Reviews (9)

DVD issue quickly !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Fantastic portret of JAZZ GENIUS, Mr. C.B.
It`s time for DVD, issue !!!!!!!!!!!
VHS, is long ago, behind us.

Chet Baker: Let's Get lost
I first saw this film at a small arts theater in Newburyport, Ma. in 1988. I was so taken by it that I returned the next three evenings to watch it again and again; it is that good. As soon as the film was released on VHS I purchased it, and it remains one of the treasures in my musical film library. Please, oh please, someone get this film transferred to DVD!

NEED DVD VERSION!!![...]
Let's Get Lost is one of the most haunting, visually evocative films ever made. It transcends genres. It is simply criminal that there is not a crystal clear, remastered dolby 5.1 surround version of this remarkable film on DVD! I would buy it for myself and send it as a gift to all my jazz and/or photographer friends!

Let's Get Lost on DVD....please!
A year after Chet Baker's tragic death, I remember watching, spellbound, Let's Get Lost, a video format documentary of Chet's life from a handsome, care-free young man in California playing lyrically on his horn to a gaunt-faced middle-aged man obviously ravaged by drugs but still performing with extra-ordianry brilliance only a few months away from his death. One of the most touching moments in the that documentary was a scene where his mother, wife and three kids gather in front of a record player listening to his recording of Blame It On My Youth. I am waiting for the release of a DVD format of this documentary which, sadly, is hard to find even in video format.

lets get lost with chet baker
I saw Let get lost back in 1988 in denver at the ogden theater there was only two of us in the theater what a perfect setting for a perfect movie , well not just a movie a veiw into the world of a very lost soul i was captivated and am still to this very day .chet baker is a wonderkin a natural mistake a musical genius what has jazz become without him ? a wasteland of generic artificial elevator music how sad it is to hear people say they love jazz and when i ask them who their favorites are they tell me "kenny g" and noname non descript people i care not to remember what i'm trying to say is what happened ?where did we go wrong ? Chet the jazz world of today has forsaken you and the rest of us who really know what jazz was and is , raw ,absolute and our best freind , and demon .
please release lets get lost so the masses can sink their teeth into something juicy and way too rich ! ... Read more

Reviews (14)

Secrets Behind A Small Town
King's Row starts off with a view of a sign that announces that the town of King's Row is a great place to live and have a family. The rest of the movie shows you just how untrue that sign was. The film turns the romantic view of life in a small town upside down, exposing a lot of vices and prejudices. The performances are a mixed bag. Ann Sheridan gives one of her best performances as the girl from the wrong side of the tracks (literally), and Ronald Reagan surprises with an effective job as the victim of a sadistic doctor. But Robert Cummings is sometimes laughable as the very idealistic young doctor and Betty Field is over the top as his troubled girlfriend. The supporting cast is generally fine, with an especially fine performance by Nancy Coleman, who should have become a star but didn't. The movie is both dramatic and entertaining, and if you like stories about small towns like I do, then don't miss this one. It's an eye-opener!

A grim soap opera with Ronald Reagan's finest performance
"Kings Row" is the most distinguished film of Ronald Reagan's actor career, for which he drew his best reviews. However, by the time it was released in 1942, Reagan was in the Army and his film career had received a fateful interruption that would eventually lead to his shifting to a political career. I remember that when Breshnev was preparing to meet with President Reagan the Soviet leader screened several of Reagan's films, and "King's Row" was the one that impressed him. If you have already seen this film, directed by Sam Wood, you know why.

The film focuses on five childhood friends who grow up to complicated lives. Parris Mitchell (Robert Cummings) has become a medical student, studying privately with Dr. Alexander Tower (Claude Rains), whose daughter Cassandra (Betty Field) is a sheltered neurotic. Louise Gordon (Nancy Coleman) has been raised by harsh parents who warn here away from playboy Drake McHugh (Reagan), who is living off an inheritance. Drake ends up falling for Randy Monoghan (Ann Sheridan), the former tomboy who has grown up in to a most practical working class girl. Things then get very dark. First, when Dr. Tower discovers Cassandra is pregnant he kills her and himself. Then, after losing his fortune and taking a job at the railroad yard, Drake is injured and Dr. Gordon (Charles Coburn) decides to amputate the young man's legs as a punishment for his former hedonism. This is what leads to Reagan's unforgettable scene when he wakes up and discovers what has been done to him. The scene could have become ludicrous, but Reagan pulls it off and it is clearly his finest moment as an actor.

"Kings Row" is based on the novel by Henry Bellamann, which is a massive story of sadism and thwarted love in what was clearly the "Payton Place" of its day, set in a quiet Midwestern town at the turn of the (last) century. A lot of the novel's elements, such as incest, homosexuality and euthanasia were never going to make it into the film forcing screenwriter Casey Robinson to salvage what he could (e.g., turning the incest between Dr. Tower and his daughter Cassandra into a question of insanity). Robinson also gave the movie a "happier" ending (originally, Drake McHugh dies of cancer after his legs are unnecessarily amputated). Even more radical was the casting, since few in Hollywood were comfortable with Sheridan, Cummings and Reagan having the three lead roles. However, all of them perform admirably, as does Field and the supporting cast of veteran character actors.

Reagan would go on to entitle his autobiography "Where's the Rest of Me?" after the famous line he screams when he awakens to discover his legs are gone. He often told the story about what it was like to film the scene, his worried preparation for him to find the moment in him as an actor and director Wood waiting for Reagan to give the go ahead. For his parent, Reagan always credited Ann Sheridan, who was not supposed to be in the scene. But when he suddenly started calling for Randy she rushed into the room in character and Reagan delivered a powerful scene.

"King" Size Entertainment
I am not a fan of Ronald Reagan on any level, but the one movie I've always heard talk about when discussing Reagan as an actor has been "Kings Row" the movie filmbuffs reserve as one of Reagan's best films.

I saw this movie mainly for two reasons. The first being, it's one of my grandmother's favorite movies, the other, the death of the former President.

"Kings Row" is quite an accomplised film from director Sam Wood, a man who has directed serval American classics that would take up too much space if I recited them all here, but they include "Goodbye Mr. Chips", "For Whom the Bell Tolls", "The Pride of the Yankees", and two Marx Brothers comedies "A Night at the Opera", and "A Day at the Races".

"Kings Row" directly and indirectly takes on what must have been a lot of taboo subjects. One of the main ones being fornication.

The movie starts off with a shot of a sign that reads; "Kings Row, a great pace to raise your children". From that we are suppose to suspect this is a friendly small town, that to some would seem being. Everybody knows each other and spreads the town's gossip and the people give excited waiting for the local events, but as the film goes on we find out there is much going on behind everyone's back.And the town is not as innocent as it seems.

The film's main characters are Parris Mitchell (Robert Cummings) and Drake McHugh (Reagan) who have remained friends since childhood. Now that both are older they are soon starting to discover the secrets that lie beneath the town and some of its citizens.

The movie has a terrific cast including Claude Rains as Dr. Tower, a man who is trying to help Parris become a doctor, he also happens to be the father of Cassie (Betty Field), the love of Parris' life. Then there Dr. Henry Gordon (Charles Coburn) who is known to give usual operations and is the father of Louis (Nany Coleman), the girl Drake plans to marry. And there's Ann Sheridan as Randy Monaghan.

