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Winner of the Academy Award for best picture of 1989, this gracefully moving drama, adapted from the hit play by Alfred Uhry, chronicles the 25-year friendship between a stubborn, aging Southern widow (Jessica Tandy) and her loyal chauffeur (Morgan Freeman). At first, the self-sufficient Miss Daisy is reluctant to accept the services of a chauffeur, but Hoke is quiet, wise, and tolerant, and as the years pass the unlikely friends develop a deep mutual respect and admiration. Tandy deservedly won the Oscar for her sassy and sensitive performance, and Freeman earned an Oscar nomination for bringing quiet depth and integrity to his memorable role. Ironically, director Bruce Beresford (Tender Mercies) was not nominated, but the film won Oscars for makeup and for Uhry's screenplay, in addition to a supporting actor nomination for Dan Aykroyd as Daisy's supportive son. Delicate, funny, and bittersweet, Driving Miss Daisy was a surprise hit when released, and marked the crowning achievement of Tandy's great career. --Jeff Shannon ... Read more

Reviews (48)

An Unlikely Pair
This Academy Award winning drama is a touching story about the coexistence of an aging southern woman and her chauffer. Miss Daisy played by Jessica Tandy (Academy Award for Best Actress) is a feisty Jewish woman forced to endure the tragedy of growing older. Her son played by Dan Aykroyd is faced with the dilemma of playing parent to his parent. Morgan Freeman plays Hoke, the black chauffer hired by her son. Set in Atlanta, GA beginning in the late 1940's this film spans 25 years of an unlikely friendship before and during the fight for Civil Rights. A must see classic, this story keeps the audience wondering what will she think of next, and how will he handle it. Skillfully done with everyday events and situations it is certainly deserving of the Best Picture Academy Award.

A Great Tale of an Unlikely Friendship
"Driving Miss Daisy" is one of the best films released in 1989, rightfully winning four Oscars: Best Picture, Best Actress, Best Adapted Screenplay, and Best Makeup. This adaptation of the play version is brilliant. It tells the story, set between 1940's-1960's, of a fiesty elderly woman who's unhappy of growing old. As she meets a man who becomes her driver, the story develops into something special. The combination of stories become increasingly interesting as the two develop a close friendship. Their relationship beats the racist society and the painful past that the man has endured. Through everything, their lives change forever. Her son's frequent visits to her house offer the added entertainment value as it adds to the emotional value. Despite the twenty-five year plot span, the storyline flows smoothly. The warm, loving story offers an unforgettable viewing experience.

Jessica Tandy performs her role as the unhappy elderly woman splendidly. Her every expressed emotion is felt upon audiences. She became the oldest person to win an Oscar, at age 80. Morgan Freeman and Dan Ackroyd's Oscar nominated roles (Best Actor/ Best Supporting Actor) offer the added unique theme to this great film. All other actors also performed wonderfully.

The quality of "Driving Miss Daisy" proves that it's destined to become a classic in the following years. It's sure to continue pleasing audiences for many years to come. Most viewers will have to watch it multiple times to fully understand the movie because of its deep storyline. Afterwards, those who do will be glad they did.

Old Friends.
Lovely is such an old fashioned word, I know. But that's the word that describes this film, for me. The story of the developing friendship over many years between the black chaueffeur and the older Jewish woman is very heartwarming in its simplicity. Jessica Tandy is marvelous as "Miss Daisy" the fiercely independant, irascible widow, whose advancing age requires her son to employ, against her wishes, a driver/companion for her. Miss Tandy, who originated the role of Blanche DuBois on Broadway in "A Streetcar Named Desire", was a wonderful actress. This was one of her last films, and all the skill, sublety, and experience of her life-long craft come together to create a living, breathing "Miss Daisy." Morgan Freeman meets her skill in his portrayal of "Hoag", the accomodating chaueffeur. He has the manner of a certain resignation that an older black man may have felt in the turbulent, prejudiced south in which he lived, yet exudes dignity. He has the manner of "Hoag" down pat, right down to the closed mouth laugh that I have seen in the old black men who hang out on the corner. This is not a caricature, he IS "Hoag." His relationship with Miss Daisy starts out very rocky, to say the least, but, as time passes, their places in each others lives develope into almost a "marriage", with a quiet understanding of, and dependence on, each other. And though Miss Daisy insists she was not prejudiced, and inherently wasn't, it is touching to see her slowly let go of her last universally accepted beliefs of peoples place in society, where the "colored" help were always servants of some sort, and the line was just never crossed. Scenes such as the one where she and "Hoag" are both eating their dinner in the house, she in the dining room, he , alone in the kitchen, express this. The very thought of them dining together, it just wasn't done. As time goes on, and she becomes quietly aware of the similarities of the prejudices against her religion and the prejudices and injustice against Hoags race, the differences that seperate them become insignicant. Dan Akroyd and Patti Lupone are fine as Miss Daisy's son and his typically '50s wife, who admonishes her black maid for the unforgivable sin of forgetting to tell her she was out of coconut for the ambrosia she was serving to her guests... a '50s hostess' nightmare. There are a few moments when their performances threaten to lapse into parody, but one is only aware of this because this is basically a two person play, and the skill and realism of Tandys and Freemans performances just eclipse the others, they are basically props compared to the skill and, yes, sublety of the leads . The exception is Esther Rolle as "Idella" , Miss Daisys black maid. Though her part is small, and her lines few, she manages to convey a resigned dignity also, and her dead-pan delivery of several one liners is very humorous. Miss Daisys affection and respect for Idella is clearly etched upon her face, however, at Idella's funeral. This is just a wonderfully simple, beautiful film. It never treads into being overly sentimental, thanks to the casting of two very special stars. This film took many by surprise by winning the Oscar for best film of the year, proving that a movie with no special effects, and, that actually tells a story, can still move audiences. The final scene, where their years-long friendship comes full circle, will have tears in your eyes, as Miss Daisy conveys the sweet sad wisdom of the old, who know that "all shall soon pass...."

Fascinating, Memorable, Perfect
Not much can be added to the praise of others here, or to the film's enthusiastic reception by the public. I feel that this is one of those rare films that is simply perfect from beginning to end. Even if you don't develop an affection for the characters, and even if you don't care for the story line, it's a stretch to fault this movie in any way. The Special Edition DVD is preferred (not many extras, but those included are worth the effort). After watching my copy 7 times and trying to get really picky with it, I juist can't find anything amiss with Beresford's beautiful production. SO why didn't he win a Director Oscar? Must've been the competition that year, but he certainly deserved to win. Only other disappointment: Freeman nominated, but didn't win. And to think this film was made for less than $6 million, and racked in a fortune and a handful of Oscars!

Freeman and Tandy What a Combo!!
Freeman and Tandy are quite a combo!!

This is a sensitive film that says a lot about humanity.
Compassionate humanism oozes from this movie.
It certainly deserved the Picture of the Year in 1989. ... Read more

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John Hughes's popular 1985 teen drama finds a diverse group of high school students--a jock (Emilio Estevez), a metalhead (Judd Nelson), a weirdo (Ally Sheedy), a princess (Molly Ringwald), and a nerd (Anthony Michael Hall)--sharing a Saturday in detention at their high school for one minor infraction or another. Over the course of a day, they talk through the social barriers that ordinarily keep them apart, and new alliances are born, though not without a lot of pain first. Hughes (Sixteen Candles), who wrote and directed, is heavy on dialogue but he also thoughtfully refreshes the look of the film every few minutes with different settings and original viewpoints on action. The movie deals with such fundamentals as the human tendency toward bias and hurting the weak, and because the characters are caught somewhere between childhood and adulthood, it's easy to get emotionally involved in hope for their redemption. Preteen and teenage kids love this film, incidentally. The DVD release includes production notes, cast and crew bios, widescreen presentation, Dolby sound, closed captioning, optional French and Spanish soundtracks, and optional Spanish subtitles. --Tom Keogh ... Read more

Reviews (213)

2 thumbs down
I found John Hughes' 1985 movie The Breakfast Club to be an extremely generalized, heavy handed, piece of trite filmmaking that may or may not have been relevant to teenagers fifteen years ago, but is certainly nowhere near on target now.
Obviously it was by design that his five main characters were one-dimensional character sketches of so-called 'traditional' high school stereotypes. You have Andy the jock (Emilio Estevez), Claire the princess (Molly Ringwald, a John Hughes staple), Bender the criminal (Judd Nelson), Brian the nerd (Anthony Michael Hall), and Allison the basket case (Ally Sheedy). In my opinion, for Hughes to insinuate that these five people come from completely different backgrounds and had absolutely no contact with each other or anyone else from their particular 'type' during school is just plain silly. For example, it is quite likely that Claire and Andy, being popular people, would know each other, or at least that princesses and jocks would interact on a regular basis. Same thing goes for Bender and Allison as social outcasts. Only Brian, being the brain, would logically be shunned by all other classes.
For another thing, these categories have little relevance today because in today's modern society, and indeed this has always been true, teens simply cannot be categorized and labeled, even by their peers, in this manner. I myself saw elements of my personality in every one of the characters, and neither I nor anyone I know would fit neatly into these stereotypes.
The last thing I'm going to gripe about in this review is, logically enough, the ending. For a film that tried so hard to be edgy, the denouement was awfully hackneyed and predictable. Four out of the five characters hook up at the end? Gosh, I never saw that coming! Also, the treatment of Allison was laughable. This girl has serious psychological issues that have been with her all her life, but all she needs is a little makeup, a nice dress, and a clean-cut boyfriend to set her to rights? I don't think so, pal. Willful suspension of disbelief is all fine and good, but to trivialize Allison's pain and emotional trauma in this manner is irresponsible and does a disservice to those young people who do identify with her character. I think that's enough bashing for this film; while it had its moments, it certainly is by no means the 'classic' that it is reputed to be.

One for the ages
This movie is a classic and it will stand the test of time. This is the second "teen coming of age" installment from John Hues, and round 2 for Molly Ringwald and Anthony Michael Hall. The first installment, Sixteen Candles, was more of a sexual coming of age movie whereas The Breakfast Club is more of a coming of age for one's character and social awareness. Where they are "teetering" with; do they stay with the social allegiances of their perspective pack, or do they listen to that inner voice...the voice of reason, maturity and human compassion that's not bound to any "click". I also like the choice of actors here; I think they all fit like pieces in a puzzle and make their characters totally believable. I am in the same age range as almost the entire cast and I was a senior in High school when this film came out. Allot of reviews seem to put this film within the Junior High crowd but I feel it's much more mature than that. The very message that it's trying to get across isn't understood in real life until we get close to 18 or so. The story is simple; 5 kids have to come into school on a Saturday for detention. At first they try to segregate themselves according to their school social standings. Inevitably they find out that they are more alike than they ever thought. The movie, in my eyes, is broken into 3 parts; the first part is pure character development. This is where you (the viewer) get to know each person they way they are supposed to be seen with their everyday face. At first, they act the way they think they should act, and stand up for what they always had, with out question or defiance. They stay true to their cause never steering away for a second. The second part of the film is where the movie itself develops. These 5 separate entities realize that they are variations of the same person. They have the same desires and anguishes. Their pressures and stresses are the same even though it's generated from very different sources.
The jock (Emilio Estevez) has the pressure to be on top of his sport (wrestling). In return for this he gets attention from his dad, coaches and keeps his standing within his social group. This is his priority in life and he doesn't stray.
The Princess (Molly Ringwald) has to conform and obey the rules of her social group in order to be accepted and keep her standing within the group. She keeps her eyes closed; mouth shut and goes along for the ride.
The Metal Head/criminal (Judd Nelson) is an angry guy! He wears the physical and mental scars of growing up in an abusive house. He hates most people, like the ones Emilio and Molly play, because in his eyes, they have had a free ticket and earned nothing...things are handed to them because of their social and/or economical standings. On the other hand, he feels that he's on a whole other plain because his eyes have been beaten open and he was forced to grow up a little faster than he wanted too or was ready too. I feel that Judd Nelson's character is the most crucial to the movie. He is the key to this whole new self-awareness for everyone, including himself.
The nerd (Anthony Michael Hall) is the quintessential geek. His every woken moment is spent learning. He hides behind his grades and in fact, he wants to be more accepted by the "cooler" groups. He also is a little "cocky" about his better grades and academically superiority to the other people in the room.
The weirdo (Ally Sheedy) is a loner and an outcast. She doesn't have friends that we (the viewers) know of. Because her parents ignore her, She feels ugly and without a place in the world. She is starving for positive attention. I think her character was needed in this movie to balance off the cast. It would have left out a very critical part of teen angst!
Richard Vernon (Paul Gleason) is the "Villain" of the movie. To the kids, he represents the out of touch older generation and the mean spirited, high testosterone adult. For Richard Vernon, these kids are the source of his anger and agony. He has lost touch with the younger generation for 1 reason, he got older...and the older you get, the harder it is to relate to youth. Youth recycles right before your eyes, but you keep getting older. His character is the key that releases these kids. He helps them to strip away the blindfolds and to take a fresh look at every thing and everyone (including themselves).

This leads to the 3rd and final part of the movie. Where they cleanse themselves of all the pentad up anger and prejudices. When the kids realize that they all have the same goal, they were just taking different roads to reach it. I highly recommend The Breakfast Club and it should go down as one of the all time great teenage movie!

