerous stellar elements including a magnificently captivating early sound ensemble cast including Edward Van Sloan (Doctor Waldman), Mae Clarke (Elizabeth), Frederick Kerr (Baron Frankenstein), Dwight Frye (Fritz), and the unforgettable Colin Clive, the archetypal mad scientist, (Henry Frankenstein), brilliantly provocative Frankenstein make-up by make-up genius Jack Pierce, manically splendid and cleverly articulated German Expressionistic sets ,that place this tale in an indescribable alternate Grimm Fairy Tale reminiscent landscape, James Whales immeasurably eloquent moral consolidation and inventively multi-faceted interpretation of Mary Shelly's tale, and forever crowned with one of cinema's most cunningly virtuoso and unredeemable bravura performances of inarticulate primal indignation and childish rage ever recorded on film by Karloff as the monster.

However due to it's age and Hollywood production values at the time, Frankenstein is not totally absent of problems: lacking of a musical score to countermarch the film's profuse talkativeness, predictably saddled with pedestrian and extremely dated comedic and romantic sub plots, and weakened by an awfully trite comedic conclusion. Despite these blemishes, Frankenstein consummately embodies the finest narrative qualities of the early Universal monster films, contains the simply greatest incarnation of Frakenstein's monster, and stubbornly remains both in ambiance and creative evocativeness the finest film version of the Mary Shelly story.

Talk about staying power!!!

As for Frankenstein's DVD format, it contains a uncannily pristine Pan and Scan
Standard presentation, intriguing Making-Of Documentary, Film Historian Rudy
Behlmer's audio commentary, original theatrical trailer, and much more.

Universally (pun intended) recommended to anyone interested in film classics,
the Universal Monster films, or films of the 1930's. Followed by James Whales
superior sequel The Bride of Frankenstein (1935).

P.S. Never Give Franky Flower Petals Near a Pond

Excellent
Being born in the 50's and enjoyin the classic Universal Horror Movies in the 60's was a great time for Horror Movies.
The Frankenstien DVD collection is excellent to say the least, especially seeing "House of Frankentstien" again, along with my other favorite, "Son of Frankenstien". It's real nice to see 5 Classic Horror Films on one DVD set. I would highly reccomend this to anyone who remembers the horror movies of the 50's and 60's, and to those who don't? go out and buy this DVD. It puts the new "slice 'em/dice 'em" movies to shame.

It's About Franken' Time!
Look, don't read this, just buy this thing before Universal realizes what they've done! They've opened their rusty old vault doors and let their most prized creations escape into open air! FRANKENSTEIN (dir.James Whale, w/ Colin Clive, Mae Clarke, Boris Karloff, Dwight Frye) is loose! His BRIDE (dir. James Whale again! w/ Colin Clive, Elsa Lanchester, Boris Karloff, Dwight Frye) too! Their hideous SON (Boris Karloff, Bela Lugosi, Basil Rathbone, Lionel Atwill) is also rampaging! If that's not enough, the GHOST OF FRANKENSTEIN (Lon Chaney jr., Bela Lugosi, Lionel Atwill, Sir Cedric Hardwicke) now walks among us as well! Yes, this collection has them all, and tosses in the HOUSE OF FRANKENSTEIN (Boris Karloff, Lon Chaney jr., John Carradine, George Zucco, Lionel Atwill) that long overgrown piece of wretched real estate! Hurry, before Universal slams those creaky doors shut once more! If you're a horror nut like yours truly, then this is a nightmare come true! Highest recommendation...