Just about everyone in the film does a good job acting wise, but I think it's Cummings' movie all the way, not Reagan. But either way you look at it you have to admit "Kings Row" is an interesting film that holds your interest.

Bottom-line: Well made dramatic suspense film notably known as one of Ronald Reagan's best films, but Robert Cummings gives one of his best performances. Well worth seeing.

Wow! What a job Reagan does!
I've always been a big fan of Reagan the President, but I studiously avoided Reagan the Actor. I had seen just one movie of his - ironically, "Bedtime for Bonzo" - and while it was a cute little romp, I didn't walk away from it, bowled over by Reagan's acting ability.

TCM had a Reaganfest this week because of the president's death, so I tuned in to see "King's Row." All I can say is WOW! I seriously underestimated him!

Not only is Reagan handsome, he steals the movie! You can find out the plot details from other reviews, but I'll guarantee you, when he wakes up to find out his legs have been amputated, you'll be riveted to the screen.

Reagan delivers a bravura performance, tough and touching at the same time. If you always assumed Reagan was a B-movie actor, this movie will blow that assumption to smithereens!

good melodrama, great cast
This is a riveting soap opera with a cast that holds all the pieces together, and keeps the sometimes improbable plot fascinating at all times for the viewer.
It was filmed on a soundstage, with very effective scenic design by William Cameron Menzies...I just love the skies !
Brilliantly conceived and directed by Sam Wood, it's based on Harry Bellamann's best-selling novel. The excellent Erich Wolfgang Korngold score also adds to the drama and atmosphere.

Set in a turn of the century small town, where the dark secrets and vile motives of some contrast with the goodness of others, the best scenes are between Ann Sheridan and Ronald Reagan.
The chemistry between them is a delight, and their acting so real, one feels one is sharing the moment with them, even though this was filmed over 60 years ago. They shine as Randy and Drake, two strong, independent, and fun loving souls.

With the exception of one or two scenes with rather stilted dialogue between Betty Field and Robert Cummings, the pacing never lags. There are great actors even in the supporting roles, like Dame Judith Anderson and Maria Ouspenskaya. Claude Rains is absolutely marvelous, and steals every scene he's in.

This classic was nominated for several Oscars...B&W Cinematography (James Wong Howe), Director, and Best Picture, but lost to a "Mrs. Minever" sweep.
It's perhaps Ronald Reagan's best performance, so this film is a piece of American history, as well as being highly entertaining. ... Read more

Amazon.com

This follow-up to the surprise Disney hit about a hockey team of misfits brings Emilio Estevez back to the role of the kids' yuppie coach. This time, Estevez assimilates his Ducks into the higher-stakes Team USA in the Junior Goodwill Games, an opportunity that could bring fame and money. Entirely perfunctory, this sequel is basically an excuse to revisit the eccentricities of some of the younger characters, extend some of their conflicts into adolescence, and showcase their allegedly entertaining but ethically dubious abilities on the ice. Estevez is okay, but even he had enough after this movie. --Tom Keogh ... Read more

Reviews (27)

The Ducks are back and tougher than ever!
D2: The Mighty Ducks reunites most of the cast members and some of the members (in the first movie) are missing like Hans and Charlie's mother. Gordon Bombay who coached Discrut 5 in the first movie (and chagned the name to Ducks) is now playing minor league hockey. Until one player gets in the boards and another player sends him down on the ice injuring his knee. So he heads back to his hometown and reunites with one Duck. And the player is Charlie (Joshua Jackson). But then this man named Tibbs (Michael Tucker) who works for Hendrix shows up and hires Gordon Bombay to coach Team USA in the goodwill games. And the team is the ducks memebers. And some new members are add to Team USA. The new players are Luis (Mike Vitar) who needs to learn how to stop skating, Dwayne (Ty O'Neal), Julie "The Cat" Daphne (Colomine Jacobson), Ken (Justin Wong) and Hormnes. Also know as Dean Portman (Aaron Lohr).

The Ducks Have Returned.....
The Mighty Ducks was a great movie put out by Disney, and this, the sequel, is no exception. D2 picks up a year after their initial season. In this movie, The Ducks are chosen to represent the USA at the Junior Goodwill Games. In been selected, the team must face off against the best that the world has to offer, and at the same time show the world what they have to offer. In the process of the tournament the Ducks face many challenges that need to be overcome and actually learn what it takes to be a team; all thanks to some "school-yard puck" masters. Typical Duck hyjinks are present throughout the flick, and it was nice to see a lot of the original cast again, from Coach Bombay to Charlie, and of course Goldberg. This movie is a nice family feature that a person of any age would enjoy. If you love hockey, this movie is a great watch, and if you're up for a great watch, this movie is for you. Just remember to watch out for "The Flying V."

american film classic
this movie rules cause it reminds me of my fun childhood where i did nothing but eat mcdonalds and watch disney movies like this. i like when they goto LA and they meet the new crew of badass 14 year old hockey players. and that one kid gets a friend and mr. bigglesworth ahhaha calls them the smash brothers. the icelands guys are scary but the assistant coach is hot. thats why gordon bombay AKA emilio estevez went to eat ice cream with her but the smash brothers saw him and they got mad. she was like greenland is full of ice and iceland is very nice. thats her line in the whole damn movie.
i like the cowboy kid from texas who has the rope on a DAMN HOCKEY RINK for some reason. and he doesnt know how to say rodeo drive in beverly hills. and then golberg says he's tori spellings cousin so he goes into this expensive store and gets all the models to wear clothes for him cause he says its for his mother. but then he says how about bikinis and the lady throws them out.
charlie is a downer in this movie. not like d1 where hes this cool kid, or liek in d3 where he meets the girl at his new school and hes like i love pizza and Slayer (yes the metal band) and i dont smoke. o my god thats so annoying give me more golberg scenes.
best part though is when team USA plays the ghetto kid from good burger and kenan n kel. and the goals are trash cans and they play on top of a building. i had no idea ghetto LA had a street hockey scene. and they he shows them the knuckle puck and all the team USA kids are like 'no way man!' and then some team USA kid tells kenan's bro that kenan has a big mouth and he looks at him and hes like 'ya he does have a big mouth doesnt he'.
this movie is a classic. i loved and still love every minute of it.

A Good Movie!
I never saw the first movie but I saw this sequel with my nephews when I was babysitting them when my sister and her husband went out. I didn't think I was going to like this movie but I wound up liking it and thinking it was a cute and enjoyable with with good acting from Emilio Estevez and the rest of the cast and I recommend this movie to fans of cute family movies and hockey movies.

GREAT MOVIE!
I love this movie! For all us girls there are hot guys in it. Well anyway, if you like hockey buy this movie and you won't be dissapinted! ... Read more

Reviews (166)

Out of this world!
"Plan 9 From Outer Space" has been dubbed the worst film ever made. I can't disagree with that. Here are just a few of the things that qualifies it for that title.

- When the police drives from the town to the cemetary time somehow switches from night to day back to night.

- The Swedish accent of wrestler Tor Johnson, playing a police officer / walking corpse.

- The six feet tall, blonde chiropractor that replaced deceased Bela Lugosi.

- The plates-glued-together UFO's with strings completely visible.

- The cardboard tombstones that wiggle.

- The cemetery ground, obviously a piece of fabric covered with leaves.

- The plot, or rather lack thereof.

- The dialogue, hilariosly funny only because it's meant to be serious.

- The actors. Nuff said.