A little time - a little perspective
I first saw this movie at a cinema in Austin in March, 1985. Just a year out of high school, I thought this was a deep, moving motion picture with a quality cast that really showed the feelings of different groups of students in schools. I could relate to the characters.

Move forward more than 19 years. This movie has not aged well. I read on the IMDB that John Hughes wrote this script in two days. After watching this movie again, I find that very easy to believe. It is horrible! - and this coming from a man who loves all things 80's! Was Judd Nelson about 35 when he made that movie? He looks about 20 years older than Anthony Michael Hall. Unbelievable characters and dialogue. Then they tie it up nice and neat at the end - with 2 unlikely couples pairing off leading us to believe there's no social caste in high schools.

With the small cast and lack of location shots, I'm amazed that I've never read about some high school drama club doing a stage production of this disaster. In any case, I've got a Breakfast Club DVD I'll never watch again - I'll post it used "New & Used" above.

Still relevant after all these years
Some question the durability of "The Breakfast Club," saying that the themes and plotlines do not hold up in today's teen society. As a 15-year-old, I would like to say that that is thoroughly untrue. 19 years after its release, "The Breakfast Club" is still a truthful, relateable account of teenagers and their personalities, and the ways in which they interact with each other. Sure, the stereotypes of the characters may be a bit exaggerated -- but that's necessary in order to get the point across. Watching this movie, I feel as if I know these people, or at least I've run across them at one point in my high school career.

The plot, as most people know, involves five different kids being assigned Saturday detention together. Each kid represents a typical high school stereotype -- a princess (Molly Ringwald), a jock (Emilio Estevez), a brain (Anthony Michael Hall), a basket case (the excellent Ally Sheedy), and a criminal (Judd Nelson). At the beginning of the day, none of them know each other, except for the princess and the jock. Throughout the day, they learn more about each other and work at tearing down the stereotypes that pit them against each other. As for the reviewer who said this isn't realistic that they would open up so much to each other -- it absolutely is. Put five kids into a room without an adult for nine hours, and they will talk about anything.

The beauty of this movie is the depth of the characters beyond the stereotypes -- particularly the nerd, Brian, who as we find out in the movie has problems well beyond what people think of him. He is the one that I most relate to in the movie. Watch "The Breakfast Club," and see who you most relate to. It's a great experience. Beyond the social commentary aspect, it's also just a funny movie. The jokes come at breakneck speed, especially for the first half of the movie (before it gets somewhat serious). The actors are also very enjoyable in their roles, particularly Ally Sheedy and Anthony Michael Hall. Highly recommended.

Must have to any collection.
The quintessential John Hughes film. I remember in my English class my junior year (1987) we had to analyze this movie. Only 2 years after it's release it was had all the qualities needed for a class analysis. I will spare you the report that I did back then.

Since then I have watched this movie at least once a year (and contrary to popular believe it is not for the panty shot). The characters are very well done. There is something that anyone who went through high school can relate to, even if we fit more than just one character. The interactions between the teens towards each other and then towards the principal as a group is classic. It's got love, teen angst, popular kids, geeks, dweebs, outcasts and the ever popular kid that doesn't fit in but always tries to get the attention. Nothing like dumping out your bag for people to go through to get attention.

Of course you can't forget the star cast of strong 80's actors, Emilio Estevez (Andrew 'Andy') Anthony Michael Hall (Brian) Judd Nelson (John Bender) Molly Ringwald (Claire) Ally Sheedy (Allison) and Paul Gleason (Principal). Great acting, John's look at teenagers and a great script all make for a very enjoyable look at the interactions and 'attitude' typical of the high school years.

I truly could go on about this movie but I won't. I'll just say that this is a much have for any movie buff and if you haven't seen it you must. ... Read more

Amazon.com

This 1943 version of thehorror story is more Technicolor musical than scare piece. Claude Rains plays the unfortunate, masked anti-hero, but he doesn't get the room to showcase a promising and sympathetic performance. Susanna Foster and Nelson Eddy, on the other hand, get plenty of screen time to warble. Well worth a visit just for the look of the film, which won an Oscar for cinematography.--Tom Keogh ... Read more

Reviews (44)

A cute but not particularly deep little flick
I wanted to see this because it had Claude Rains mostly, but also because I wanted to see Nelson Eddy as a person after hearing him in the Disney short "The Whale Who Wanted to Sing at the Met". Besides, I've been a fan of the book by Gaston LeRoux and the musical by Andrew Lloyd Webber for some time, have seen the silent movie version of this story, and wanted to chalk up another credit to my Phantom experience.

Overall, this wasn't a bad little movie - I felt that the fact that it was in colour rather detracted from the sombre, ominous mood this kind of tale needs - it should really be sort of Victorian film-noir, shot in black and white. But then, I felt that they really changed the story so much in this film version that it can only be looked on as a story independent of the book which was its inspiration, and so for that reason the colour is okay. I also felt that Claude Rains' character seemed as though it was going to be a main character at the beginning of the film, but then he seemed to disappear from the film for much of the rest of it. Also, the progression of his adoration complex for Christine was sadly overlooked throughout the film, and we are to understand his descent into bitterness toward mankind from the few scattered minutes of screen time that he has?

Although the rival banter between Raoul and Anatole was very amusing, it seems a little out of place in a story of such tragic dimensions, and draws one's focus completely away from the relationship between Christine and the Phantom of the film's title, which really is the core of the entire book and should be the same or similar in the movie. As another example of distraction - I like hearing Nelson Eddy sing, but at least two of the operatic numbers could have been shortened to make room for some more character development and depth in Erik and Christine's relationship.

I felt that the silent version of the film not only followed the plot of the book more accurately, but that the emotions and experiences of the characters were ones easier to "jump into", even despite the common (for a silent) over-acting of its players - but at the same time, this 1943 version was easier to watch. It's not as long or nervewracking. Still, I would recommend you to do it all - read the book, watch both films, and listen to the original London cast recording of the musical if you can't go and see it. Each one of these things will enhance your appreciation and enjoyment of the story in some way or another.

A Beautiful Film
I saw the 1943 version of "The Phantom of the Opera" before I read the book and (last) saw the 1925 version. I have to admit that it was not like the book at all, but the Lon Chaney version was a little. Claude Rains was very convincing as the tormented and lovesick Phantom, and was always more interesting than Lon Chaney. But Claude Rains was not given very much screen time, except near the beginning and end of the film. The sets were fabulous. Nelson Eddy and Edgar Barrier were almost constantly trying to win over Christine, and even though these scenes were funny, I've noticed that they can very easily become distractions that seem designed only to de-emphasize Claude Rains, which only hurts the film. Susanna Foster and Nelson Eddy sang a lot, and while these numbers were very nice and a joy to listen to, they were the only time Nelson Eddy really got a chance to shine, which is unfortunate. However, Susanna Foster fared well throughout the entire film. I would not recommend this film to anyone who doesn't like opera, or to anyone who wants to see a lot of the Phantom.

Horror fans will be disappointed
This film is more about the opera and the courting of an opera singer by two suitors than a deranged murderer running amok in the hidden chambers of the Paris Opera House. A great deal of screen time is devoted to the pursuit of the lovely Mademoiselle Dubois by a baritone and a Paris detective as both men are comically inept in trying to win the woman's favors. Claude Rains' phantom is a poignant figure, his madness notwithstanding, and he also has designs on the opera star and spirits her away to the catacombs under the building to possess her forever and have her sing the concerto he composed especially for her. The lush color and sets give the production a professional and polished look but the movie lacks suspense and thrills and is strictly for aficionados of the opera.

Pretty Good
Not my favorite interpretation of Phantom, but still good. Susanna Foster kind of bugs me, but that's okay. And they really changed the story. It's not at all like the origional novel, but it's about Phantom, and that's a good enough excuse for me! Anyways, it was pretty nice. The Raoul character was most realistic. I just don't like Susanna. :)

The Phantom Goes Musical
Gaston Leroux's penny-dreadful novel was hardly the stuff of great literature, but it did manage to tap into the public consciousness with its gas-light-gothic tale of a beautiful singer menaced by a horrific yet seductive serial killer lurking in the forgotten basement labyrinths of the Paris Opera. Lon Chaney's silent classic kept the basic elements of the novel intact'-and proved one of the great box office hits of its day, a fact that prompted Universal Studios to contemplate a remake throughout most of the 1930s. Although several proposals were considered (including one intended to feature Deanna Durbin, who despised the idea and derailed the project with a flat refusal), it wasn't until 1943 that a remake reached the screen. And when it did, it was an eye-popping Technicolor extravaganza, all talking, all singing, and dancing. The Phantom had gone musical.

In many respects this version of PHANTOM anticipates the popular Andrew Lloyd Webber stage musical, for whereas the Chaney version presented the Phantom as a truly sinister entity, this adaptation presents the character as one more sinned against than sinning'an idea that would color almost every later adaptation, and Webber's most particularly so. But it also shifts the focus of the story away from the title character, who is here really more of a supporting character than anything else. The focus is on Paris Opera star Christine Dae, here played by Susanna Foster. In this version Christine is not only adored by the Phantom; she is also romantically pursued by two suitors who put aside their differences to protect her.

Directed by Universal workhorse Arthur Lubin, this version is truly eye-popping in the way that only a 1940s Technicolor spectacular could be: the color is intensely brilliant, and Lubin makes the most of it by focusing most of his camera-time on the stage of the Paris Opera itself and splashing one operatic performance after another throughout the film. But in terms of actual story interest, the film is only so-so. Susanna Foster had a great singing voice, but she did not have a memorable screen presence, and while the supporting cast (which includes Nelson Eddy, Edgar Barrier, Leo Carrillo, and Jane Farrar) is solid enough they lack excitement. And the pace of the film often seems a bit slow, sometimes to the point of clunkiness.

The saving grace of the film'-in addition to the aforementioned photography, which won an Oscar-'is Claude Rains. A great artist, Rains did not make the mistake of copying Chaney, and although the script robs the Phantom of his most fearsome aspects, Rains fills the role with subtle menace that is wonderful to behold, completely transcending the film's slow pace, the lackluster script, and "sanitized for your protection" tone so typical of Universal Studios in the 1940s.

Like most "Universal Horror" DVD packages, this one is superior. The centerpiece of the bonus material is a very nice documentary, "The Opera Ghost: A Phantom Unmasked," which details the origins of the novel and the numerous film adaptations of it'and which is actually quite a bit more interesting than the 1943 film itself. There is also a nice, if somewhat perfunctory, audio commentary track by historian Scott McQueen, trailers, stills, and the like. But when everything is said and done, it's the film that counts'and unless you're a diehard Phantom fan you're likely to be unimpressed. ... Read more

Reviews (106)

An American Classic In A Memorable DVD Package
Many critics consider MEET ME IN ST. LOUIS the single finest Hollywood musical of the 20th Century. Produced by Arthur Freed, directed by Vincent Minnelli, and sporting a flawless ensemble cast led by Judy Garland, the film was immediately hailed when it debuted in 1944--and time has only added luster to its name. Now, after several home market incarnations, it at last receives the edition it deserves on DVD.

Given its stature, it is ironic that both MGM and Judy Garland originally fought the project. Based on a collection of autobiographical stories by Sally Benson, the script is little more than a series of domestic adventures in the lives of the Smith family of 1903 St. Louis. But it became a thing of wonder: a careful balance of sly but gentle humor, a collection of memorable performances, an understated score shorn of the usual movie-musical affectations, and at the center of it all Judy Garland, one of Hollywood's most memorable talents.

The transfer is excellent, capturing every nuance of the film's meticulously and beautifully designed sets in full Technicolor; the sound elements, remastered in Dolby 5.1, are equally fine and Garland's unique vocal skills are undimmed by time. All in all, it seems safe to say that not even the original 1944 theatrical release could surpass the quality of picture and sound offered here.

Although the bonus package would have better without the awful pilot for a failed television series based on the film, by and large it offers a superior collection. Previously available on VHS, the Roddy McDowell-narrated "making of" documentary is worth revisiting, as is the TCM-produced "Becoming Attractions." While a number of later documentaries surpass it, "Hollywood: The Dream Factory" has never before been widely available and offers an inside glimpse of the famous 1972 MGM auction. The Martins' performance of "Skip to My Lou" a reconstruction of "Boys and Girls Like You and Me," and a collection of Vincent Minnelli movie trailers round out the offerings, all of them entertaining.

The notable audio commentary is led by film historian and Garland scholar John Fricke. I regret to say that I have several issues with Fricke, who seems to rely excessively on Vincent Minnelli's autobiography I REMEMBER IT WELL and who has a tendency to perpetuate certain myths about the film--chief among them the idea that Garland did "The Trolley Song" in a single take. (Garland prerecorded the song, the overall sequence involves at least seven unique camera set-ups, and although Garland performs most of the solo in a single take there is a change in camera set-up toward the end of her vocal.) Even so, Fricke offers considerable insight into the cast, crew, and production of MEET ME IN ST. LOUIS, and the commentary is laced with remarks (some of them archival) by the likes of Margaret O'Brien, Hugh Martin, and Irving Brecher; in spite of my occasional misgivings, it really is everything one could wish an audio commentary to be.