Its alive! ITS ALIVE
What a great collection. I had Frankenstein and the Bride on VHS but getting them again on DVD was great. I have all three legacy collections. The Bride is the best, Frankenstein is the second best, Son is the third, House is the fourth and Ghost is the fifth. I like all five altough its obvious Ghost and House were made for entertainment. I heard they're working on a third Mummy movie. Wonder if they'll release the original Mummy series in a legacy set? I liked the Mummy movies and Van Helsing and I have to wonder what Stephen Sommers next project could be. The Invisible Man? That would be interesting. With his seris also in a legacy set? For now I'm satisfied though (but I hope that does happen) ... Read more

Amazon.com essential video

Maybe "nobody's perfect," as one character in this masterpiece suggests. But some movies are perfect, and Some Like It Hot is one of them. In Chicago, during the Prohibition era, two skirt-chasing musicians, Joe and Jerry (Tony Curtis and Jack Lemmon), inadvertently witness the St. Valentine's Day Massacre. In order to escape the wrath of gangland chief Spats Colombo (George Raft), the boys, in drag, join an all-woman band headed for Florida. They vie for the attention of the lead singer, Sugar Kane (Marilyn Monroe), a much-disappointed songbird who warbles "I'm Through with Love" but remains vulnerable to yet another unreliable saxophone player. (When Curtis courts her without his dress, he adopts the voice of Cary Grant--a spot-on impersonation.) The script by director Billy Wilder and I.A.L. Diamond is beautifully measured; everything works, like a flawless clock. Aspiring screenwriters would be well advised to throw away the how-to books and simply study this film. The bulk of the slapstick is handled by an unhinged Lemmon and the razor-sharp Joe E. Brown, who plays a horny retiree smitten by Jerry's feminine charms. For all the gags, the film is also wonderfully romantic, as Wilder indulges in just the right amounts of moonlight and the lilting melody of "Park Avenue Fantasy." Some Like It Hot is so delightfully fizzy, it's hard to believe the shooting of the film was a headache, with an unhappy Monroe on her worst behavior. The results, however, are sublime. --Robert Horton ... Read more

Reviews (176)

COLD RECEPTION FOR A HOT WILDER CLASSIC
MGM continues to insult the intelligence of the DVD consumer with this 'special edition' of one of Billy Wilder's all time great romantic comedies. Jack Lemmon and Tony Curtis are witnesses to the Valentine's Day Massacre. To stay alive the boys shave their legs, dress in drag and join an all-girl's band fronted by sulty singing sensation, Sugar Cane (Marilyn Monroe). Featuring Monroe's inimitable renditions of "Running Wild" and "I Wanna Be Loved By You" this is a keeper in every respect.
Unfortunately MGM Home Entertainment has done a terrible job of remastering the print. Though the black and white picture exhibits exceptional contrast and clarity, the obtrusive inclusion of edge enhancement, artifacting, aliasing, fine detail shimmering and digital grit make for a really unattractive visual presentation. The sound has been remixed to 5.1, but the dated fidelity shines through. Still, the audio is presented at an acceptable listening level and without much distortion or echo.
Extras included a trip down memory lane with Tony Curtis that is overly long and really dragged down by Curtis' flamboyant hamming it up for the cameras. Oh well, I can't imagine too many people are asking him to shave his legs these days. Bottom line: If you absolutely must have the film I guess you could waste your money on this version. My hope is that someone at MGM will want to revisit this classic at a later date and with a more reputable transfer. Here's to hoping. Besides - nobody's perfect!

Still A Gem
"Some Like It Hot" is one of those great classics that has as much comedy in it as well as it does romance. It is the story of two musicians, Joe and Terry (Tony Curtis and Jack Lemmon), who intenvertidly stumble upon a mob squad hit (The St. Valentine's Day Massacre) and must flee from Chicago to Florida in hopes of getting away from the mobsters. Realizing that two female musicians are needed, Joe and Terry decide to dress in drag, board a bus filled with female musicians, and head to Florida. Of course, one of the leading ladies on board the bus, is the sexy Sugar Kane (Marilyn Monroe), who has guy problems and represents the rebel.

The film has such balance between the comic exploits of Curtis and Lemmon looking out for their backs and trying to pull off this whole female identity without getting caught, and the romantic parts, which involve Curtis' character trying to woo Sugar Kane. While Curtis is trying to make the moves on Sugar Kane, Lemmon's character is trying to escape the advances of a multi-millionare who continally attempts to make the moves on him/her.