Still, it's also one of the best films ever made. Ed Wood Jr. was a filmmaker with a passion. He wanted to make films, so he made films. You can't help but respect that. That's why this movie deserves five stars, and "Deathstalker III: Deathstalker and the Warriors from Hell" deserves none.

Future events such as these...
Uttery obscure until the Medved brothers' 'Golden Turkey Awards' highlighted it as the 'Worst Film Ever Made', this is not so much a 'bad' film as a hysterically incompetent one. Consistently failing to triumph over the lack of money, resources and technique available, it quite neatly shows how films should not be judged in terms of 'bad' or 'good', but in terms of 'entertaining' or 'not entertaining'. Whilst 'Plan Nine' is clearly the work of bungling, but enthusiastic incompetents, it's hugely entertaining in a way that the professionally-done 'Speed 2: Cruise Control' is not. Only 'Robot Monster' comes close the the tone of insane incoherence. Where else can you see such a diverse, iconic cast (featuring the recently-deceased Bela Lugosi, a late-night-television horror movie hostess, a wrestler, and a minor celebrity hypnotist) deliver dialogue such as 'Inspector Clay's dead, murdered, and somebody's responsible'?

Note that there are two DVD releases - this one has a lengthy (longer than the film, in fact) documentary, whilst the other has a plug for Tim Burton's equally-good 'Ed Wood'. This one is slightly more expensive, but worth getting, as the documentary is excellent. Commenting on picture and sound quality seems somehow inappropriate, really.

Well it ain't the worst
In fact besides I'd go as far as to say this is perhaps the most competent Ed Wood movie around. Sure there are glaring errors such as Bela running back and forth to the grave in broad daylight ( when it's supposed to be night-time ) and his replacement is obvious ( come on, he's at least 4 inches taller I reckon ). And indeed the last 20 minutes descended into a farce that unfortunately sunk the film. Yes, it shows a degree of ineptitude on Ed's part but for most of the film there was an almost professional air to how the actors acted.

Ed thought that he'll be remembered for this film. This was his big one and he's right, it's the one we remember him most for. However I don't think he would have liked the tag it's been given but if you want to be remembered he certainly went about the right way in doing it ( even if the results were all wrong )

But if we start at the start with Bela's last real scene where he mourns his lover's death - that was a really touching scene. The emotion in that looks too real that it can't be described as fake or cardboard cut out. If anything that was the most poignant scene Ed ever captured on film. He may have been an inept film-maker but that was a stroke of genius - no kidding!

I get the feeling Ed cast Vampira as Lugosi's wife mainly because if you've seen the Tim Burton movie you'll know that Lugosi thought she was " a honey " and it was certainly a nice gesture to Bela to do that. Vampira doesn't have to do much in this film. Just walk really slowly and look ominous whenever the camera is on her. Looks beautiful while doing so I have to admit. I'm almost certain that she inspired George Romero to make Night of The Living Dead by her walking alone.

Criswell makes his appearance in this film and you have to say, him, along with Vampira and Tor, got almost uncanny lookalikes in Tim Burton's biopic that it seems almost spooky.

Hats off to whoever had the idea of using saucer lids for um the use of flying saucers. Really neat and easily identified even if it was black and white. Still not too bad a job. Oh and who could forget Saturn as a ballbearing - Top Class!

The last 20 minutes are a farce as I've said before mainly because it's supposed to be a showdown between the humans and the aliens....or to be more precise 3 men with guns and a man and a woman in funny clothing that are supposed to be aliens. The acting here is horrifically poor and despite it all being passionately acted it just seems.....well a bit silly. And whatever niggling doubts you had about the film leading up to the last 20 minutes, will no doubt be exposed by the end. A shame because the film showed Ed at his most coherent. And that sadly was the pinnacle of Ed's career.

So all in all it's not the worst movie of all time and certainly not the worst you'll ever see ( unless you're a connoisseur of good taste and in that case what the hell are you reading this for ). Definitely his most enjoyable film. Now if someone could only just tell Criswell to shut up ( I wish Ed had tried, honestly try to do that ).

But for Ed, this would be his shot at greatness and while it backfired, it was about as good as he could make it. Perhaps if he were making these now and not 40 years ago he might have gotten away with it. And I'm sure Ben Affleck would have been great as the dumb pilot if it were made now. Think about it

Here's to Ed though - he may not have been the greatest but he sure knew how to entertain us

Bela Lugosi Lives! (Just not in this film)
How does one describe a movie such as this? Like "Robot Monster," it is a masterpiece, and like "Robot Monster," this is not because "Plan 9 From Outer Space" has even a shadow of an ounce of quality to it. Rather, this is an example of just how wrong everything in any creative project can go if it is in the hands of the right angora-wearing genius.

For nothing (and I mean NOTHING) came out right in this movie. Continuity? Hah! Realistic dialogue? Pish! Convincing acting? Gah! Remotely realistic special effects? Heaven forbid! No, what Ed Wood gave us with "Plan 9" is quite simply a cinematic failure that not even Orson Wells could have duplicated if he had tried. In what other movie is one of your stars dead even before the script is written or shooting begins?

No, "Plan 9" is unique, a thing that we mere mortals can only begin to try and understand. Instead we can only watch, transfixed and trembling in awe that Wood's vision was transmitted so perfectly to the silver screen. This is a movie that well deserves to be ranked among the immortal creations of motion picture history, despite or perhaps because of the fact that it completely lacks any of the features that would normally merit such an inclusion.

To think otherwise can only be the result of stupid minds. Stupid! Your stupid, stupid minds!

"You see. You see. Your stupid minds. Stupid. Stupid."
Also known as "Grave Robbers From Outer Space", Edward D. Wood's masterpiece of horrific filmmaking has been called the "worst movie ever made" by more than a few critics and movie fans. This hasn't kept this unintentially hilarious sci-fi dud from becoming a massive cult classic. And rightfully so. Ed Wood's art for making movies so bad that they're actually good has never been more apparent than it is here.

"Plan 9" revolves around a couple of space invaders in bad suits who fly around in spaceships on strings and resurrect the recently dead to haunt the inhabits of a small town where it seems to go back and forth from night to day a lot. The humans aren't having it though as a joint team of the local police, military, and an overacting airline pilot refuse to be terrorized by the undead creatures (who can't decide whether they're ghouls or vampires). But these visitors from a badly-drawn planet resembling Saturn have their own intentions. They're hear to warn us of a new solar-powered weapon that the Earth will eventually create and wipe out the universe. But our heroes aren't going down without a fight. They've got enough army movie stock footage to send them aliens back where they came from.

What makes "Plan 9" so entertainingly terrible? Where do I start? There's the overly-descriptive narration of Criswell who practically gives play-by-play for every action in the film. You've got Bela Lugosi who appears courtesy of silent footage recorded before his death and with the help of a stand-in who looks nothing like him. And who could forget those cooky cops who don't allow the discovery of their Captain's horrifying death to damper their moods any? Also there's Duke Moore's hards-as-nails detective who fearlessly uses his gun to fix his hat when necessary.From the bargain basement graveyard chalk full of cardboard headstones to the hungry young overactors spitting out silly dialouge, "Plan 9" is truly the "Citizen Kane of bad movies".