These aside, the bonus package contains one significant and unique prize: the short film "Bubbles" and a notable audio commentary led by Hollywood and Garland historian John Fricke. Long thought lost, "Bubbles" is one of several shorts made in the early 1930s that include The Gumm Sisters, the youngest of whom would become better known as Judy Garland--a true rarity indeed.

Given the beauty of the transfer and the generally exceptional bonus package, it is difficult to imagine a better edition of this uniquely American classic. I strongly recommend it.

GFT, Amazon Reviewer

All-New 60th Anniversary Digital DVD transfer is AWESOME!!
Director Vincente Minnelli's 1944 "Meet Me in St. Louis" in TECHNICOLOR starring his future wife, Judy Garland proved to be MGM's biggest box office hit ever and proved to the world the musical with Garland ruled.

Now co-operatively Warner Brothers Entertainment Inc., Turner Entertainment Co. and distrubuted by Warner Home Video Inc continues their fantastic Two-Disc Special Edition Series with the 60th Anniversary Digital transfer from restored picture and audio elements of "Meet Me in St. Louis". This is a must have DVD set!!!!

This all-star cast; Judy Garland, Margaret O'Brien, Mary Aster, Majorie Main, Tom Drake and Lucille Bremer lead this special intergrated story with a perfect mix of music. The "Trolley Song" (Oscar nominated song - lost), and the infamous xmas song, "Have Yourself a Merry Little Christmas". And of course the movie title song, "Meet Me in St. Louis".

This 2 - Disc set is loaded with everything about the movie, Judy Garland and the Dream makers of HOLLYWOOD. Disc 1 - Has an Introduction by daughter Liza Minnelli The Feature film in gorgeous TECHNICOLOR in Standard Format and Dolby Digital Sound. Audio Commentary by Judy Garland Biographer John Fricke with Margaret O'Brien, Composer Hugh Martin and Screen Writers Irving Brecher & Barbara Freed-Saltzman. And finally a Vincente Minnelli Trailer Gallery including 8 of his movies.
Disc 2 - 45 minute Making of Documentary hosted by Roddy McDowall. 60 minute MGM Studio Profile film "Hollywood: The Dream Factory" hosted by Dick Cavett. A 45 minute 1966 "Meet Me in St. Louis" TV series Pilot starring Shelly Fabares, Celeste Holm & Rita Shaw. 35 minute Becoming Attraction: Judy Garland hosted by Robert Osborne (a brief history through her movie trailers). 1930 Vintage Vitaphone Musical short featuring a very young Judy with her sisters (The 3 Gumm Sisters). Vintage Soundie "Skip to My Lou". Deleted Song (an Oscar / Hammerstein) "Boys & Girls Like You & Me". 60 minute Lux Soap Radio Theatre 12/2/1946 Broadcast of "Meet Me in St. Louis" starring Garland, O'Brien and Drake. and Finally a 80 photo Stills Gallery.

This is a must have for the family DVD library. See Judy Garland at her best and see why Hollywood gambled and won with her outstanding talent to act and sing flawlessly. You'll love Judy Garland, this movie, the Smith Family and Margaret O'Brien (received a special minature Oscar award for her performance). Enjoy!!!

One of America's Greatest Musicals
Meet Me in St Louis is one of the greatest musicals ever made! Combining the talent of Judy Garland and scene stealer Margaret O'Brian and wonderful songs Meet Me In St Louis is a treat for all!

excellent
This is a great dvd of "Meet Me in Saint Louis," the wonderful classic musical. It's beautifully packaged and contains so much behind the scenes and extra bonus material it's well worth the price. A great addition to any musical dvd collection. I highly recommend it and was very pleased with it. Also Judy's daughter LIza is interviewed also. Great dvd a classic to keep!

One of the great American musicals ever filmed!
This exquisitely laid out 2 DVD issue of Meet Me in Saint Louis is an absolute must have for any Garland fan, Vincent Minnelli fan as well as fans of the major American musicals of all time. The movie itself is introduced with a short talk by Liza Minnelli to whet the viewer's appetite for the film; then the film is beautifully reproduced on the DVD for the viewer. One small disappointment: the film is shown in full screen; there is no letterbox version of the film on this 2 DVD set. The set is chock full of great extras which offer the viewer a rather comprehensive introduction (or review for seasoned fans) of Judy's work in such shorts as Bubbles as well as trailers for both Judy's films and Vincent Minnelli's films. The sound quality is excellent and the video quality is equally superlative.

The movie itself is the story of the life of an American family in 1903 in Saint Louis and their ups and downs throughout one year's time. Does the father take that new job and move the family from Saint Louis to New York? Do Esther (played by Judy) and Rose find the loves of their lives? Watch and find out! A special treat is the strikingly convincing acting of Margaret O'Brien as the youngest sibling in this large family from the last turn of the century. Margaret won an award at the Oscars and she very much deserved it-she acts her little heart out!

In short, this movie is a BUY! Go get it! Order it here, or shop for it anywhere-but just get it and enjoy a great American musical and the numerous bonus extras that are very hard to find elsewhere! ... Read more

Reviews (35)

A Coon Dogs Friendship!
This story is quite simple and is for both children and adults. The story is about a boys wish to get a coon dog. He lives in a part of the country where coons abound and its just natural to have coon dogs. The coons can be sold to England for money, so it is a trade for some. For others it is a contest to show how many coons there dogs can catch. Competition and sport becomes important to many who own coon dogs. The young boy is the main character in the story and his relationship to two dogs that he saves money to buy and than train is mostly half of the movie. The next half is a competition between other coon dogs to see who can win prize money and the trophy by how many coons the dogs can catch. The last part of the movie is sad and sort of hokey. I don't particularly like hunting as a sport so maybe that is why I couldn't get into this movie. The story revolves around animals being chased into trees and up roofs, etc. The cinematography is just beautiful and I would have loved to have seen this on the big screen. It sort of reminds me of the landscape in Songcatcher. That movie was based in the Applacians. The acting in the movie is pretty dry and not alot of affect in put into their characterizations. Overall, I rated it three stars. I love animals and this movie is all about the relationship about the boy and his pets but it just doesn't show that bond that I wanted to see. There were some scenes where the dogs looked so cute, especially when they were first learning to hunt coons. But that was not enough for me to up this to four stars...

The Worst Movie Ever
Wow! They can turn one of the best books ever into the worst movie I think I've ever seen. I read the book in my Language class. I thought that the book was alright for something that we had to read. But then when we watched the movie, it changed my whole perspective on Where The Red Fern Grows. The actors were horrible, the same with the special effects. And if you get this movie to watch what you read, you need to find something else. It leaves out some of the best parts of the book. I was disgusted with this movie. It may be the worst movie I've ever seen.

One of the best movies about friendship
I first saw this movie when I was in third grade and it is still one of the most heartwarming movies I have ever seen. About a boy who, during the great depression, skrimped and saved to buy a pair of coon hounds. After he finally got them he raised them to become the best pair of coon hunters in the county. What the dogs do for him proves an unconditional friendship to the end. I never fail to cry at the end. If I could give it more than 5 stars, I would.

So good I wish I could give it 10 stars ! - by Damaris
Now after all the movies I saw I have to say that Where the Red Fern Grows was the BEST one.I have never seen anything like it before.I thought the movie was very strong.The movie had a lot of emotional parts in it.I thought the boy who played Billy was the kind of boy who always agreed with his dogs and who never gave up on them. Now I've been reading other people's review of the movie, and most of them wrote that the movie was bad because it was not the same as the book.Well, I thought they were wrong. There might be someone who didn't like the book, so they'd want to see the movie and if it was exactly the same as the book, they want to see the movie! I am Happy the way the movie is.The people who made the movie did a great job.

Where the Red Fern Grows
Our seventh grade just read Where The Red Fern Grows. It was the best book ever and the rest of my friends think so too. It just became our new favorite book and then our teacher, Mr. Cutlip, asked us if we wanted to watch the movie. We said yes -- we were so excited and when we first starting watching it we were so excited but the more we watched it, the more we did not like it. We got so mad at it because it was leaving some real good parts out because the book was just so good we all figured the move was going to be real good. We all were wanting to know if you could go back and remake the movie all over BUT this time make it as close to the book as you can -- then you will have the best book and movie ever. And trust me everybody would buy it -- I would be the first one to buy it because your book is so good my mom is going to buy the book for me and there is not one book that I liked to read until now and it is Where The Red Fern Grows. ... Read more

Amazon.com

This strange and charming documentary by Al Pacino, in which he also stars, is an exploration of several topics: Shakespeare and his hump-backed villain, the impulse to act, the way actors work--and Pacino's single-minded effort to make the Bard accessible to all audiences and not just the effete few. Over the course of the film, Pacino alternately discusses the role and the text; roams Manhattan, talking about Shakespeare with everyone from scholars to people on the street; and re-creates scenes from the play in a production staged at the Cloisters, an evocative castle-like museum on the north end of Manhattan. He assembles a cast that includes Kevin Spacey, Winona Ryder, Estelle Parsons, and Alec Baldwin to perform the scenes, and he slips back and forth between text and discussion of the play in a way that makes Shakespeare comprehensible and fascinating to viewers who know or care nothing about his writing. --Marshall Fine ... Read more

Reviews (37)

Lost and Found
I have to admit I was skeptical of watching Al Pacino try his hand at ANY Shakespeare, much less Richard III, which isn't the easiest play to put on in the first place. But by the end I actually quite enjoyed the whole production, even if I wouldn't call it a masterpiece.

I'd recommend this film to anybody who enjoys the Bard, live at Stratford or even if it's some over-the-top movie version--and particularly for high school students who are still a little too dense to totally 'get' Shakespeare. It's informative for the uninitiated, and as a documentary, it works reasonably well, and moves at a brisk enough pace so you're not bored stiff.

Add to that some particularly insightful words from Derek Jacobi, and Sir John Gielgud (amongst others), it's well worth a rental, and doesn't embarrass any of the actors who were smart enough to take part in this.

And as a reminder to the bloke who trashed this in favour of Ian McKellen's excellent turn as Richard III, this wasn't meant to compete, but instead to enlighten the masses. Who to be quite honest, COULD understand Shakespeare if they put their minds to it, but most don't.

They're usually forced to in grade nine at best.

Amazing for an indepth look
I saw this movie in 1996 while in college on a "movie night" with other actors in my field of study. We were simply electrified by Pacino's depth and power that he put into the understanding of this amazing Shakespeare character. I have performed in Richard III, and believe me, i wished that i had this film to look at during that time to help me with some difficult scenes! I found Pacino to be extremely human, bendable, and thought-provoking; it's a definate must for the Shakespeare lover, and will expand your mind if you love Pacino! At least rent it!

Engaging!
I came across this movie on one of the movie channels on dish and, being a teacher of literature, got completely sucked in. I loved how the actors explore the characters of the play and the various plot sequences, then the audience is treated to the final outcome. Though the scenes are acted out at different locations throughout London, rather than on-stage, and one might say that it detracts from the film's credibility, the locations are well thought out and appropriate to the scene.

I can't wait to use this film as a teaching tool.

Mildly entertaining but also pretty deliberately dumbed down
I like Al Pacino in many movies, especially, of course, Godfather 2. I've seen him on the stage & enjoyed his performances in O'Neill & Mamet.

But to me Shakespeare is not his forte. In this film which I find to be mostly an exercise in actorly self-indulgence, he comes off sounding like Mel Brooks both as narrator & especially in character.

I also find the intent rather condescending & for the most part irrelevant. The gap between English & American actors doing Shakespeare has to do with Language & History. I didn't hear much commentary on these issues. Mostly the film sounds like a treatise for making Shakespeare palatable to grade schoolers.

Pacino's best film ... where's the DVD?
Although Richard III is one of Shakespeare's most violent and Gothic plays, Pacino's loving and intelligent exploration of the classic tragedy - and the legendary bard who penned it - emerges as one of Pacino's most compelling and inspiring films. A movie that makes me proud to be an Italian-American studying for his Ph.D. in British literature. ... Read more

Amazon.com

Best known for light, entertaining musicals such as Singin' in the Rain, director Stanley Donen grew more adventurous (and less successful) in the latter stages of his career, but this edgy romantic comedy from 1967 has proven to be one of Donen's best, most enduring films. Jumping back in forth in time, the film chronicles the marital ups and downs of a stylish British couple (Albert Finney and Audrey Hepburn) as they travel on various vacations over the course of their 12-year marriage. The separate vignettes combine to form a collage of joys and pains as the young couple struggles to maintain their fading marital bliss. In this regard, the film is refreshingly sophisticated in its treatment of the difficulties of long-term commitment, and with Hepburn and Finney in the leads, great performances are drawn from the acerbic wit of Frederick Raphael's screenplay. Fashion mavens will also marvel at Hepburn's astonishing wardrobe of late-'60s fashion--she's a showcase for summer couture, looking fantastic in everything from candy-striped bellbottoms to hip sunglasses and outrageously stylish hats. Some of the melodrama clashes with forced comedy (such as tiresome running gags or a cartoonish portrayal of crass American tourists), but that doesn't stop Two for the Road from being timelessly appealing and truthful to the challenge of lasting love. --Jeff Shannon ... Read more

Reviews (56)

A true classic.
TWO FOR THE ROAD had been nearly forgotten except by a few film buffs until Audrey Hepburn's untimely death. People are discovering it and finding it ageless for a number of reasons. The theme of a marriage changing through the years is a well-understood premise. It could be predictable were it not for the wonderful acting by the entire cast, primarily Albert Finney and Ms. Hepburn. Eleanor Bron and William Daniels are a terrific pair of American snobs who join them through a period of their adventure in marriage. The ingenious filmic vehicle(s) that moves the characters through various periods in time is unexpected and beautifully manuevered by the film's tender and loving director, Stanley Donen. Anyone who accuses Donen of being a one trick pony (Singin' in the Rain) should SEE THIS FILM!