There is plenty of double-meaning humor, slapstick humor and fun romance in this movie. It has a little of everything, and it is understandable why most still refer to this movie as a gem.

Transvestites, yipes!
This one shows up on Turner Classics every once in a while, but I hadn't focused till the other night. There's something creepy about dressing like a woman. Some burly men may have no qualms, but I find transvestites, ahh, uncomfortable. I know. It's me and there's nothing wrong with that. In Some Like It Hot, Tony Curtis and Jack Lemmon are cross-dressing to escape some killers. They're not very attractive as women, which allowed me to enjoy the sex identity farce. Farce in America means screwball comedy. If Monroe crawled into my Pullman berth to sleep, hmm -- Lemmon pops one no doubt, and I'm not sure it was in the script if you know what I mean. Then he's swarmed by bunches of scantily clad ladies and the fun escalates. Monroe wears two dresses that give an interesting illusion. What a bod.

No pastry, no butter and no sugar

Director: Billy Wilder
Format: Black & White
Studio: Mgm/Ua Studios
Video Release Date: May 1, 2001

Cast:

Marilyn Monroe ... Sugar Kane Kowalczyk
Tony Curtis ... Joe (Josephine)/Junior
Jack Lemmon ... Jerry (Daphne)
George Raft ... Spats Colombo
Pat O'Brien ... Mulligan
Joe E. Brown ... Osgood Fielding III
Nehemiah Persoff ... Little Bonaparte
Joan Shawlee ... Sweet Sue
Billy Gray ... Sig Poliakoff
George E. Stone ... Toothpick Charlie
Dave Barry ... Beinstock
Mike Mazurki ... Spats' Henchman
Harry Wilson ... Spats' Henchman
Beverly Wills ... Dolores
Barbara Drew ... Nellie
Edward G. Robinson Jr. ... Johnny Paradise
Paul Frees ... Funeral Director/Josephine
Joe Gray ... Mobster at banquet
Harold 'Tommy' Hart ... Second Official
Ted Hook
John Indrisano ... Waiter
Tom Kennedy ... Bouncer
Fred Sherman ... Drunk
Tito Vuolo ... Mozzarella
Al Breneman ... Bellhop
Pat Comiskey ... Spats' henchman
Penny McGuiggan ... Band Member
Laurie Mitchell ... Mary Lou, Trumpet Player
Helen Perry ... Rosella
Sandra Warner ... Emily, Band Member
Grace Lee Whitney ... Band Member
Marian Collier ... Olga, Clarinet Player
Joan Fields ... Band Member
Mary Foley ... Band Member

The cops bust a "funeral" with a casket full of booze--and nothing else. Joe/Josephine (Tony Curtis) and Jerry/Daphne (Jack Lemmon), desperate for work as a bass fiddle player and saxophonist, take a spot as members of an all-girl band, in drag, for a Florida tour, and to get away from gangsters who know that they witnessed a gang war murder by Spats Colombo's (George Raft) gang. There they meet Sugar Kane Kowalczyk (Marilyn Monroe) who has a drinking problem.

The pair are attracting the notice not only of the mob, but also of suitors, including millionaire Osgood Fielding III (Joe E. Brown) and others, and Joe/Josephine falls for Sugar. This is a wacky movie which provides a lot of laughs, and brings out hidden a talent for comedy from Curtis. Billy Wilder did a great job.

Joseph (Joe) Pierre

Hot Comedy, Hot Action, Hot Actress, Hot Jazz, Hot Movie
too Hot to be true, Marilyn Monroe,Tony Curtis,Jack Lemmon star in one of the greatest and funniest comedy classics of all time. The 1959 farse about the two musicians Joe and Jerry, who disquise themselves as women under the names Josephine and Daphne to land jobs as the sax and bow fidle in an all girls jazz band.Where they meet gorgeous songbird Sugar Kane. Also where Daphne meets womanizer Osgood Fielding III.When Daphne is stuck with that "dirty old man" Joe(Curtis) borrows a cup of that sugar(Monroe)as the millionare of Sugar's dreams "Shell Oil Junior". If Your looking for a classic comedy this is a good one. It's AFI's number 1 laugh, or if you want more marilyn, you love her in this one and if your looking for more Curtis and Lemmon they're hysterical in this one. See this classic comedy and you'll get "the sweet end of the lolly pop". As Osgood said at the end "nobody's perfect" well thats true ,but Some like it Hot may be a perfect comedy and as Sugar sang "I'm through with love, well she's not through for long ,but We are not through with this movie, because we love this film so much and we all want to "borrow a cup of that sugar" every time we watch it, "ZOWIE" "Yeah real hot" ... Read more