For those looking to pick this gem up on DVD, the Image edition is the only way to go. Not only is the picture the best that it's ever looked but it comes with a feature-length documentary, "Flying Saucers Over Hollywood: The Plan 9 Companion" and the trailer for the movie. Avoid the Passport version which has a company logo imprinted in the bottom corner similiar to the ones that TV networks use. ... Read more

Amazon.com essential video

An outstanding drama, Gallipoli resonates with sadness long after you have seen it. Set during World War I, this brutally honest antiwar movie was cowritten by director Peter Weir. Mark Lee and a sinfully handsome Mel Gibson are young, idealistic best friends who put aside their hopes and dreams when they join the war effort. This character study follows them as they enlist and are sent to Gallipoli to fight the Turks. The first half of the film is devoted to their lives and their strong friendship. The second half details the doomed war efforts of the Aussies, who are no match for the powerful and aggressive Turkish army. Because the script pulls us into their lives and forces us to care for these young men, we are devastated by their fate. --Rochelle O'Gorman ... Read more

Reviews (80)

Powerful, Heart wrenching
Incredible effort by director Peter Weir and a very young Mel Gibson. A powerful statement on the futility of war and the terrilbe toll it takes on youth and innocence. Stunning cinematography and great acting, highlight this tale of the ill-fated Austrialian attack against the Turks during WWI. Two friends enlist hoping for adventure and glory, but learn first hand the horrors and helpless of war. If you liked Saving Private Ryan, you will love this film. A epic movie that that is hard to forget, with a gut wrenching finale. See it!

Heartbreaking
'Gallipoli' is one of the most gut-wrenching & heartbreaking films of all time, & is simply a must. The utter futility of war & the callous disregard for human life displayed time & again by High Command are laid out before us as two young ANZACs (Mark Lee & Mel Gibson) are manouvred inexorably to their deaths, along with thousands of their comrades-in-arms, in order to provide a diversion for the landing of British troops.

Ironically, the troops landed on Suvla Bay & were given the order to stay put. Many were slaughtered, caught between the Turks & the deep blue sea, while their officers dithered & High Command refused to issue orders.

One Australian reviewer has rightly reviled the British High Command's cavalier attitude to the deployment & slaughter of ANZACs (universally lauded for their courage); what is not mentioned - either by the reviewer from Brisbane, or in the film itself - is the casual disposal of British troops. As every British schoolchild knows, whole British villages & towns were left without able-bodied men between the ages of 15 & 50 after WWI, such was the carnage. This war changed the face of western civilisation, fuelling a revolution in attitudes to class & war, & the sheer brutality & pointlessness of it all should no more be forgotten than the astonishing bravery & self-sacrifice displayed by ordinary men (& women - nurses, drivers, & others) in the most desperate of situations.

I defy you to watch this film without crying. If you can, you need serious psychiatric help.

WHAT MANY REVIEWERS FAIL TO NOTICE...
IS THE BRAVERY OF THE TURKISH ARMY, AND THE INCREDIBLE HUMANITY LESSONS TO BE DERIVED FROM THE TURKISH COMMANDER:(SPEAKING FOR ENEMY SOLDIERS)
"Those heroes that shed their blood and lost their lives..you are now lying in the soil of a friendly country. Therefore rest in peace.There is no difference between the Johnnies and Mehmets to us where they lie side by side here in this country of ours.. You,the mothers, who sent their sons from faraway countries wipe away your tears; Your sons are in peace.After having lost their lives on this land they have become our sons as well." MUSTAFA KEMAL ATATURK

Credit where it's due
As an English woman (I hate the term Brit - surely it's racist, isn't it? A bit like Paki or Frog?) I have the utmost respect for the ANZAC's. However - after reading a few of the reviews posted here, I'm not going to sit by and allow my own country to be denigrated.

There were thousands of British troops at Gallipoli as well as a smaller French contingent - under the command of Sir Ian Hamilton, a man acknowledged for his excellent bravery, but lacking the decisive qualities needed for the leadership of such an expedition.

In fact - despite the well-known WW1 poem about the Australian buried at Suvla Bay, there were mainly British forces put ashore there, (the famous 'Lost Battalion' of 1/5th Norfolk Reg. being one of them.) Most of the ANZAC forces landed further south at Anzac Cove.

Australia and New Zealand both entered the war behind Britain on an upsurge of patriotism - not surprising given that the then population of Australia who were of European descent was 96% British. ANZAC recruiting remained entirely voluntary throughout the whole of the war and the response from both the Australian and NZ populus was magnificent. Some 332,000 troops served overseas, of whom 212,000 were wounded and 60,000 were killed, a casualty rate of more than 82%.

There is no doubt the ANZAC's suffered terrifically during the Dardanelles campaign. The whole campaign was badly timed and hugely underestimated the Turks and their reorganisation by the German general Otto Liman Van Sanders. However, the British suffered too - a fact that is often forgotten.

As regards the film itself - it's a lesson in why war is futile, a study of loss of innocence, a moving demonstration of comradeship and love between men under the most execrable of conditions. Harrowing and intensely compelling. Peter Weir evokes atmosphere unlike any other.

If you're English - try to forget Mel's pathological hatred of us for a couple of hours and remember why our own fathers/grandfathers who fought in that terrible war had such tremendous respect for the ANZAC troops they encountered. And of course . . . we can always think of the Rugby!

Gallipoli
Story is Australian Patriots in WWI. Who gave there lives largely a result of there British Officers Error. I saw this on the History Channel and wanted a copy for myself. I understand that when this movie was shown in Australia for the first time. The audience sat in silence for 20 or 30 minutes contemplating. Mel Gibson and Mark Lee are tops. ... Read more

Amazon.com

One of Jim Henson's finest hours was the Storyteller series that aired on HBO in 1987. As with his other non-Muppet creations (Labyrinth), Henson fills the screen with wonderful creatures that have a wisp of a J.R.R. Tolkien fantasy. Half of the eight-part series was adapted from Greek myths by Anthony Minghella, who became an Oscar-winning filmmaker a decade later with The English Patient. Minghella weaves the narration of the storyteller (a sturdy and wonderful Michael Gambon, accompanied by a scene-stealing dog) with dialogue from the stories--two episodes per video--to beguiling effect.

By nature, the Greek myth episodes are a bit more mature and downbeat(ages 8 and up), yet give the audience lasting impressions of oft-quoted tales. In "Perseus and the Gorgon," King Argos locks away his wife when it is foretold his future son will kill him. Soon mother and son (Perseus, fathered by none other than Zeus) are washed ashore and another angry king looks to take away Perseus's mother. How can Perseus win the day? By killing the evil Gorgon whose snake-covered head includes eyes that turn humans into statues. Derek Jacobi stars as the brilliant Greek designer in the second tale, "Daedalus and Icarus." The father goes through many hardships, including the famous episode of his son flying too close to the sun. All is not well and does not end well. --Doug Thomas ... Read more

Reviews (10)

Jim Henson + Greek mythology
The late Jim Henson, mostly known for his creation of the MUPPETS, has also endeavored into other worthwhile projects of note. His STORYTELLER series is one of them.

While mostly geared towards children, the STORYTELLER videos are also wonderful for adults as well. While most of us know sketches of the Greek myths depicted, this series does a fine job of elaborating on the lesser known details of the myths. For children, it's a fabulous way to be introduced to the storys for the first time.

The majority of the actors in the series are relative unknowns. However, in the present episode the viewer is treated to none other than the legendary Shakesperian actor Derek Jacoby as the sage inventor Daedalus. Jacoby's performance makes this STORYTELLER even more appealing than it would normally be.