Memory Lane Is A Bumpy Road
Some films from the Sixties have dated more than others. I loved this film when it first came out and for years had many pleasant memories of it. Some years ago, my English wife and I travelled across France by road from Calais to the Med and throughout the journey I had images of this film constantly re-playing in my head. So I looked forward to seeing it again after a long time. I don't know whether the times have changed that much, or I have. What once seemed witty, relevant, truthful, charming and modern now strikes me as a somewhat pretentious mess. I seem to remember more comedy than there actually is in the film. The scenes of the crumbling marriage are much too stark a contrast to the lighter tone of other scenes. Moving the storyline back and forth in time is not a problem, but the frequently uncertain tone is. Is it a comedy? A drama? A comedy/drama? A drama/comedy? Who knows? Certainly not Stanley Donen who was so much more assured directing Audrey Hepburn in Charade. Audrey is Audrey, even in the dramatic scenes. Albert Finney bounces between being a latter day Tom Jones and an upmarket Jimmy Porter. The chemistry between the two is marginal. The sequence with Eleanor Bron and William Daniels - two wonderful performers in other circumstances - now seems strained and tedious. The only saving graces are the French countryside and Henry Mancini's music (one of his best scores). Maybe someone seeing the film for the first time will enjoy it more. I remember once hearing that Meg Ryan wanted to do a re-make of Two For The Road. Lets pray to the gods of cinema that it never happens.

Fantastic!!
OK, this movie is just great!! It puts you in such a good mood and brings you to another land. I see there are a few people who made negative comments about the movie.... They are insane!! Two For The Road is a wonderful movie!! I recommend everyone watch it!! My boyfriend who has completely different taste than me even loved it!! Must see!!

If not the best romantic film ever made one of the five top!
Stanley Donen made an unforgettable film and futhermore a model film .
This is a film you'll enjoy always , for many reasons.
The script is supported by a creative edition , a road movie told at different narrative lines , where past present and future are mixed to create a excellent gaze about a simple couple in a road between England and French with thw forrest , the sea as powerful background.
The couple Hepburn - Finney was a hit. Both of them in the peak of his creative powers .

Delightful , a true song for the life and the love , and despite the crucial emotional croosroad at the end , it gives us amazing dialogues and funny situations.
In my opinion , behind Singin'in the rain , consider this one as the major work of this legendary film maker!

A rocky marriage, and a look back at a happier yesterday
When Mark and Joanna Wallace see a pair of newlyweds in a car, amid a throng of rice-flinging well-wishers, the following exchange is heard.

Joanna: They don't look very happy.
Mark: Why should they? They just got married.

It's clear that the Wallaces' marriage has seen better days from that cynical observation. Joanna is sick of seeing her successful architect husband at the beck and call of a certain Maurice, her husband's jaded indifference and extramarital affairs. That leads to an introspective look at their past, given by a series of questions is posed. Where did it all go wrong? You haven't been happy since the day we met, have you? Why do we keep on with this farce? Is it worth it? And of course, how long is this going to go on? These also seem to reflect Hepburn's own marriage to Mel Ferrer, which would last for one more year.

The series of flashbacks, told non-linearly, takes the viewer seeing how Mark and Joanna first met, their travels with another married couple, and the time when they had their first child, when Mark's preoccupation in his career rather than his family reveals the first cracks appearing in their marriage. And the film's running gag involves Mark unable to find his passport, because Joanna has taken it from him. This comes into play as the one consistent thing in their relationship, and a reminder of the past.

By far, the days when Max and Joanna hitchhike across France are the happiest. Sure, they are on a strict budget, being rained on, and a temperamental MG auto, which has a destructive sendoff when it finally poops out. But they were like a couple of kids without a care in the world, having fun. "What kind of people eat without saying a word to each other?" The answer is married people, they say during their romantic period. Years later, when their marriage is on the rocks, they make the same observation, only this time it's about themselves.

David, Joanna's extramarital lover, puts perspective on things when he tells her "there comes a time when one must grow, when the old things aren't amusing anymore." So what does one do when the old things include marriage or being together? Does one stick it out and become more miserable and self-denying, or does one call it a day? What's clear is that promises of never disappointing one another, that the marriage will be one of heaven, and the magic disappears once things don't become personal anymore, but driven by something else.

The transitions between the different times can be differentiated in the car driven, Joanna's hairstyle, dress, and how happy Mark and Joanna are. Donen's sudden jump cuts from present to the various pasts are effective and creative.

Audrey Hepburn is wonderful as usual, and there's growth in the kind of character she plays. Joanna is a variation of Anna (Roman Holiday) or Sabrina, full of fun and laughter, but she also represents a departure from those genteel characters. Scenes where it's apparent she's nude under the covers--unheard of for Audrey Hepburn, right? And her playing an adulterous woman who humiliates her husband? Albert Finney does well as Mark, and his manners of speech range from the comical Bogart-like voice during their premarital trek to a tired weariness.

Two For The Road is also the last movie Hepburn did with director Stanley Donen (Funny Face, Charade). And upon a personal request from Hepburn, Henry Mancini does another winning theme song, fittingly sweet yet nostalgic. It sets a precedent for Audrey Hepburn, away from the innocent virgin roles of before. Despite this being an analysis of a marriage going sour, with moments of frustration and pain, there are moments of fun, and showing how despite changes, maybe being able to accept things as happened and moving with the future will save a rocky marriage such as the Wallaces. ... Read more

Reviews (8)

an unfairly treated ELVIS " movie.
from the very first time i saw this film, i've been convinced that Elvis can act as well as sing. Unfortunately, he was not given too many chances to do so. His performance is credible, noteworthy, and unforgettable. The up-state NEW YORK scenery is beautiful,the veteran actors also in the movie- GIG YOUNG, CHARLES BRONSON, ED ASNER, all give outstanding performances.
The songs may have been few, KING OF THE WHOLE WIDE WORLD, I GOT LUCKY, etc, but still Elvis at his best.This movie is my favorite Elvis flick hands down. PLEASE MGM produce this movie on DVD FULLSCREEN AND WIDESCREEN 5:1 DOLBY DIGITAL . DO IT SOON, FOR I WANT TO ADD IT TO MY COLLECTION. THANKS,oldugly1911

Not enough meat on the bones
This was Elvis' first "bad" movie, in my opinion. The reasons for this lie in the awkward, and unnecessary, interpolation of musical numbers which bear little relevance to the on-screen action. While the film has a nice look, the locale is especially pleasant, and the supporting cast is good (particularly Gig Young) "Kid Galahad" strays from its original dramatic source to focus more on current youth fads such as tight sweaters and the Twist.
The film is burdened with lightweight, disposable songs (with the exception of "King of the Whole Wide World"), and concentrates more on standard boy-girl frolics than on the central dramatic story of a seriously gifted prize-fighter. Even with Charles Bronson and an uncredited Ed Asner in the supporting cast (indicating that the original intention was to make a solid action-drama film)"Kid Galahad" is the first serious mis-step in Elvis's film catalogue. With few exceptions, his subsequent films virtually jettisoned drama in favour of pop-gloss.

Elvis' best from United Artists.
"Kid Galahad" stars Elvis as an ex-G.I. who comes back to his hometown in upper state New York. Beautiful scenery, I might add. He wants to be an auto mechanic after returning from the Army, but instead he's reluctantly roped into being trained to be a boxer. Elvis has an anvil-fist and an iron jaw. Soon, he becomes boxing champ nicknamed "Kid Galahad". Joan Blackman returns and plays Elvis' love interest and the sister of the boxing camp owner Gig Young. Great picture formula, great songs and beautiful and breathtaking mountain scenery. Recommend this must-see to everyone.

Excellent Boxing Movie
KID GALAHAD (1962) is an excellent boxing movie. If you liked the ROCKY series, you will enjoy this movie of an ex-GI who has a winning knock-out punch. Elvis is credible as a boxer. The rags to riches story also rings true.

The opening scene is unforgettable with Elvis riding on the back of a Mayflower truck singing KING OF THE WHOLE WIDE WORLD. There are six songs including I GOT LUCKY.

This is a remake of a 1937 movie that starred Humphrey Bogart and Edward G. Robinson. The 1937 version was directed by Michael Cutiz who directed Casablanca and the Elvis movie King Creole. The movie examines the corruption of boxing and the gambling and crime associated with it.

Oscar-winner Gig Young is excellent as the promoter and DEATH WISH's Charles Bronson gives a spectacular performance as the trainer.

Elvis' acting is very good here. The song sequences are excellent especially one where Elvis and Young and Bronson are riding in a jalopy that Elvis restored and then painted red.

A man who can sing when he ain't got a thing, he's the king of the whole wide world. Indeed. Nobody proved it better than Elvis, the King of Rock and Roll and the Artist of the Century.

Kid Galahad- A Pleasant Surprise
I have not seen the original "Kid Galahad", but this one was very good, compared to anything, not just Elvis' other movies. I wouldn't agree with the "Oh well, at least it's not as bad as his others" angle that many seem to take. I think anyone would enjoy it. It has a good cast surrounding Elvis, most notably Gig Young and Charles Bronson. This movie also further proves that Elvis was a good actor, given the chance. The whole movie just seems to click, somehow. And about the songs, give them a break! It's an Elvis movie. The man can sing! Let him! Be thankful it wasn't a musical. It had a few songs, yes, but that fact is not nearly as annoying as others try to paint it. It had a great depiction of the corruption of the boxing industry, and some good fighting scenes. Elvis looked like he enjoyed his part and was interested, contrary to many other opinions, and by no means was he "chubby". He was very well-built, and worked with a real-life boxing trainer, who said that Elvis could've been a professional fighter. So anyone who says he wasn't convincing as a boxer should take a second look. Watch this movie, not compared to anything, but just as the movie itself, and there's a big chance you'll enjoy it. ... Read more

Amazon.com essential video

Chuck Jones directed some of the funniest shorts in the history offilmmaking, and this 1979 feature-length compilation includes several of hisbest cartoons. Among the 11 shorts shown in their entirety are the classicsRobin Hood Daffy, What's Opera, Doc?, Bully for Bugs, andDuck Amuck, which remain as hilarious as they were when first releasedalmost 50 years ago. As with any collection, the viewer wonders why some filmswere included and others omitted: Why Hare-way to the Stars andOperation: Rabbit, but not Rabbit of Seville or A Bear forPunishment? Nor is the material always shown to its best advantage: LongHaired Hare has, unfortunately, been cut, and combining footage from severalRoad Runner shorts into a 20-minute montage weakens the pacing Jonesbuilt into the individual films. These caveats aside, The Bugs Bunny RoadRunner Movie provides a showcase not only for Jones's razor-sharp timing,but for the work of his exceptional crew, which included designer Maurice Noble,writer Mike Maltese, composers Carl Stalling and Milt Franklyn, and voice actorMel Blanc. (Ages 4 and older) --Charles Solomon ... Read more

Reviews (19)

Best of the five fully animated Looney Tunes movies
Chuck Jones' The Bugs Bunny/Road Runner Movie came out in September of 1979. Chuck Jones directed some of the funniest shorts in the history of filmmaking, and this 1979 feature-length compilation includes many of his best cartoons. Among the 11 shorts shown in their entirety are the classics Hare Way to the Stars, Robin Hood Daffy, Duck Amuck(quite possibly the greatest cartoon ever made), Ali Baba Bunny, Bully for Bugs and What's Opera Doc? which are still hilarious as they were when first released well over 50 years ago. However, some viewers questioned why other greats like Rabbit of Seville were deleted. Amongst the classic cartoons is some new animation of Bugs from Chuck Jones recalling his exploits with Daffy, Marvin Martian, Elmer Fudd and Wile E. Coyote whom also has a confrontation with The Road Runner in a 20 minute montage which was also great as well. Also, the wascally wabbit's explanations of chases was hysterical. Also, the beginning credits and ending credits were funny with the That's All Folks trying to curtail the movie at start and near the end and Bugs getting irked and puts a NOT or a NOT QUITE between That's All. At the end, Bugs sits on the WB logo smiling saying "Eat Your Heart Out Boit Reynolds" and That's Really All Folks!. This movie is highly recommended!