Amazon.com

If you're five to eight years old, get with some of your buddies, eat two bowls of Fruity Pebbles, scarf three packets of Pop Rocks, and snap your synapses into Power-Ranger Elysium with Turbo: A Power Rangers Movie. If you're a parent and you don't know a Zord from a Zordon, get ready for one and a half hours (yep, one and a half hours) of enough mass marketing and mindless mayhem to destroy any resistance to the overt "buy this toy" messages contained therein. The evil Divatox, a busty space "piratess," kidnaps two former Power Rangers and it's up to the new Rangers to save their friends from becoming human sacrifices to an evil monster. The Rangers' leader, Zordon (who thinks up these names?), gives the new crew added "turbo" powers and presents them with their new Zords--turbo-powered cars. What's never explained is why there are former Power Rangers: do they get drummed out for not morphing (or morphing too much), or do the Rangers maintain the same policy as the once-famous Latino pop band, Menudo (replacing members once they get too old). There's an inordinate amount of the fake kung-fu kicking that made the TV show popular, and the villains are grotesque; but they're just shrieking punching bags. But the thought that Turbo is basically "the next generation" of Power Rangers is enough send chills up any parent's back. That's why kids love them so. --Keith Simanton ... Read more

Reviews (34)

go,go,power rangers!!
I love Power Rangers,hence I'm writing a review.Okay,so an ewokish wizard named Lerigoht is needed for Divatox's plan to marry the evil,scary Maligore.But the Rangers will stop her,except for Rocky.Rocky got his back injured in a fight,and is no longer the blue ranger,but 12 year old Justin takes his place.Divatox kidnapps former pink ranger Kimberly and Gold ranger Jason as part of a sacrifice,and turns them evil. To stop Maligore,the zeo power rangers upgrade to turbo rangers.This movie rocks,but not as good as MMPR:TM.

I'll never admit it openly that I like this stuff! (Oops!)
Guess I did spill it! Well, I'm writing this review as 'Anonymous'...so no one will know the difference. Anyway, I'm a 17-year-old girl and actually like the Power Rangers. Sad, I know. But I like the show mostly because I see guys on it (certain Power Rangers) whom I think are cute. So I can't help it but watch the show! Anyway, I think TURBO: A POWER RANGERS MOVIE is better than the first film, MIGHTY MORPHIN POWER RANGERS: THE MOVIE. I don't know why I liked the second one better...I guess I just do (I've seen both, by the way). It's got more action and more Martial Arts moves (a lot are pretty cheesy, of course...but most people these days like watching cheesy stuff anyway!). The plot is better, too. Also, two of the original Power Rangers (Kimberly and Jason) come back in this movie, too. And one of the best things about this movie is that not all of the Power Rangers are young adults or teenagers...one of them's a kid. He's the new Blue Ranger, Justin. In TURBO, the Rangers are trying to help Larigold, get new Zords - the Turbo Zords - and try to defeat Divatrockz, the new villian who is using Larigold's powers (Larigold is a creature from another planet) to bring back this monster - I forget his name - who she will marry and they will comebind their powers to become the most powerful villians in the universe and have the power to destroy and take over the universe. It's really cool and if you're a Power Rangers fan, then this movie is definitely for you!