For Jim Henson fans and for those who are infatuated with the ancient Greeks, this video is a can't miss. If you buy this film without being familiar with either Henson or the Greeks, you may very well find yourself falling in love with both simultaneously.

Greek Myths come to life beautifully.

That said, "Perseus & the Gorgon" is a verybeautiful and faithful retelling of the tale of Danae, the shower ofgold, the birth of Perseus and the slaying of Medusa (no Andromeda, though). But a particularly beautiful rendition of the legend of Atlas. However, it doesn't quite reach the high bar set by the original Storyteller series, because there's little added to the original in the adapation.

"Daedalus & Icarus", however more than compensates. Perhaps the best of the four episodes, there's a humanity infused into all the characters, but most notably through the performances of Derek Jacobi as a guilt-ridden Daedalus and John Wood as King Minos.

These episodes may be frightening to very young children simply because they are so faithful, but if they're reading things like the D'aulaires' Book of Greek Myths, this is a perfect companion.

Storyteller : Greek Myths - Answer to reviewer from Settle
Just to let you know that these Greek Myths (all 4) are available on DVD in the Netherlands (see the Jim Henson web site). All 4 tales are on the DVD and have English soundtracks with Dutch sub-titling. I recently bought a copy from ebay.com for £13.99. As far as I can see, you cannot turn off the sub-titling which is at the bottom of the screen but still on the image. I don't find it too disturbing.

Better than ever
I've read the stories of Perseus and Icarus, though not recentely. These, however, are the versions I'll remember.

The stories are richer, darker, and more nuanced than any version I saw in print. They're about intense personal passions, jealousies, and fear. Perseus is about controlling, even sadistic family. The story of Icarus is very salient today, about technical success that fails because it can not tolerate human weakness.

I had never seen "The Storyteller" before - now I want the whole set. Highly recommended, but not for the youngest viewers.

Frustrated from England
I saw these when they came out in England on TV last Christmas, and as a Latin teacher want to show them to my classes. I managed to tape all but Daedalus and Icarus and think they are marvellous, but cannot get them on video in England. As far as I can tell the US format will not support the British VHS PAL format. Immensely irritating, but I wholeheartedly recommend them and hope more might be done. ... Read more

Reviews (36)

Bubbly Musical Remake of Hepburn Classic!
'High Society', MGM's musical remake of Philip Barry's classic 'The Philadelphia Story', is a frothy, high-spirited joy! While it lacks the inestimable star power of Katharine Hepburn, Cary Grant, and Jimmy Stewart, in replacing the male leads with the greatest crooners of all time, Bing Crosby and Frank Sinatra, and offering Hollywood's Princess, Grace Kelly, in her last film role, MGM was NOT dropping the marquee value by much! Add to the mix the legendary Louis Armstrong, and one of Cole Porter's last great film scores (including the lushly romantic 'True Love'), and you have all the ingredients for a delightful movie experience!

Changing the film's locale from Philadelphia to Newport, the class distinction subplot of the story becomes, at best, a minor plot point, but it does provide the 'hook' of the Newport Jazz Festival to bring in Armstrong, and to add songwriting as a hobby of millionaire C.K. Dexter-Haven (Crosby). His ex, Tracy Samantha Lord (called 'Sam' in this version, so Cole Porter could recycle his tune 'Goodbye, Amanda', as 'Goodbye Samantha'), and played by the luminous Kelly, is remarrying, to boring, wooden George Kittredge (played woodenly by John Lund). An 'Enquirer'-type scandal sheet, 'The Spy', blackmails the family into allowing a writer and photographer (Sinatra and Celeste Holm) to cover the nuptials (in an improvement on the original story, where Cary Grant 'sells out' the Lords in an attempt to disrupt the wedding).

From this point on, the film follows the original version fairly closely, adding songs to 'spice up' the proceedings. Sinatra and Holm take potshots at the idle rich with 'Who Wants To Be a Millionaire?'; Crosby tosses off a sweet ditty for Sam's little sister ('Little One'), and attempts, with Armstrong, to explain contemporary music ('Now You Has Jazz'); Sinatra, smitten with Kelly, expresses his feelings ('You're Sensational' and 'Can I Make Love To You?'); Crosby and Kelly, in a flashback, recall their honeymoon ('True Love', which became a hit single, earning both stars a gold record). The film highlight is, understandably, the fabulous and funny duet between Crosby and Sinatra, 'Well, Did You Evah?' (rich with sly comments on Crosby's famous fortune, and Sinatra's 'new' style of crooning). The number is nearly always featured in MGM musical retrospectives, and is a show-stopper!

As all the pieces fall into place for a 'beautiful' wedding, (which concludes both versions of the story), Louis Armstrong provides a final coda that is both charming and a reminder that Hollywood just doesn't make 'em like this any more!

'High Society' may not be in the stratosphere of 'The Philadephia Story', but it certainly has a well-deserved place in the cosmos of its own! This one's a keeper!

A GREAT "SOCIETY" MUSICAL
MGM's idea to remake "The Philadelphia Story" as a musical, with Bing Crosby, Grace Kelly, and Frank Sinatra in the lead roles may sound perfectly ridiculous. But the idea was intriguing, and so 1956 audiences went to see this new film, "High Society"... and MGM had hit the nail right on the head. The audience loved it, and we still love it today.

"The Philadelphia Story" is still "The Philadelphia Story" (okay, so it's moved to Connecticut), with much of the original script intact and reformed to compensate the film's fine musical numbers. But for those who have seen neither "Story" or "Society", the storyline is as follows:

Millionaire charmer C.K. Dexter-Haven (Crosby) is trying to woo back his uppity ex-wife, Tracy Lord (Kelly), despite the fact that she's already engaged to be married to George Kittridge, the following afternoon. When Tracy's family is blackmailed by an unscrupulous editor who threatens to do an expose' on Mr. Lord's philandering, Tracy agrees to host a photographer and reporter from the editor's magazine. Enter sweet-and-cynical reporter Liz Imbrie (Celeste Holm), and brash-and-smirking reporter Macaulay "Mike" Connor (Sinatra). Tracy has every intention of taking the two "spies" for a ride, not anticipating the ride she's about to be taken on... with the help of Mike and a bucket of champagne. By the time the wedding march is about to begin, who will walk down the aisle with Tracy... George, Dexter... or Mike?

While a bit softer ("fluffier" to use Mr. Maltin's words) than the original, this version is actually a lot of the time more fun to watch, with new colorful takes on the story's characters: Crosby milks charm and elegance from his sophisticated easygoing role. Kelly is a pertfect post-Katharine Hepburn Tracy. Sinatra is Sinatra through and through in his cynical but goodhearted role as Mike. Celeste Holm is a lot of fun as the sarcastic but romantic Liz, and the whole cast including John Lund, Louis Calhern, and even ol' "Satchmo" himself, Louis Armstrong, in a cameo as himself, playing at the much-hyped Newport Jazz Festival (and eventually at Tracy's wedding).

"High Society"'s musical score is a lot of fun, too: Armstrong's scratchy singing of the title tune, Sinatra and Holm sing the funny number, "Who Wants To Be A Millionaire?", Crosby and Kelly duet with a charming rendition of "True Love", and the Crosby-Sinatra gemstone "Well, Did You Evah?", sung over a magnum of champagne... any wonder this film won the Oscar for musical scoring?