The first Looney Tunes movie 25 years on
Chuck Jones' The Bugs Bunny/Road Runner Movie came out in September of 1979. Chuck Jones directed some of the funniest shorts in the history of filmmaking, and this 1979 feature-length compilation includes many of his best cartoons. Among the 11 shorts shown in their entirety are the classics Hare Way to the Stars, Robin Hood Daffy, Duck Amuck(quite possibly the greatest cartoon ever made), Ali Baba Bunny, Bully for Bugs and What's Opera Doc? which are still hilarious as they were when first released well over 50 years ago. However, some viewers questioned why other greats like Rabbit of Seville were deleted. Amongst the classic cartoons is some new animation of Bugs from Chuck Jones recalling his exploits with Daffy, Marvin Martian, Elmer Fudd and Wile E. Coyote whom also has a confrontation with The Road Runner in a 20 minute montage which was also great as well. Also, the wascally wabbit's explanations of chases was hysterical. Also, the beginning credits and ending credits were funny with the That's All Folks trying to curtail the movie at start and near the end and Bugs getting irked and puts a NOT or a NOT QUITE between That's All. At the end, Bugs sits on the WB logo smiling saying "Eat Your Heart Out Boit Reynolds" and That's Really All Folks!. This movie is highly recommended!

Worst Of The Bugs Bunny Movies!
Very dull, seems like it lasts forever. Trust me here people, you'll be shutting this one off, ten minutes into it. Yes, it's that bad!
You wanna see a good movie, then go buy or rent Gigli. Totally brilliant!!!!
Avoid.
Pogo has spoken!

Top-notch, it should only be released on DVD
Shortly after this came out, the media was swamped with well-meaning attacks on the violence in children's programming, much of which was directed at such classic cartoons as featured here - clearly a wrong-headed knee-jerk reaction gone too far. Perhaps that is why WB never re-released it on DVD. As it is, it is a prized member of my VHS collection, but I'd really like a newer one.

On the other hand, what I wouldn't like is the politically correct editing that started appearing in WB cartoon anthologies released after this one. For that alone, I despair of ever seeing this released in its original form again. In a post-Columbine world, I suppose such temerity is to be expected, but it's simply wrong to butcher such masterpieces of the animators' art.

But enough about that...

This is, to me the definitive WB cartoons. The only thing that could have improved it was more of the same, plus some other often overlooked characters such as the 3 bears. I've always been a huge fan of the late Chuck Jones and his Roadrunner cartoons in particular. This video has (almost?) all of them, grouped to run sequentially. As previously noted, some of the cartoons included here are on other WB collections, where their questionable editing for content is quite evident.

If you're an adult who can realize that when Wile E. Coyote falls 2000 feet, followed by an anvil, what's on display are Chuck Jones' artistry and comic genius rather than anything remotely related to reality, the you're in the target demographic. Let's face it, these cartoons with their somewhat dated references don't belong to the Columbine generation, they belong to us old-timers who grew up with them - and we deserve to be able to see them.

And that, succinctly, is what this is - the best of the best, without a post-modern social conscience.

Anyone who gives this 1 star is loonier than the movie!
Chuck Jones is a master and has the funniest cartoons ever created. Bugs Bunny narrates this hilariously looney movie. This tape includes:

DUCK AMUCK-- An absolute classic! One of the best cartoons ever made! And that's HIGH praise!

WHAT'S OPERA DOC?-- Just as good! One of Bugs Bunny's finest performances, not to mention Elmer Fudd's!

DUCK DODGERS IN THE 24TH 1/2 CENTURY-- This is so funny, every second of it has you laughing at something else, if it doesn't than your still laughing at the last gag! Cartoon Network made a TV show about Duck Dodgers and it's really funny but not close to being as funny as this!

HARE-WAY TO THE STARS-- One of Marvin the Martian's funniest performance. It is topped by DUCK DODGERS IN THE 24TH 1/2 CENTURY but Daffy provides most of the laughs in THAT one.

ALI BABA BUNNY-- Every cartoon in this is funny! And this one is no exception. It is FUNNY!!!!!!

ROBIN HOOD DAFFY-- "I'm Robin Hood, and I'm very good at avoiding the sherrif's eye!" Or so Daffy says. But Porky Pig is not convinced that he's who he says he is. This biggest hoot is the gag where Daffy is swinging down to the Sherrif and planning to steal his gold, but he bumps into every tree there. Another one of the best parts is the end.

Not to mention all the Road Runner cartoons in it!
The only complaint I have is where Bugs is naming his "FATHERS" and included are: Tex Avery, Robert Mckimson, Friz Freleng and Chuck Jones. And that's all fine and dandy! But what about Bob Clampett??? He did as much as the others! And Ben Hardaway may not have directed too many cartoons with the hare (two, actually) but he was the original creator of Bugs and so she be included as one of Bugs' fathers.
Buy this! That's all I have left to say! ... Read more

Reviews (27)

ALOHA, HAWAII! Elvis loved it there.
If I had to summon up the content of this whole movie in one word, it would be: "exotic". Why I say that is because of the scenery, the palm trees, the Waikiki beach, the beach boys and girls, the Hawaiian music, the ukeleles, the luau, EVERYTHING! Elvis is a returning G.I. who does not want to go into his family's pineapple business. Instead, he works for a tourist guide service, and his first customers are a pack of gorgeous-looking girls and a beautiful chaperoning schoolteacher (Nancy Walters). Beautiful Hawaiian wedding scene at the end when Elvis marries Joan Blackman. Angela Lansbury is perfect for Elvis' mother in this picture. She enjoyed working with Elvis. "Blue Hawaii" is quintessential and Elvis' top picture and
his best '60s musical next to "Viva Las Vegas", and "G.I. Blues".

Tour Hawaii with Elvis!!!
Tour Hawaii with Elvis Presley!!! That's a pretty good description of this musical, the success of which marked the end of the singer's attempts at being a serious actor. For what it is--a travelogue with music and a slight plot--it isn't bad at all. But "King Creole," "Flaming Star," and even "Follow That Dream" demonstrated that Elvis could indeed act when given half the chance. That's all "Blue Hawaii" is, though: half a chance. The songs aren't exactly rock and roll, but most provide pleasant listening, and, of course, this is the movie that introduced the lovely "Can't Help Falling in Love," the song with which he would end all of his concerts in the 70s. Angela Lansbury is on hand as Elvis' mother, even though she was only a few years older than him (just as she was only a few years older than Laurence Harvey when she played his mother in "The Manchurian Candidate" the next year, a movie in which Elvis might just as well have been cast considering his apparent manipulation at the hands of Colonel Parker), and, of course, there are plenty of luscious babes about for those who don't consider Angela a turn on. "Blue Hawaii" is a real mixed bag. It is, perhaps, the very definition of "fluff," and as fluff it is attractive, but it would ultimately lead to dozens of execrable imitations that would make Presley's movie career one of the most lamentable in history. The writing was on the wall and, more importantly, in the grosses.

Can't Help Fallin' In Love With This Movie
Mr Presley certainly wasn't a great actor, but this movie shows him off to his best advantage. The music isn't the usual bad Elvis movie music and the scenery is to doe for. The storyline could come from any family - a son trying to be independent, a father who wants son to follow in his footsteps, a dropdead gorgeous girlfriend who just isn't what HIS folks had in mind, outrageous friends and an airhead, over-protective mama dead-set on embarrassing the son at any given chance. The plot is easy to follow and even makes sense. OK, not everyone breaks into song on a horseback ride, but what the Hell ! The wedding scene ( oops, gave it away ) makes up for any gaffes.

Blue Hawaii
I think this movie was above and beyond Elvis's usual movies. It has a cute plot and the scenery is unbelievable. If you are not a Elvis fan you will fall in love with the scenery.

Wonderful Postcard
I re-watched this just before going to Maui last November on my first trip to Hawaii. The story may not be much, but the scenery is "spot on" and this is a nostalgia trip for the "older Hawaii" of the 50's. What a great postcard, and Elvis thrown in, doing his 60's Elvis thing, with more style and good grace than later films would exhibit. He seemed to enjoy himself and you'll enjoy the music. ... Read more

Reviews (540)

Simply Astounding
This movie has a very simple message and you read it in the title Life is Beautiful taking place during the holocaust in Italy no one could ever guess that this movie could be so touching and honest...Roberto Benigni who I believe won the Academy Award for his performance does the wonderful job in the role as a happy go lucky man who's whole life changes during the holocaust and it is up to Benigni to keep his family together...Another refreshing thing to see was the fact that this movie takes place in Italy during the holocaust and what is was really like for jewish families in Italy during the holocaust and very few history students know today that Italy was allies with Germany for a time...I love Benigni and enjoy watching his struggles and watching his love for his son and his wife. Why can't there be more guys like Benigi out there? The DVD features an English language track and of course English subtitles...I prefer the subtitles myself so I can get a real feel for the movie.I have been moved by this movie and you should rent or buy this movie for...by the end of this DVD you'll either be in tears or screaming life is beautiful!

Life is Beautiful, Movies can be Weird
After skimming the reviews here, Roberto Benigni has obviously struck a chord with a lot of people.
I would not argue with them but I found myself with the reviewer who called this film MR. BEAN GOES TO AUSCHWITZ. Actual history proved just too distracting for me to get caught up in this "fable."

Actually, the film I kept thinking of has never been seen: Jerry Lewis' THE DAY THE CLOWN CRIED. I've read the script and I can only imagine the reviews of that film if it was ever released! (Now there's a film in itself: a daffy but deranged filmmaker, popping pills and performing pratfalls, producing his movie about a German clown entertaining Jewish kids on their way to the ovens. Yikes.)

LIFE IS BEAUTIFUL doesn't go that far, but I found myself constantly distracted by Benigni's rubbery slapstick taking place in a concentration camp. Yeah, it's sweet that he wants to spare his son the horrors of the camp...but they're in a camp, a concentration camp.
The first half of the film actually plays like a whimsical, slightly-more-witty Jerry Lewis movie. Then the Nazis arrive. Individual scenes manage to touch and charm, but overall it just feels very odd.

Jerry Lewis must have gone nuts when Benigni won the Best Actor Academy Award (William Goldman, the sage of screenwriters, certainly did in print by saying this was the greatest Oscar abomination since THE GREATEST SHOW ON EARTH won Best Picture in the 1950s). I admit I was put off at Benigni's antics at the Oscars--"I LUFF YOU, I LUFF YOU ALL, I MAKE LUFF TO YOU ALL!" I can't even picture Jerry Lewis carrying on that much if he'd won Best Actor for THE BELLBOY. Now that I think about it, maybe he would....

Yes, movies are a great escape from reality--but there are some realities that shouldn't be part of that escape.
We have new generations of kids coming up who are quite removed from the terrifying reality of the Holocaust and the near-slapstick version of it portrayed in LIFE IS BEAUTIFUL could diminish the true horror of it.
That heaviness, that memory, made buying into the humor nearly impossible.

"I want to make love to all of hollywood"
The pride of Italy Roberto Benini in his WWII masterpiece, tastefully combining comedy with drama in an oscar winning foreign film. A must have. Make sure you watch it in Italian with the subtitles.

ETMR - Life is Beautiful
1. Humanity: How does Guido express the human quality of endurance?

2. Implications: Life is Beautiful expresses the need for family strength. What does this mean for today?

3. Evolution: Life is Beautiful employs a style that is at first jarring to watch, and then succeeds on its own as a force of comedy. How has this affected cinema since its release in 1998?

4. Realism: Is the game Guido plays with his son feasible realistically?

5. Stageplay: The basic story is one of a man trying to remain optimistic during a time of intense suffering. How does the light-heartedness of the plot change the realistic consequences of the Holocaust?

A Beautiful film
Never before has such a brilliant hybrid of comedy and the tradegy of war been so skillfully woven togen. The film, although disjointed slightly in its early stages, presents a delicate balance between the otrocities of the second world war and the genuine warmth and kindness of its protagonist. There are times when you will you laugh, others that you will feel deeply saddened by the plight of the characters, with the comfortable compromise reached at the film's conclusion leaving a pleasant after taste in spite of the circumstances. Brilliantly acted and filmed, Life is Beautiful presents a different take of what life was like in that dark period of history whilst leaving intact the integrity of the central themes and the brutality of war. This is a movie that can be enjoyed on multiple levels and is a worthy Oscar winner. ... Read more

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Barbra Streisand made her directorial debut with this 1983 adaptation of the Isaac Bashevis Singer story about a young Eastern European woman (Streisand) who disguises herself as a male at the turn of the century in order to get an education. Except for an excessive musical score with too many songs and Streisand's tiresome tendency to play characters who suppress their beauty, the film is crisp and engaging, and the gender-bending love story complications are fun, if gimmicky. Streisand gives a smart, vulnerable performance and gets fresh work from costars Mandy Patinkin and Amy Irving.--Tom Keogh ... Read more

Reviews (56)

A Triumph for the Director, Not the Actress
When "Yentl" was first released it proved to be neither the I-told-you-so triumph producer-director-star Barbra Streisand hoped, nor the total failure nay-sayers gleefully predicted. In years since, "Yentl" has become the punchline for many jokes (men who were dragged to see this with their wives or girlfriends can't seem to say enough nasty things about it), but most of those jokes aren't warranted.

As a director, Streisand has much to be proud of. She gets stellar performances from co-stars Mandy Patinkin and Amy Irving (Streisand has proven herself to be an actor's director), the photography is lush and she makes the non-commercial story quite compelling. The movie's main weakness, though, is Streisand's work in front of the camera. Being miscast is nothing new for the star of "Hello, Dolly!" and "A Star is Born," but usually she's buoyed by her star power. In "Yentl," that star power is a detriment. This is a movie that needed an actress, not a star.