Also, check out my rankings for favorite Power Rangers: 1.) Power Rangers Turbo 2.) Power Rangers Lost Galaxy/Lost In Space 3.) Power Rangers LightSpeed Rescue 4.) Mighty Morphin Power Rangers 5.) Power Rangers Time Force 6.) Power Rangers Zeo

Great show full of cute guys and lots of action. Some people may think Power Rangers is a "wimpy" and "lame" show...but those are probably teenagers who used to watch Power Rangers when they were kids. So don't listen to them and keep watching the show if you love it!

turbo (...), down with turbo, down with turbo!!!!!!!!!!!!!!!
Power Rangers Turbo is the worst Power Rangers season of all!!! I like every other season because they aren't just a bunch of dorks running around in spandex fighting some weirdo in a bikini, I mean, the other season's actually have plots!!! Turbo is just five dorkoids in crayola colored costumes trying to defeat some weirdo space pirate who couldn't conquer a juice bar and a babbling idiot!!! Tommy and the other Rangers used to be cool until the people at Saban made them not the Power Rangers Turbo, but the Loser Dork (...) I don't give this snotty thing any star at all, the only reason my review says one star is that you can't pick "Doesn't diserve a thing!"!!! Beware the Loser Dork (...).

Hands Down - Worst Movie Ever
I saw this movie when I was about eight and even then I hated it.
Years later this is still the most atrociously stupid and point-
less movie I've ever seen.There's nothing remotely cool or original about it - it's just garbage full of cheesy
special effects,bad acting,and lame fake "rock" music.

Number 1 fan
21 year old here,(i know i know i need help) anyway i watched Power Rangers from every since day one and i still watch the show and I'm so exicted for the new season.
My all time favorite PR team is Power Rangers in Space and my all time favorite red rangers are TJ(Tobo) Andros(space)Leo(Lost Galaxy)and Cole(wild force)just had to put Leo because to me he was the cutest red ranger.
I'm still hoping for a female red ranger, two sisters rangers and i'm really hoping for a ranger pairing.I tought it was going to happen with Kimbarly and Tommy but they were separated, then i tought it would of happen with Andros and Ashly but it didn't happen, again i tought for sure it was going to happen with Leo and Kendrix but they just had to let her go so i said to myself it just have to happen with Cole and Allysa but as we saw it didn't happen.
Please let there be a rangers pairing it the new season Ninja Stom thank you ... Read more

Amazon.com essential video

In this 1949 dramatization of Henry James'sWashington Square, Olivia de Havilland is the plain but presentable spinster who lives with her domineering father (Ralph Richardson). What she lacks in looks she makes up for in wealth, and soon finds herself the object of much attention by Montgomery Clift. At the heart of this drama is the question of his possibly mercenary agenda. De Havilland does not seem to care one way or the other, but her father cannot believe any man would love her for any reason but her wealth.

This version does not stray too far from the novel. It is a masterpiece that reveals both suppressed anger within a family and the suppression of women in the 19th century. De Havilland, all simmering desire and controlled rage, won an Oscar for best supporting actress, and Aaron Copland copped one for best score. It is no surprise that this handsome picture was also awarded Oscars for costume design and art direction. It was remade and updated with an oddly feminist twist in 1997under the novel's original title.--Rochelle O'Gorman ... Read more

Reviews (30)

I Can't Praise this film highly enough! (contains spoilers)
The Heiress is the poignant 1949 film which won Olivia de Havilland a well deserved Oscar for Best Actress. Based on the book "Washington Square" the story is set in the 1840s, focusing on Catherine (de Havilland), a timid naive woman who happens to have an inheritance of $10,000 a year from her mother, and $20,000 a year after her father's death. Ralph Richardson also gives an outstanding performance here as the father who holds her up to the standard of her late mother. His view of her not measuring up is one thing that keeps her down.

Montgomery Clift plays Morris, the man who courts her. She falls in love with him, while he's more in love with her money, though she doesn't suspect his alterior motive until it's too late. Throughout we get sharp witted dialogue, sometimes leaving us subtle between-the-lines clues. For instance when Morris echoes Catherine's thought that when alone with her Aunt Lavinia he is more eloquent (this implies Lavinia told him of her similar thoughts). And when in Paris she tells her father that her Aunt's letter gives a first hand account of Paris (implying her Aunt has been talking to Morris).