"High Society" is definitely a great movie musical, a great and witty successor to "The Philadelphia Story", and funny enough for the whole family to have a real "swingin' time." My, it's yar.

Dreadful!
This movie may stand on its own, but unfortunately it is painful to watch for anyone who knows The Philadelphia Story. Bing Crosby is too old, is unbelievable and is miscast. Frank Sinatra is passable, but pales in comparison to Jimmy Stewart in the original. Celeste Holm is fine when she is singing, but she seems unduly matronly and lacks the charm and spark of Ruth Hussey, also from the original. Then there is the problem of Grace Kelley. She is convincing as a rich ice princess, but ( in this film, at least) she posseses none of the charm, aristocratic strength, or appeal that Katherine Hepburn gave to the original Tracy Lord.

Whereas the original was quick and dynamic, the pacing of this one is slow and ponderous. The side trip to Newport and commentary on "the end of a way of life" adds nothing to the film. And Louis Armstrong's appearance, while perhaps noteworthy in its day, now seems embarrasingly buffoonish. One has the sense that the directors and producers are trying to create a joke at Armstrong's expense by placing him in a mileau where they clearly find him out of place.

As a kid, I liked this movie when I saw it on tv. Now, however, I see it and cringe. Truth be told, I can't even sit through it all. Bad, bad, bad!

High Sociey
Absolutely one of the best movies of its ilk of all time! Great fun, light, fabulous to look at, super catchy songs, and the best collection of great actors! I LOVE High Society!!!!

Grace is Great!
If you're "holed up" for a long weekend (of rain, as it turns out this Memorial Day), and haven't seen it, "High Society" is a great diversion, almost as good as a Memorial Day barbecue, and maybe better.

I raaaally liked the original Philadelphia Story, being a huge Katharine Hepburn fan, but I must say, Grace Kelly is just fantastic in this role and to me, even better than Kate. Probably because, Grace is Tracy, the central character in the story.

Otherwise, except for the sets, including the great collection of 50's classic cars, Newport mansions, women's dresses, and the dancing, this is a lesser film than the originial.

But it's worth watching for Grace Kelly alone. I didn't realize she was such a talented comedienne. The movie gets better as it goes along, stick with it. Grace Kelly makes the best tipsy, goofy, adorable woman I've ever seen! ---Wow. This alone is worth the price of a DVD.

My feeling is, and this is not being a Kelly fan at all before, that the U.S. should have done something to prevent her from moving to Monaco. I was too young to follow that story as it happened, but it seems a crying shame for America's entertainment and film industry and us people. She's got something that, say, Gwyneth Paltrow tries for but doesn't have to the same degree. I now understand why people made such a big fuss about her, and this movie will help you do the same.

If you don't like musicals, which I don't, you can fast forward through the frankly mediocre, ill-timed, and happily not-too-frequent musical numbers. (Sorry, I beg to differ with the other reviewers.) Even Louis Armstrong is forgettable in this. Not every movie's a musical, for Godsake. (Besides, Grace doesn't sing!!!) Except, the most enjoyable singing in the movie, to me, was Grace Kelly's drunk amateur singing! It was terrific!

The great Sinatra and also Bing Crosby (whom I admit to not liking either as an actor or a ba ba ba boom singer), don't get very good songs to sing in this movie, compared to the timeless and great songs Frank got in Pal Joey, say. They should develop a button that skips through singing in 50's and 60's musicals! Some of these films woulda been fine without the singin' and with the same performers anyway.

As I said, if you're in the mood for watching a great female performer, WATCH THIS, folks! Grace is TIMELESS in this film. ... Read more

Reviews (22)

She goes Hawaiian all the way ...
This movie isn't as good as the first "Gidget" but it's better than the third . Ofcoarse, they should have stuck with Sandra Dee in all of them but having Deborah Walley in this one was, I think, a good choice overall .And I've always adored Joby Baker more than James Darren ( whatever happened to Joby ? ) !

I love this movie!
I really enjoy this movie no matter how many times I've seen it. Debra Walley is terrific and of course James Darren is great to look at. It's fun and love that Debra Walley made Gidget a fiesty one in this movie. I really like Gidget's clothes also.

One of my all-time favorites!
This movie is hilarious and timeless. I watch it over and over and it never gets old. The humor is refreshing and the movie is reminiscent of simpler times. This movie will become a family tradition for you, especially if you have teenaged daughters. Everyone I have played this video for has become hooked!

Gidget Goes Hawaiian
I love the whole movie (I'm a sucker for comedy, romance and happy endings)and get a special thrill of seeing Hawaii BEFORE all the commercialism. I visited Hawaii twice and stayed next door to the Royal Hawaiian..Gidget stays in this hotel in the movie. It makes me wish I could have visted Hawaii in the 50's and 60's.

Brings back memories
I saw this movie 5 times at the theatre when I was in the 7th grade. Oh, if times were this innocent again! I ordered this previewed VHS from "Paragoncompany.com" on July 3...still haven't received it... my VISA was charged for the purchase within the order week. My recommendation is to order the movie, see it with your preteen or teenage daughter... you will love it, just do not order it from Paragoncompany. ... Read more

Description

From the creative team who brought you THE LION KING and BEAUTY AND THE BEAST comes an exciting quest of adventure and discovery. Join the expedition and search below the sea for one of the greatest mysteries of all time ... ATLANTIS: THE LOST EMPIRE. The world's most highly qualified crew of archaeologists and explorers are led by historian Milo Thatch as they board the incredible 1,000-foot submarine Ulysses and head deep into the mysteries of the sea. The underwater expedition takes an unexpected turn when the team's mission must switch from exploring Atlantis to protecting it. Filled with stunning visual effects, this captivating story is loaded with laughs and messages of friendship and teamwork. Dive into ATLANTIS: THE LOST EMPIRE -- it's an adventure your family will enjoy taking over and over again. ... Read more

Reviews (325)

Someone should put Disney out of their misery
Disney hasn't made a decent movie since the Lion King. Since then, their films have been kiddie fare with plots and characters as deep as a puddle.

Now they are trying to appeal to the sought-after teen audience. First they tried with the CGI Dinosaur, which was a spectacular flop. Then they tried with Atlantis, which is pretty much also a flop (Shrek is crushing it).

Atlantis tries to look hip and mature with an array of machinery, some cartoon violence, and some slightly-above-average humor. Unfortunately tDisney just dosen't get it. Just because a film is rated PG instead of G does not make it a more intense movie, nor does it draw a broader audience. Atlantis's plot is rushed and confused (makes sense, since the plot was ripped of from a 39-episode series called NADIA), and its characters are, as usual, one-dimensional and stereotyped. Not even the character designs are very impressive.

Note to Disney: You want to get back your reputation and some teens into your audience? Then fire your writers, and get the people who did Watership Down, or even Princess Mononoke.

Atlantis gets 2 stars for some impressive eye candy.

Not Your Typical Disney Film, but Lots of FUN
Despite the venom spewed forth by previous reviewers, I really think there's a justifiable place in the Disney vault for Atlantis, and I'll admit, it has quickly become an unlikely favorite of mine among Disney animated features. I hold it akin to an animated Star Wars, if that makes sense. With lots of action, no sing-alongs, and a cast of animated adults, this movie will lend itself more towards 8 year-olds than toddlers. I don't see a problem with that as children aren't one age and have different tastes.