However, not many film actresses have Streisand's voice, and this is a musical, after all. The songs in "Yentl" (all sung by Streisand; fellow singer Patinkin doesn't even hum along) function as internal monologues, and as such they work fine in the context of the movie. But this is no "Funny Girl"--despite a finale that looks very similar to that movie's "Don't Rain on My Parade" sequence. There are few tunes that'll be stuck in your head by the final credits. Turning "Yentl" into a musical seemed more of a concession to the studio, anyway.

Despite its shortcomings, and despite what all those snarky husbands and boyfriends say about it, "Yentl" proved Streisand's formidable talents aren't just limited to singing and acting.

Why isn't this on DVD!
I just adore this movie. Great acting, sweet story, lots of culture and absolutely fabulous music... I listen to the soundtrack all the time.

Barbara Streisand is perfect at playing an intelligent, yet vulnerable woman in a time and place in which women were supposed to be illiterate and considered to be silly. Her father was a more forward-thinking man in a culture that considered teaching a woman to read something perverse and criminal. When her father dies,she loses everything... women can't read, own property or make decisions concerning the course of her life.

She decides that her persuit of knowledge of the holy scriptures is too important to let the opportunity slip through her fingers, so she cuts her hair and lives life as a male Rabbinical student. Life takes a twist she doesn't expect when she falls for her classmate and subsequently is forced to marry a young girl.

There are a lot of laughing-out-loud moments, but this is mostly just an extremely sweet story of love, sacrifice, tradition and freedom. It's definitely a feel-good movie that will put a lump in your throat. I highly recommend this film.

Poor Quality Copy
The VHS desperately needs remastering. If people want to see Babs dressed up like a man, then we need to get this released on DVD.
I know I can't wait!!!

LESS WOULD OF BEEN MORE
I love Barbra. I saw her final Concert in Los Angeles so I am a fan! I like this movie! HOWEVER I did not Love it! I think this movie is TOO LONG! Since this is Streisand's baby you can see every frame was a labor of love! If you want to see a great Streisand movie get "Funny Girl" However Barbra if your reading I would trust you would do a great job of acting and directing in the muscial adaption of Sunset Boulevard! You are the greatest star of them all!

There are moments you remember all your life...
... and seeing Yentl certainly was such a moment. The movie had a profound impact on my life when I was a girl of 14. More than 10 years later, it has not lost any of its message. "Revisiting" Yentl from time to time has helped me choose the path I really want to go. Some of my dreams have come true, but there is more to come, I am sure. It also gives me courage to do what I need to, like Yentl, and like Mrs. Streisand whose work as female director was groundbreaking at the time. Chapeau! ... Read more

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One of the spookiest ghost stories ever put to film, The Uninvited is also one of the few classic haunted-house movies to treat the subject with respect and seriousness. Ray Milland and Ruth Hussey play a brother and sister who leave the city to live in a beautiful old house dramatically perched on a cliff overlooking the Cornish coast. As they discover some of the house's peculiarities--the unexplained chill that settles in certain rooms, the aroma of mimosas that wafts through the house, flowers that wilt when brought inside--they are told by local girl Gail Russell that the house is haunted, by the spirit of Russell's mother no less. The rationalist city folk first scoff at the idea but as Milland slowly falls in love with the frightened girl he investigates the legends and discovers some startling hidden truths. Donald Crisp costars asRussell's humorless, hard-bitten grandfather who forbids her visits to the house. Handsomely shot against the beautiful Cornish countryside, director Lewis Allen wisely suggests more than he shows and the uneasy tone and quietly restrained direction looks forward to such films as The Haunting and The Legend of Hell House. Though Allen ultimately reveals a suitably spine-tingling apparition, some of the film's best moments are chilling in their simplicity: nocturnal moans, slamming doors, and the dog's whimpering fear of the upstairs. --Sean Axmaker ... Read more

Reviews (65)

One Of The Best
THE UNINVITED is a truly top-notch haunted house film. The story has lots of spooky moments and the ghostly manifestations are presented with subtlety, leaving much to the imagination of the viewer. Lighting is used effectively to heighten the mood, and, having been filmed in 1943, there is no special effect overkill to make it seem hokey.

Besides the haunting aspects of this film, it is an excellent movie in most other respects, as well. The acting is first-rate, the music is lovely, and the scenery is as beautiful as it is appropriate to the mood. The tension builds steadily as the romance between Londoner Roderick Fitzgerald (Ray Milland) and local girl Stella Meredith (Gail Russel) progresses. Ruth Hussey does a fine job in the role of Fitzgerald's increasingly edgy sister, and Donald Crisp is excellent as Stella's over-protective grandfather.

THE UNINVITED is an excellent movie and one of the best ghost stories on film to date. In terms of pure hair-raising, spine-tingling chills, the original 1963 version of THE HAUNTING is tops, in my opinion. THE UNINVITED isn't far behind, though, and in terms of overall production values, it doesn't get any better than this. A great addition to any video collection.

Something Menacing
Ray Milland and Ruth Hussey star as a brother and sister, who while on vacation in the Cornish countryside, fall in love with a house for sale and decide to buy it. The home is surprisingly cheap, and they quickly discover why. Doors open and close, the upstairs studio is cold and damp and somehow menacing, the animals won't go upstairs, and worst of all, just before dawn the moans of a crying woman echo through the house. Somehow connected to all this and in terrible danger is Gail Russell, the daughter of the man who sold the house. Her parents lived in the home, and her mother died there. It becomes very clear that she is in danger every time she visits the house unless Milland and Hussey can find an answer as to why they have "uninvited" guests. If this excellent ghost story had been made today, the emphasis would be on computer generated special effects to deliver the chills. But that's not what makes this such an effective film. The dark, candle lit cinematography, the restrained performances and direction, and the measured approach to presenting the chills is what makes it work. The story and mystery are involving, presented in a way that makes the viewer believe it could actually happen. Milland and Hussey are very good, and Gail Russell delivers a sympathetic performance as Stella. The only criticism of the story is the character and performance of Cornelia Otis Skinner as a woman who knows the truth of what happened with Russell's mother. She is over the top in a film where everyone else is restrained, and the parts of the story that shift the focus from the house to the insane asylum that Skinner runs interrupt the flow of the film. But other than that, this is a perfectly crafted film that delivers a terrific, suprisingly effective ghost story that make it tops in that genre. The film establishes a mood and credibility that make it a real winner.

It will send chills down your spine
I don't normally like ghost stories as movies because all too often they turn out to be silly, obviously fake, or overly gory. The Uninvited, however, was a pleasant surprise. It has a lot of elegance and class, and instead of trying to scare you outright as other films do, it succeeds in establishing a chilling, uncanny atmosphere with great economy of means. Special effects are kept to a minimum, and this, along with strong performances from the cast, keeps things subtle enough to be believable.

Great! Where is the DVD
This fine movie, scarry, spooky, wonderful...where is the DVD???!!!!

Stellar by starlight
Top-notch movie. A spectacular blend of spooky atmosphere, spirited characters, and hauntingly beautiful music.

This is one of my all-time favorite movies. The plot plays absolutely fair with the clues, too. Those who pay attention can solve the mystery of the haunting.

Ray Milland gives a great performance as Rick Fitzgerald, a lighthearted composer whose sister talks him into buying a house by a seacliff that turns out to be haunted. (Personally, I'd kill for a home like that, ghost or not.) Ruth Hussey as his sister Pamela Fitzgerald has never looked better. She has beauty, class and humor. Gail Russell as Stella Meredith, who play's Milland's love interest and inspiration for his song, "Stella by Starlight," has a haunted beauty of her own.

This movie should be on every top 10 list. ... Read more

Amazon.com

The long shadow of Malle's autobiographical memoir of occupied France continues to fall heavily across subsequent representations of World War II, boarding school, and male adolescence--in fact, it would be difficult to identify a recent film that addresses these concerns and does not, in some substantial way, echo Au Revoir Les Enfants. The straightforward, unsentimental, gutsy Enfants finds its 12-year-old protagonist, Julien Quentin, sheltered from the conflict in a Catholic school. His classmate Jean, a new arrival, becomes first a competitor, then a beloved friend. Jean, however, hides a secret from his classmates and the Gestapo; evenly, subtly, Malle creates an atmosphere of hovering and inescapable danger. It won't take you more than a few frames to guess Jean's "secret," and many of the plot points here are too telescoped. Nevertheless, the plainspoken courage with which Malle tells his story remains wholly engrossing. The cinematography here is masterful and drunk with childlike wonder, alternating claustrophobic, wood-paneled church interiors with vivid, occasionally frightening outdoor vistas. And never is it more affecting than in the chilling scene where Justin gets lost in the woods during a seemingly innocent game of capture-the-treasure; trees and rocks flash by the running boy with an austere, impersonal beauty. Winner of seven Cesars (the French Oscars) in 1987, including Best Picture. It's in French, with subtitles; but don't let that scare you away. --Miles Bethany ... Read more

Reviews (19)

Beautiful!!!
"Au Revoir Les Enfants" is a great movie!! I'm only 13 and I love foreign films; and this is a great one. Louis Malle directs it and does a marvelous job. This movie is all in French with English subtitles but still pulls it off. It is about a catholic school in France during WW2. When a new boy comes to school, Jean Bonnet, all of his schoolmates pick on him and push him around. But Julien Quinten befriends him. Partly for the father who told him to be nice to him, partly for himself, and partly to find out the secret behind Bonnet's hidden name that he found in Jean's book. At the end, you pretty much know that he's a Jew and the movie ends in a sad and very powerful way. You'll enjoy this...a lot!!!

Brutal betrayal but ultimately love
"Au revoir les enfants" is an autobiographical account of the late director Louis Malle's childhood experience in occupied France. The story takes place at a boarding school for young boys. Julien Quentin, the protagonist, is a feisty, tough but vulnerable 12-year old boy. The arrival of a classmate named Jean Bonnet turns his world upside down. The other kids scorn and taunt him throughout the film but Julien becomes his friend, partly because of his curiosity of Jean's mystique and stoic nature. You will quickly guess what Jean is hiding, and the betrayal of the innocent makes this film haunting and brutal. A beautifully filmed story, sometimes the characters are a little "too beautiful" and perfect, if you know what I mean. Why does Jean have to be a beautiful child with mathematical and musical gifts? We'd love him just as much no matter how he looked. See it, feel it, and remember it.

One of the ten best films of this decade!
Malle made a superb picture in this autobiografical tale about the horror around the insights of a religious school in which a jew child is hidden with a false name .
But the time has its own velvet steps and the tragedy will come.
The bitter atmosphere you breathe under the nazi regime in the France of the forties is depicted with superb realism supported by a richness narrative and fine dialogues.
Don't miss this supreme achievement of one of the most gifted french film maker in any time: Louis Malle!
I really expect the DVD release !

powerful in its simplicity; my all-time favorite movie
poignant
funny
sad (but not depressing)
powerful
beautiful

this is my all-time favorite movie .. enough said!

Extraordinarily good
I have been viewing French movies, partly to explore new areas, and partly to study French. This is one of the best I have run across so far, seen through the eyes of an adolescent. The presentation preserves a childlike sense of awe, while dealing with complex political and moral subjects arising in occupied France. I was also delighted to find that there is a paperback put out by the French publisher "Folio," which basically tracks the French dialogue verbatim. This is useful, since the subtitles necessarily provide only rough translations, and the sometimes slangy French does not always even appear in standard dictionaries. ... Read more

Reviews (11)

A great film of a great Hollywood period!
The Story of Ruth was released in 1960 and I remember seeing it on a wide wide screen, curved, and in stereophonic sound; it was glorious, as were all Cinemascope films.

This film is not the Bible, but a meditation on it, factual, no, but it gets the point of The Book of Ruth across.

The best bits are a very moving perfromance by Peggy Wood as Naomi, and some stylish acting by Elena Eden and Stuart Whitman.The Wood scenes are excellent, and Naomi's prayer is quite striking, all filmed in a small house in earth tones...very good. Peggy Wood's many scenes of emotional upheaval are instances of excellent screen acting.

The Moabite scenes are crazy, as is all of that Chemosh stuff, but this film has great appeal...for die hards only, and especially for cinemascope afficionados of yore who can re-imagine it all even on the tiny screens we must put up with now, TV and movie alike. Buy and enjoy. Still not letterboxed.

Good TV watching
I saw this movie just last night on AMC. There are two ways to look at this movie: Scripturally and story-wise.

Scripturally the movie is not that good. There is a lot of license with Scripture (not surprising considering how small the book of Ruth is). But the license isn't really congruent with revelation. For example, this movie makes Ruth out to be a high priestess of chemosh and married for about 1/2 second to a Jewish man just before he dies. Boaz is a bitter man who makes a Moabite man drink poisoned water. The roles of kinsmen-redeemer is not even close to accurately portrayed. These things were done to try to make the movie have additional action, but detracts from the very real story. Also, here Naomi does not change her name, Moab tries to track Ruth down and kill her, and so on and so forth.