Her father finally tells her how worthless he feels she is, but for her inheritance, so she then puts all her faith in Morris. They set the time for him to come and take her away to elope, fueling her romantic fantasies of the relationship and she tells him of her falling out with (and apparent disinheritance from) her father, then goes to pack. The scenes that follow are some of the most moving and disturbing ever set to film. As she waits for Morris with elated anticipation, her Aunt tells her of her belief in Morris' money motive. Catherine denies this: "Morris will love me, where others did not."

After the set time for his arrival comes and goes it dawns on her what has happened and she breaks down. In the morning she is completely transformed, older, bitter, and drained as she slowly drags her suitcases back up the long dark stairway. For the rest of the film she "finds her voice" as her father says, a lower toned, darker, disillusioned, and bitter voice. And her father and Morris both find that hell hath no fury like a woman scorned.

Another Oscar went to Aaron Copland for the excellent film score. If you know the song "I Can't Help Falling in Love", you'll notice it's a rip off of this score. Overall one of the top 5 films of the 1940s.

"I Can Be Very Cruel--I Have Been Taught by Masters"
One of the best lines in this adaptation of Henry James's novella, "Washington Square", uttered by Catherine (Olivia de Havilland) to her Aunt Lavinia (Miriam Hopkins). And the master in question is her father Dr. Sloper (Ralph Richardson). Olivia de Havilland won an Oscar for her portrayal of the plain, painfully shy Catherine Sloper, an heiress being courted by handsome and charming Morris Townsend (Montgomery Clift), who may or may not be a fortune hunter. At least that's the contention of Dr. Sloper, who has a considerable fortune and a stately home on Washington Square. Dr. Sloper has everything, it seems, except compassion for his daughter, the daughter he holds to blame for his beautiful wife's childbed death. The daughter is the antithesis of the graceful woman he describes to his sisters. Things come to a head when Catherine and Morris announce their engagement, with heartbreaking results.

Oscar notwithstanding, I think Olivia de Havilland's Catherine is much better in the first half of the film, before the Great Turning Point that defines the rest of her life. After that, I found her turnabout to have little relation to the preceding characterization--I could not see this as the logical outgrowth from that personality.

Montgomery Clift is very good as the clever Morris--one really can't make up one's mind about him until the climax of the film. Miriam Hopkins does a good job as the romantically inclined Aunt Lavinia who is enjoying Morris's courtship of Catherine vicariously.

But for my money, the best performance in the whole piece is Sir Ralph Richardson's Dr. Sloper, who fairly drips with poorly concealed contempt for his inadequate daughter. When I watch this movie--and I have, several times--it is always for him. My favorite scene is one in which he doesn't even talk; it's when he has just learned of the engagement, and he sits alone in the parlor, contemplating what action to take. It shows the psychological complexity of the doctor, who is not merely a hating machine, but capable of some despair.

Don't wait for your inheritance to come through to watch "The Heiress"--make it your business to do so today.

In the hands of a skilled playwright...
Henry James' _Washington Square_ is a much better story- don't bother reading the novel, you will certainly be disappointed! The film is pure art from start to finish- no unnecessary scenes or dialogue. Symbolism abounds including the final scene when Catherine performs a "phallic castration" with her scissors! Excellent film- a true classic.

Correction about the score
Copland's wonderful score for this film uses as a leitmotif the French classic chanson from the 18th century, Plaisir d'amour. It is this song that Clift sings to de Havilland while they are in the parlor. "Can't Help Falling in Love" has music certainly inspired by this French tune, but Copland too was inspired, esp since the tune is wonderful and the lyrics reflect the theme of the film: the joy of love lasts but a short time, the pain of love lasts all your life.

Watch closely
"The Heiress" is William Wyler's screen adaptation of Henry James' novella, "Washington Square." For a modern viewer trained to seek out heros and villains in any story the structure of this film might be summarized thus: The insecure and none too