This is not your usual, happy-go-lucky, sing-a-long style movie that Disney is known for proliferating. It takes me back to Disney's Black Cauldron in terms of mood and feel. It is somewhat dark, eerie, and action packed. But the characters are fun and interesting, and Michael J. Fox does a great job as Milo Thatch.

It is true that the story is set as a period piece in the early 1900's, but I don't agree with one viewer's gripe that historical accuracy was not maintained. Don't fault Disney for not being a historical educator. They're not! In response to "How are children to know the difference between what is real and what isn't if adults don't show them?", my first reaction was to think who would intrepret animation as reality? It's moving ink! It is not reality! It's entertainment. So what if you cross time periods? Or if the weapons and objects in Atlantis weren't invented for decades afterwards? By this logic, Rambo was a more educational movie because he used the weapons of the time?

And as far as "If you want to teach your children to smoke buy this movie." - Gimme a break. I'd like to believe that parents play a larger role in child development than to blame TV for how their kids turn out.

Great movie though. If you think you'd enjoy the action and adventure of Star Wars and Raiders of the Lost Ark in an animated form, this is for you.

A New Age Adventure
Atlantis: The Lost Empire has the most mesmerizing, clear, crisp, animation since Fantasia. The music is also exceptional - I am going to purchase the soundtrack. The story is inventive and original, capitalizing on the intriguing mystery of the lost city of Atlantis.

Michael J. Fox is wonderful as Milo, the unrecognized and unappreciated geek archaelogist who spends his time researching Atlantis and fixing the New York Museum of Natural History's cantankerous boiler in the basement. His life takes a turn when a beautiful woman (voiced by the woman who did the Fairy Godmother's voice in Shrek 2) takes him to a reclusive millionaire who is willing to fund an expedition to search for the legendary city.

Other great voice talent brings the characters to life: Cree Summer as the beautiful Princess Kida, Leonard Nimoy as the King of Atlantis, the late Jim Varney as Cookie, and James Garner as the military leader of the expedition. The movie's creators brought in a linguist who had worked on the Star Trek movies to create an Atlantean language.

The very last scene made me cry. Grab your crystal and some popcorn. The movie is at once dreamy and inspirational, and highly recommended.

Another rip-off by Disney!!!
This trashy Disney film is nothing but a rip-off of Nadia: The Secret of Blue Water, which is a wonderful japanese anime series.

This "Lost Empire" is Waiting to be Discovered!
Any time you stray from the basic formula (even if it hasn't produced anything worthwhile in several years), people are going to question it. Whenever you attempt to try something new, people are going to have mixed reactions. And just because something is supposed to have a certain look, a certain feel, yet goes in an entirely different direction, does not necessarily label it as bad. Such is the case with Disney's "Atlantis: The Lost Empire."

This film was largely passed over by movie-goers simply because it came out during Disney's animated dry spell (which began a long time ago and is still occurring today). I consider it a hidden gem just waiting to be discovered. This movie has a lot going for it - namely because it's not your typical animated fare from Disney. Everyone involved tinkered with a formula that desperately needed an extreme makeover. And for the most part, it worked.

I don't watch a movie for deep, moving storylines. I don't plunk down my eight bucks for a film that will tug at my heartstrings. I tune in to be entertained, plain and simple. And "Atlantis: The Lost Empire" did just that. I enjoyed this movie from the opening scenes to the closing credits. For the first time since "The Lion King" back in 1994, an animated feature from Disney held my interest. And while I wouldn't place it on a pedestal next to likes of "The Lion King" or "Beauty and the Beast" or "The Little Mermaid," it does rank as one of Disney's better animated movies of all time (especially lately).

"Atlantis: The Lost Empire" is not littered with sing-a-long songs. What it does have is an awesome orchestral soundtrack by James Newton Howard (one of the best composers of any era EVER); I disagree with one reviewer who said there wasn't "a breathtaking musical score." What movie were you watching? There isn't a witty sidekick to accompany the main character on his adventure. What the movie does have is several eccentric characters which flesh out the film, rather than relying on the cliché partner/chum to spout off nifty one-liners. And the feature isn't cutesy-wutesy like most Disney animated films. It's got some attitude, it's rough around the edges, and it's just plain awesome to look at from a visual standpoint; very exotic. I agree with another reviewer who said this movie is "one of Disney's most underrated films ever made." You hit the nail right on the head.

This movie is not groundbreaking. It will not change your life. But it sure is entertaining. It's got lively voice actors (Michael J. Fox, James Garner, etc.), a delightful Disney heroine in Princess Kida (she ranks up there with Ariel and Beauty, in my opinion), and it's a visually-stunning treat that mixes standard animation with computer-generated effects.

"Atlantis: The Lost Empire" is one of the few good animated films offered from Disney in the past several years. Like I said earlier, it's a hidden gem waiting to be discovered. Give it a chance. What have you got to lose? You could waste your time with far worse movies than this one. ... Read more

Amazon.com

Filmed as a classical tragedy, Orson Welles's Othello is a tale of passion, jealousy, and murder. Welles used his earnings from several performances to finance the production, which was shot over several years across multiple locations including Italy and Morocco. The footage was well matched photographically, resulting in an artistically brave compression of a great play. In the title role, Welles shows us a man who has fought many wars but still maintains a princely disposition. As Desdemona, Suzanne Cloutier is guileless but strong enough to have wanted and pursued the Moor. In a rare filmed role, Micheál MacLiammóir excels as the diabolical Iago, a master of manipulating appearances and devoid of any motive save pure evil. The financial constraints appear to have ignited an even higher level of creativity within Welles, who never takes the expected angle and directs the film with a vertiginous, exhibitionist energy. This Othello won the prestigious Palme d'Or at Cannes in April 1952. --Kevin Mulhall ... Read more

Reviews (18)

A near-perfect translation of play to film
A must-see for fans of Orson welles and William Shakespeare alike, "Othello" is nearly as impressive and visually brilliant as Welles' masterworks "Citizen Kane" and "Touch of Evil"--maybe more so, considering the director/star shot it bit by bit over several years, jetting back to Hollywood to take acting jobs that helped finance this film and then later assembling it when every shot was finally complete. A Shakespearen expert, Welles superbly pares the source play's text down to the bare bones and uses powerful visual images to communicate the essence of the Moor's tragic story. Aside from fine direction, Welles also turns in an excellent, informed performance. Since many of the bit players weren't available for dubs when the film was near completion, listen for Welles' terrific vocal mimickry "covering" for the missing actors here and there. A fine example of cinematic storytelling, its style and technique surpass the limitations of its threadbare production values.

Put Out Thy Light!
This film blew me away! I always know what I am looking forward to in an Orson Welles film; brilliant camera angles over lapping dialogue and that masterfull voice but I was floored by how well all of those aspects are used in Othello. It's hard to believe it was four years in the making and that the production of this film was marred by unusual circumstances but welles never gave up and the beauty is on screen to marvel at. Welles was a master of Shakespeare since a child so the dialogue flows as if second nature to him and the rest of the seasoned veterans handle it just as well and that is the key to this film. Welles always had pure facial emotion working in his favor and when those huge glowing eyes of his is used in the final scenes as he kills Desdamona its as if headlights of danger are piercing through his face and the dark almost unbearable lighting can't hold back those eyes or the viewers emotions and the soundtrack that damn haunting score never looses it's pacing simply amazing. Finaly Welles' fluxuating girth comes in handy his Othello is so imposing and commanding that u to would fear the repercussions of his hand if you betray him! Just cut out all the lights unplug the phone and watch with amazment at the best adaption of Othello ever made! McLiammour plays Iago with such contempt and an under lying lust for the moor that another level of depth is revealed. The opening is all out dramatic and ever the more shoking and draws you into the story instantly! Welles' reworking of the dialogue and dramatic use of the camera and lighting makes the flick ever so frightening and perverse! Doves flying above in a clear sky, the shores crashing against the waves as Othello is told by Iago of his wife's deceit or the gripping of the knife being shoved into Welles' by himself to redeem himself for the crime he has committed against his love! Shakespeare has never been told with the passsion upon which Welles tells it!