From a story perspective, the story is your classic structure. Boy meets girl, girl is coy, boy gets into trouble, girl rescues, boy says sappy stuff, girl falls in love, boy dies, girl moves on, girl meets new man, girl marries new man. And the actors do a good job with this standard plot line. For a movie made 41 years ago, it's still enjoyable watching. The production is pretty good and the acting is good. The sets remind you of Ben-Hur. The pacing of the story is standard for a movie made at that time, kinda slow (for today's tastes).

Overall the movie is fun to watch as long as you can overlook the Scriptural errors.

beautiful ruth
Elani Eden is drop-dead BEAUTIFUL! Buy this movie just to look at her.I hope this comes out on DVD soon.

Inspiring Story of a Woman's Devotion!!
Stuart Whitman, Jeff Morrow, Peggy Wood, and Elana Eden star in this screen version of the story of Ruth.

Ruth is a young Moabite woman who was raised from childhood to become a priestess and revere a pagan idol, but when she meets Mahlon the Judean (Tom Tryon), she's deeply affected by his belief in a merciful God who demans no human sacrifices, so she marries Mahlon, and when he dies, she renounces her own culture to remain with her mother-in-law, Naomi (Wood).

Now she comes into Judea, where she meets Boaz (Whitman), and the story begins anew. There is a wonderful depiction of loyalty, romance, faith, and devotion, and although the film is 132 minutes, it seems so short once you get into it.

Highly recommended, and the whole family with enjoy it.

A Classic!
This movie is captivating and a treasure! This film needs to be released on DVD!
PLEASE! ... Read more

Amazon.com essential video

Sarah (a teenage Jennifer Connelly) rehearses the role of a fairy-tale queen, performing for her stuffed animals. She is about to discover that the time has come to leave her childhood behind. In real life she has to baby-sit her brother and contend with parents who don't understand her at all. Her petulance leads her to call the goblins to take the baby away, but when they actually do, she realizes her responsibility to rescue him. Sarah negotiates the Labyrinth to reach the City of the Goblins and the castle of their king. The king is the only other human in the film and is played by a glam-rocking David Bowie, who performs five of his songs. The rest of the cast are puppets, a wonderful array of Jim Henson's imaginative masterpieces. Henson gives credit to children's author and illustrator Maurice Sendak, and the creatures in the movie will remind Sendak fans of his drawings. The castle of the king is a living M.C. Escher set that adults will enjoy. The film combines the highest standards of art, costume, and set decoration. Like executive producer George Lucas's other fantasies, Labyrinth mixes adventure with lessons about growing up. --Lloyd Chesley ... Read more

Reviews (769)

A wonderful movie for the kids... Great Jim Henson fun!!
I watched this movie for the first time as a young child and , I must say, it definitely appeals to the imagination of young and old alike. The puppets and the scenery are very fanciful and identify well with the fairy tale story line.Jennifer Connelly plays a young girl who lives in her ficticious dream world with princesses and goblins. When she makes the mistake of taking the fairy tale for granted, her bratty baby brother is swept away by none other than the almighty Goblin King (played by David Bowie.) She is forced to search through a twisting, mystical maze called the Labyrinth. Along her way she makes friends who are also fed up with the Goblin King and his shenanigans.The music provided by the talented David Bowie brings the story to life. It excites the kid in you and leaves you with at least one song in your heart. Jim Henson's muppets are as colorful and imaginative as ever and they conjure up rememberances of the fanciful visions that we used to dream of as children. This film is definitely worth seeing again and again and again...

A MAZE OF WONDERS!
This movie is a timeless classic. I first saw it on its theatrical release and still love it as much now as I did then. Its fantastic characters and enchanting sets make this a beatiful and magical tale, which could only be created by the artistic genius of Jim Henson's workshop. Now with this Dvd release, the film has been given a new lease of energy. The improved picture quality really emphasises the films gorgeous colors, really bringing to life the action. The script is blessed with the fantasy of the 'Dark Crystal' (an equally brilliant movie) but with the added mayhem of the Muppet show,it is far more more light hearted.

As is standard with Jim Henson movies, there is a wonderful mixture of characters, which interact together brilliantly. The acting may not be the best, but it is important to remember that Jennifer Connelly who plays Sarah (the lead character)was only 14 when she made this movie and is having to act with puppets which can't be easy. The great David Bowie gives a convincig performance as the goblin king, providing musical interludes, which admittedly, I found somewhat tedious as a youngster but enjoy now. All the elements blend to make a lively, innocent adventure movie which will be enjoyed by all ages.

The Dvd also provides a wonderful trove of extras, including a delightful 'making of' documentary which gives some really interesting insights to the movies creation.

Timeless magic
On its' release this little gem of a film was overlooked and not the hit it deserved to be.
The story centres around Sarah, a teenager, who resents her stepmother and Toby, her baby stepbrother and 'wishes' for the goblins to take him away. When they do Sarah finds herself journeying through the labyrinth of the goblin king (Bowie) in order to save him.
She befriends an assortment of creatures such as Hoggle, a grumpy dwarf type being and Ludo, a massive, hairy beast who has a gentle nature. They accompany and help Sarah on her way to the goblin king's castle where Toby is being held.
Jim Hensons workshop has worked it's usual magic and the film is littered with songs written and performed by David Bowie.
This film is pure entertainment for any age group, well worth watching.

Simplistic yet Imaginative
Rather than relying on modern cinematics and special effects, Labyrinth instead relies on the talent and imagination of it's creators. It combines the talents of Set Designer M.C. Eshcher, Producer and Director, the infamous Jim Henson, and of course, the talented fantasy artist and designer Brian Froud. This combination creates an absolutely fun, and magic filled journey through the naivete of childhood that can be shared by the young and old alike.

Jeniffer Conolly is superp as Sarah, and David Bowie even more superb as Jareth, The Goblin King. The casting couldn't have been more perfect, as both artists became legends in their own right in that their appeal has lasted through the decades, and so, has the film. It remains a cult classic.

If anything, the lack of special effects has made it's appeal even more undeniable, as it cannot be dated. Too many times has it occured with films that as speical effects develop, the films lose their appeal. As the film relies on the fantastic nature of not only the genre, but the spectacular muppetry, the film retains it's beauty, despite it's simplistic cinematics...

A must see for all lovers of the fantsy genre...and of course Jim Henson or David Bowie fans...

The Labyrinth
This is a great movie! I love it so much. It's kind of corny by today's standards. However, it is allot of fun.
The costumes are really cool to look at. David Bowie's music is fun in it as well.
Makes a nifty sound track. The character Sarah Williams is kind of annoying. However, David is great in it. ... Read more

Amazon.com essential video

When Samuel (Lukas Haas), a young Amish boy traveling with his mother Rachel (Kelly McGillis), witnesses the murder of a police officer in a public restroom, he and his mother become the temporary wards of John Book (Harrison Ford), a detective who's been assigned to solve the crime. After suspect lineups and mug-shot books yield nothing, Samuel, in the most memorable scene of the film, recognizes the murderer as a narcotics agent whose picture he sees in the precinct. Once Book realizes that the police chief is in on it, too, he whisks Samuel and Rachel back home to Amish country, where he himself goes into hiding as a plain Amish man. The juxtaposition between the life of the Amish and the violence of inner-city police corruption work surprisingly well for the story, and Kelly McGillis as the falling in love widow gives an almost perfect performance. Directed by Peter Weir, the film is extremely successful in drawing the viewer into its world and, accordingly, is immensely entertaining. The only thing that mars its polish is the one-dimensional, almost cartoonish handling of the upper-echelon police corruption--a subtler, more realistic treatment of this aspect of the story would have rendered the film near perfect. --James McGrath ... Read more

Reviews (62)

An extraordinarily good film ...
At the end of a disappointing summer movie season, I've started watching some of my favorites on tape. This movie is near the top of my all-time list; here's why:

ACTORS -- Most of the actors gave career-high performances in this movie. "Witness" helped establish Harrison Ford as a serious (i.e., non-Star Wars) action hero, and he demonstrates emotional range in this movie that doesn't show up very often in more recent films. Kelly McGillis is compelling, gradually and believably transforming from a shy widow out of her element to a strong, spirited member of her Amish community. Lukas Haas, who plays her son, offers a level of child acting that has only recently been matched by Haley Joel Osment. As other reviewers have noted, his wordless scene with Ford in the police station is a brilliant piece of acting -- an enormous amount of information and emotion is conveyed in complete silence. And Alexander Godunov brings a gentle grace to his role as the Amish farmer competing with Ford for McGillis' affections. It's sad that he didn't get more opportunities to demonstrate his acting ability before his death a few years later.

CINEMATOGRAPHY/SCORE -- As with most of Peter Weir's films (cf. "Dead Poet's Society"), "Witness" is visually stunning. The shift from the gritty heart of Philadelphia to the rolling hills of Amish country is jarring, and leaves one with a palpable sense of longing. I think the barn-raising scene in the middle of the movie is one of the most beautiful scenes I've ever seen filmed, both visually and thematically. Underscored (so to speak) with music reminiscent of Copland's "Appalachian Spring," it drives home the value of community and shared endeavor. It's a marvelously uplifting segment.

ROMANCE/EROTICISM -- The relationship between Ford and McGillis is very well done. The attraction that arises between them (driven in no small part, apparently, by Ford's kindness to the young boy) is constantly and realistically tempered by the awareness that they come from fundamentally different cultures. That slows the development of a relationship between them, which provides the movie with a delightful undercurrent of romantic tension. That tension reaches a peak in a powerful scene in which Ford sees McGillis giving herself a sponge bath. There is nudity in this scene (McGillis turns and shows herself, topless, to Ford), but it seems to be precisely the kind of nudity that, as actresses like to say, "is essential to the story." Given the way in which the Amish are portrayed in this film, McGillis' character is making a very bold (and risky) offer, and the difficulty of Ford's refusal is evident in his face. There certainly is a lot of gratuitous nudity in film, but "Witness" is not in that category.

This movie is aging extremely well, in large part because of the sweep of its vision, the powerful simplicity of its story, and the skill of its execution. It is a terrific movie.

Impressive film!
"Witness" is defineately one of the greatest thriller/romance movies ever made. Directed by Peter Weir, the plot concerns a yuong Amish boy (Lukas Haas) who witnesses a murder in a Philadelphia train station bathroom while traveling to the city with his mother Rachel (Kelly McGillis in her best performance). Detective John Book (Harrison Ford) is assigned to the case, and quickly discovers that a corrupt narcotics cop (Danny Glover) is the killer. After a close shave, Book, Rachel, and her son escape to Amish country, where Book hides out as an Amish farmer--while also protecting the witness and his mother.
Of course, at the end there is one whopper of a scene when the corrupt cop & friends discover Book's safehouse.
"Witness" received several Academy Award nominations including Best Picture, and won for Screenplay, Cinematography, Sound, and Film Editing.

Ford at the top of his game
Some of the most powerful romances can spring up when both sides have to be restrained; here, the widowed Amish woman and the cop-in-hiding know that they come from different worlds, know that a relationship between them will not practically work, and so fill the screen with unresolved sexual and romantic tension.

Woven into the more grisly details of murder and police corruption are scenes of humor and beauty. Dancing in the barn to "Don't Know Much About History". Having to wake up at 4 a.m. to milk the cows. It's funny to see how the cop, John Book, tries to fit himself into Amish life the best he can. And it's very moving to see his growing love for the Amish woman who nursed him through a bad gunshot wound and has enchanted him with her character and beauty. The movie's climax is also riveting; it's not often that one sees gunfighting at an Amish farm.

Great film, poor quality transfer
"Witness" captures director Peter Weir's first exploration of the cultural clash between America's Amish community and modern society. We witness two worlds that collide and two people that can't bridge the gap between their two worlds despite their blossoming love for each other.

The story revolves around Samuel a little boy who has witnessed the murder of an undercover police officer, his mother Rachel (McGillis)and John Book (Ford) who investigates the murder discovering corruption, deceit and a conspiracy at it the heart of his department. After he discovers that his witness isn't safe, Book whisks them back to their Amish farm where he's forced to hideout as well.

One of Weir's finest films to focus on America, this so-so transfer looks grainy and has lots of compression issues. The transfer isn't a widescreen anamorphic transfer but is presented in that format (i.e., it's presented with the black bars at the top and bottom of the screen but the transfer isn't high definition). The picture occasionally comes across as soft and the rich use of color and light that vividly brought the film to life in theaters isn't well represented here. Hopefully Paramount will update this and remaster it the way it deserves to be done.

The extras include an interview with Weir obviously done around the time the film was made or first appeared on video and the original theatrical trailer. I would have expected a commentary track but since Weir isn't all that big on them to begin with, that would be hoping for too much.

A great film just a poor translation to DVD.

Comparing Witness: 1985 and 2004
As I write my title, it is weird to think this film is nearly 20 years old! How time flies! Anyway...I first saw this film when it first came out and I remember I really really liked it. I was 23 years old and not a Christian at that time. Now, I am soon to be 42 and have been a Christian for over 18 years. For 10 years of my life, I lived as a Mennonite (like Amish in many ways, but we drove cars, had electricity, etc.) I am no longer a Mennonite, and now I watch films again. I appreciate classic cinema very much, but recently have wanted to watch Witness again, to see if I would like it as much as the first time, and to see if I thought they portrayed the Amish correctly.