Welles' indomitable spirit in the face of penury shines...
THE TRAGEDY OF OTHELLO: THE MOOR OF VENICE/ US/France/Italy/Morocco 1952 (3.5 STARS)

The recent restoration of Othello brings to cinematic space the magic of another masterpiece from Orson Welles. To think that a whole master negative of this film (which won the Best film at Cannes in 1952) was lying abandoned in a New Jersey warehouse, was discovered by accident and is the reason for this print that we now have access to, is enough to send shivers down the spine of any Welles-phile.
• Mise-en-scene: Like with many of his other works involving especially Shakespeare, be prepared for Welles' licenses and personal interpretation of subject matter pertaining to Othello. Yet at the end, we are left with a feeling of deep tragedy and loss for Othello, played by Welles himself, and though we feel that Othello was quite an idiot, we at least feel that he was a very unfortunate idiot at that!
• The problem may have been that the critical scene where Iago poisons Othello's mind and fuels his suspicion is scrappy and left unexplored. This may well have had little to do with Welles' artistic choices, and more with his monetary situation at the time. Welles' penury through his European sojourn is widely known and the passion with which he would invest into his films, every penny earned through moonlighting his booming voice and above-average acting skills is legendary, and should put this in context.
• The figure behavior of Micheál MacLiammóir is utterly convincing as the detestable Iago who is consumed by jealousy and rage at being overlooked as the second-in-command. But the person to steal our hearts is Suzanne Cloutier who portrays the fair-dame Desdemona. She is every bit as dainty as we would have imagined her to be.
• The stripped down set design works wonderfully for the film and even though budgets may have been the driving force, Othello's barren palace is preceded only by the barrenness of his blinding jealousy and irrational actions.
• Cinematography: As we have come to expect, Orson Welles has a unique cinematic language, through which he creates a Wellesian world of skin-burning close ups, dutched crazy world-frames and low angle shots to create a tense atmosphere of foreboding. But there is no better example of exploring and using frame depth than in Othello. Time and again Welles plays with foreground element to reveal psychologically subjective and meta-diagetic moods while cleverly using the depth in the frame to forward the narrative and plot the next progression. The title shots of the film are harrowing in their effect, with the interplay of high-contrast earth and sky contours that at once establish the mood for an intense cinematic experience.
• Sound & Editing: The restored version has a brand-new soundtrack mentored by Welles' daughter, and while it enhances the experience to telling effect, it is irony to note that just the new soundtrack cost much more than what Welles assembled the whole film for. The fact that parts of the film were shot MOS and other parts used ADR is distracting due to the obvious lack of lip-sync, but in the final analysis, we watch Welles with reverence almost as if on a visit to Sunday Mass, paying homage, never once forgetting that were are witness to a filmmaker stripped of resources, devoid of many essential tools, but one with indomitable spirit who refused to be cowed-down. Othello is magical in its story telling and another worthy showcase of the genius of Orson Welles.

Welles' images match the beauty of Shakespeare's language
Considerable controversy has surrounded this 1992 restoration and re-release of Orson Welles' "Othello." First, the film was wrongly labelled a "lost classic" - not technically true, as Welles aficionados will realize. More seriously, the restoration crew (under the aegis of Welles' daughter, Beatrice Welles) re-synced the dialogue and re-recorded the musical score - an abomination to Welles purists. While it would have been preferable to adhere to Welles' vision for the film, such an endeavor becomes extremely difficult when no written record of Welles' intent exists (as it did with his famous 26-page memo to Universal regarding "Touch of Evil"). So it's true that this version lacks a degree of authenticity; but what are the alternatives? Grainy, scratched, poorly synced public domain prints (c.f. "Mr Arkadin" and "The Trial")? Or, worse, no available copy at all (c.f. "Chimes at Midnight")?

Anyway, on to the film. "Othello's" existence helps disprove the charges of profligacy and "fear of completion" that plagued Welles' career after "Citizen Kane." Shot over four years in Morocco and Italy, and financed largely by Welles himself, "Othello" manages to avoid a low-budget look, thanks largely to virtuoso editing that masks the incongruities of time and space. Welles' powers of invention are on full display here, most obviously in the famous Turkish bath scene (an improvised set necessitated by a lack of costumes). Set designer Alexandre Trauner's astute choice of Moroccan and Venetian locations instantly establishes a geographic authenticity; Welles initially expolits them for all their stark beauty before retreating into noirish interiors, underscoring Othello's descent into darkness.

Aside from Michael Macliammoir's chilling Method performance as Iago, the acting in Welles' "Othello" has been criticized as too restrained and modulated for Shakespearean tragedy. Such criticism is largely unwarranted, for this "Othello" is as much for the eyes as the ears: Welles' bold framing and expressionistic camera angles de-theatricalize the play, undermining the need for stage elocution. Indeed, the camera is the true star of this film, as Welles generates images that match the grandeur and eloquence of Shakespeare's language.

Wow!
Great, just great. Yes, some of the music one wonders if Welles would have used, but it is pure Welles. If not updated the missing elements might take away from this work, instead they compliment it. A must own! ... Read more

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The MGM reunion of Fred Astaire and Ginger Rogers, 10 years after their last RKO picture, happened by accident. The Barkleys of Broadway was meant to pair Astaire with Judy Garland as a follow-up to their 1948 hit Easter Parade. Garland, however, had to drop out due to health problems and was replaced by Ginger, who had gone on to a successful career in nonmusical drama and comedy.As it turned out, the plot probably suited Ginger better than it did Garland.Josh and Dinah Barkley are a veteran song-and-dance couple whose routine bickering turns into a complete breakup when Dinah decides she hasn't received enough credit for her talent and leaves Josh to take a straight dramatic role as Sarah Bernhardt.Fred and Ginger are as charming and comfortable together as a veteran couple should be, but this film is not a return to the RKO days--its elements are trademark MGM: splashy colors, Fred in a gimmicky solo number (playing sorcerer's apprentice to a line of unoccupied shoes), Oscar Levant providing his usual dynamic pianism and acerbic personality, and a score that is at its best when it borrows songs from a previous generation.In fact, Harry Warren, who provided the music for Ira Gershwin's lyrics, was upset that the film's big ballroom number recycled George and Ira Gershwin's "They Can't Take That Away from Me," which Fred and Ginger had introduced (but did not dance to) in 1937's Shall We Dance.Frankly, though, "They Can't Take That Away" not only works well thematically, but is one of the greatest songs ever written for the screen, while Warren's score is merely adequate and unmemorable.All in all, The Barkleys of Broadway is a warm, welcome, and not completely satisfying reunion.Watch it, then watch Swing Time again.--David Horiuchi ... 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