So, I watched it last night. It was interesting in that I remembered so much, even some small details about it. So it really did impress me that first time when I was young. This time, I enjoyed it, but I wouldn't say it is a film I would watch over and over again, as I watch some classic films. To see it once more was enough to just satisfy my curiosity about my memories of it.

I did feel they portrayed the Amish quite well, with the clothes and such. What they did wrong about the portrayal was that in no way would it be allowed for an Amish woman to tend to a wounded man who wasn't her husband, by herself in a room alone with him. It just isn't proper, isn't done. In reality, a man would have done that, or an older woman would have done it, with another woman there. I think the movie allowed the Rachel character to have way more "access" to a man alone than would be allowed in a real Amish or Mennonite community. I doubt he would have really been allowed to stay in the house. In reality he would have been placed in a home with a family who had a bunch of boys and he would work with them and the father, and not have all that time alone with Rachel.

I don't like violence...I knew that the bad part happened in the train station in the beginning, so we were able to fast forward that part. Also, we were able to fast forward the ending "shoot out" stuff. I didn't care for the bad language. The scene with Rachel taking her sponge bath, well when I was young and not a Christian, I found that very romantic. Now, I found it rather silly. A devout Amish girl/woman would not have just calmly turned around and let a man stare at her while unclothed. And later on, when she and he finally "meet" for the romantic moment, I found that sort of offensive. Why kiss out in the yard where anyone could see you? Eli could have easily looked out the window (a real Amish father would have kept better tabs on his daughter with a strange man around the place). I felt that scene was very much just an animal passion thing...sort of vulgar. Not at all romantic, truly loving or gentle. It seems people sure knew how to kiss and show romantic love a lot better in the old movies! And right before she went out there, she took her prayer veiling off. Which again, no Amish woman would do. But then she obviously was rebelling. There was that other time too, when she and John Book were in the barn listening to his radio, and she had it off then, and I am not sure why, for no Amish or Mennonite woman will go without it in front of people or outside the house.

The ending left me wondering...would Rachel just go ahead and marry Daniel? Would she really be happy with him? She really would have to repent of her sins with John Book to be truly happy. I also noticed that the film never showed a church service. Also, none of the Amish folks never seemed to care to tell John Book how to be a Christian. But then there are many Amish who are not born- again Christians, but just are "culturally Amish"...they live the way they do because they have always done so. These must have been that type of Amish. It did seem that Grandfather knew the Bible...he quoted some good verses when talking to the boy about the gun. That was good to see, yet sad that such violence had to even be witnessed by this child.

Oh, of course any film with Amish must have a barn raising scene, and this one did. Also, so many movies with cows mus have the scene where the city person doesn't know how to milk a cow. Of course John Book must learn. He makes a joke about "teats" in this scene, and grandfather Eli laughs at it, which again, I doubt a devout Amish man would do.

Well, these are my thoughts. It was interesting to revisit this film again. In closing, I would say it is an okay film for adults but I would not recommend it for children. ... Read more

Reviews (103)

Ultra-Sentimental 2nd Treatment of "Aunt Jemima Story"
"Imitation of Life" is the bitter sweet story of a black maid struggling with her light skin daughter who wanted to pass as white. The story begins in post WWII NYC when Lana Turner (in the role of a struggling actress) hires the maid to work for and live with Turner and her then 7 year old daughter (same age as the maid's little girl). Times are tough at first, but the 4-some gets on fine. Only little Sarah Jane (the maid's daughter) has constant trouble accepting her color.

The story spans about 15 years and shows various instances where the loving black maid is humiliated by her daughter who in the end disowns her mother. The ending is the ultimate heartbreaker; the film deserves 5 stars for that alone!

This is the 2nd Hollywood treatment of "The Aunt Jemima Story". The first version (1934) with Claudette Colbert has better acting, but is not quite as sentimental as the Technicolor Lana Turner film. The latter also has a memorable title song by Earl Grant (who usually plays the organ in his recordings, but here he sings).

I could watch this movie anytime, for no reason at all...it's the best in its class! This film is the ultimate in Hollywood tear-jerkers, and one of my favorite movies ever. Lana Turner was not exactly "Oscar-material", but neither was Marilyn Monroe--still they both captured an audience with their presence like few other actresses ever did. Nothing but pure "Hollywood Candy" here! ...

a true classic
One of the great Hollywood melodramas, IMITATION OF LIFE is based on the book by Fannie Hurst and is directed with style and emotion by Douglas Sirk.

A chance meeting throws together Lora Meredith (Lana Turner) and Annie Johnson (Juanita Moore), two struggling widows who both have troubled relationships with their daughters. Lora is a Broadway starlet intent on hitting the big time, which will come at the cost of her daughter Susie (Sandra Dee), while Annie's daughter Sarah Jane (Susan Kohner) is a black girl with a pale complexion, who chooses to pass as white in order to avoid the hatred of a prejudiced world.

As years of denial and unawareness pass, the two girls slowly revolt from their mothers, and the story moves to its emotional and tearful conclusion.

Still compelling over 50 years later, IMITATION OF LIFE still has a message for modern audiences, and preserves the tour-de-force performances of Juanita Moore and Susan Kohner. Both were Oscar-nominated for their work here. The performances of Sandra Dee and Lana Turner (and Troy Donahue as Sarah Jane's violent boyfriend) are just as impressive.

The supporting cast includes John Gavin, Dan O'Herlihy, Robert Alda and Mahalia Jackson. The DVD includes the trailer. (Single-sided, dual-layer disc).

MOORE AND KOHNER - THE HEART OF THIS MOVIE
In 1959, Susan Kohner and Juanita Moore lost the Best Supporting Actress oscar to Shelley Winters for "Diary of Anne Frank." While Winters certainly was a seasoned and excellent actress, I don't see how one can overlook Susan and Juanita's gutwrenching performances. In spite of the star presence of Lana Turner and John Gavin, this movie's heart lies in the story of Annie and her mulatto daughter, Sarah Jane.
Director Douglas Sirk and his glamorized movies was the inspiration for the much acclaimed film, "Far from Heaven." One can see why Todd Hayes wanted to venture into this director's turf. Ross Hunter's glitzy production begged for its audience to become embroiled in Lana's problems becoming a big actress. But with the performances of Ms. Moore and Kohner, IMITATION OF LIFE achieves the status of one of our finest tearjerkers. Sadly enough, neither actress had much of a career after this, and what a shame. Their scenes together are so electric and heartwrenching, they deserved more. The final portion of the film wherein we lose Ms. Moore and her subsequent funeral are the stuff of Kleenex heaven.
Definitely one of the finest remakes of our time. Because of Juanita Moore and Susan Kohner!!!

Lana Turner and Juanita Moore
The struggles of two mothers with very different problems are detailed in this glossy but overly sentimental film. Lora Meredith and Annie Johnson establish a friendship purely by accident but they forge a bond that brings them together for life. Lora eventually finds stardom on the stage after many setbacks and disappointments but Annie has the impossible task of trying to make her mulatto daughter accept her racial heritage. Sarah Jane's shame at having a black mother is the main theme of the film while Lora's ups and downs on Broadway and eventual career success provide a counterpoint to the troubling themes of self-loathing and racial intolerance. Sarah Jane's relationship with Lora's daughter Susie is by turns sisterly and contentious because of Sarah Jane's jealousy and resentment towards Susie because she is white. Another sub-plot is Lora's relationship with Steve Archer, which also spans many years. Their romance always takes a back seat to Lora's stage career ambitions, which frustrates her handsome suitor immensely. Steve eventually becomes the object of Susie's affections as she grows into womanhood and her obsession with Steve causes problems later on. The film's famous last reel is touching and has the added effect of having Mahalia Jackson sing spirituals for the beloved Annie. Lana Turner is very beautiful and glamorous in this film and was never lovelier, but Juanita Moore's tortured Annie and Susan Kohner's ungrateful, mean-spirited Sarah Jane are the reasons for which this film is remembered.

Imitation of Life ( Germ241F @ SUNY Binghamton
Douglas Sirk's 1959 remake of John Stahl's 1934 film, Imitation of Life, is a parody of the original. In a comical rendition, Imitation of Life, addresses intersections of race, social and economic class, and gender in the film, as well as existing stereotypes, through the use of Neo-Brechtian gestik acting which means over-the-top, melodramatic and campy acting that is quoting a character and his/her emotions and exaggerates the role of a character in a situation. Sirk deliberately wanted to use gestik acting and avoided method acting (acting out what your emotions would really be, if you were in a certain situation) because he didn't want audiences to think that this film was real and to be taken seriously.
Two single-parenting mothers, Annie and Lora meet on the beach of Coney Island, in search of Lora's daughter Suzie. When Lora and Suzie find out that Annie and her daughter Sara Jane are homeless, Lora decides to let them live in her apartment as long as Annie agrees to contribute some help around the house, and do the dirty work for Lora. Annie is depicted as a parody for blackness, just because she has typical attributes of any nanny. A loving, nurturing, understanding, and caring mother is the stereotypical mother that society adores which is played out by Annie. On the other hand Lora is a neglecting figure in the eyes of Suzie. Annie is more like the mother for Suzie, but not Sara Jane. Sara Jane refuses to admit that she a daughter to a black woman and passes as a white girl while in school. Sara Jane fires up the racial tension in this film because of her denial and mistreatment towards her mother.
Lora meets a man named Steve, who almost right away, proposes to her. She denies the proposal in an effort to pursue her dream of becoming a Hollywood actress. Steve tries to make her stay, by telling her that she doesn't have to work, and that he will bring home to money. This shows us how Steve along with the majority of society view women and their roles of life. A women's life should be to stay home, clean, take care of the kids, and put dinner on the table, which is the old fashion way that much of male Americans viewed women to perform in. Opposite roles of gender for the male figure in this film was shown through Steve, who has found a detective out of now where, who has found Sara Jane and her place of refuge from her mother. This situation renders Steve as if he were Superman, the one being able to fix any problem.
This campy imitation of life is viewed throughout most of the film, except for the scene of Annie's funeral, where Mahalia Jackson sings a gospel song. Eulogy of Annie is brought to her through the singing voice of Mahalia. This scene is supposed to be a serious one among the other witty scenes, because the character of Mahalia is the only realistic one in this film and is not to be criticized. Mahalia does not exemplify the overly dramatic acting. ... Read more

Reviews (29)

Bergman shines in religious epic
Overlong but fairly engrossing bio of Gladys Aylward, an English-woman who, despite her lack of qualifications, becomes a missionary in China. The film is episodic and covers Aylward's brief career as a parlor maid (saving money for her trip to China), her journey to China, her work at the Inn of the Sixth Happiness and the Chinese-Japanese war which results in her guiding 100+ children in an arduous journey through the mountains to a safer village. I didn't find the film as moving as other reviewers but it is well mounted and nice to look at. Bergman is outstanding as are other supporting players, most notably Curt Jergens and Robert Donat. This was Donat's last film (he died before it was released) and his last screen words are prophetic - "We shall not see each other again, I think. Farewell."

What is most notable about this dvd release is the excellent commentary by Nick Redman, Aubrey Solomon and Donald Spoto. Redman talks about the real Gladys Aylward, Solomon talks about the film production and Spoto discusses Ingrid Bergman. There were many things changed for the film version and many of them are small and inexplicable. For example, Aylward's given Chinese name was Ai-weh-deh (not Jenai), an adopted child was actually named Ninepence (Sixpense in the movie), etc. Other changes were more larger in scope - Aylward's journey to China was quite harsh and she almost died several times. The inn-keeper, Jeanne Lawson (memorably played by Athene Seyler) was no as agreeable a woman as portrayed in the film - she was actually a cantankerous person prone to fits and thought to be quite mad by the villagers. Aylward herself was thought by many to be fanatical and to put it bluntly, off her rocker. Many other fascinating aspects about the film and the women (both Aylward and Bergman) are included.

A must for every video library ! An inspiring tear-jerker !!
One rainy afternoon I was channel surfing and came across this movie and fortunately for me it was very close to the beginning. I was so drawn into the story and captivated by Ingrid Bergman's performance that I forgot I was even watching television!! This is one of the most touching and moving stories I have ever seen and (I won't give this part of the movie away) when the Chinese gave "Gladys" a new name and what that translated to in English I thought I was going to go through a whole box of tissues right then and there. The storyline, scenery and acting are superb and the fact that it is based on a true story only makes it more inspiring. My cousin is 18 years old and wants to pursue a career in the mission field and I told her many times that she has to see this film. So I'm not only going to purchase one for MY video library but one for HER'S as well.

following God's call
This is a magnificent film in every aspect; the acting is brilliant, the landscapes beautiful, the drama intense. Based on the true story of Gladys Aylward, a house maid in England who was "not qualified" to be sent to China as a missionary, so went there on her own, saving every shilling earned for a ticket on the Trans-Siberian railroad. Taking place in the pre-WWII era, it's an adventure story of great spiritual courage, the chaos of war, and a romance between two independent people who never thought they would find love.

Ingrid Bergman is luminous as Gladys. It is one of her very best performances, and my personal favorite. Robert Donat, who passed away before the film was released, is also marvelous as the Mandarin of Yang Cheng, and Curt Jurgens as Captain Lin Nan is handsome and believable as the man who falls in love with Gladys. In a small but pivotal part, Athene Seyler is terrific as Jennie Lawson, the elderly missionary who helps Gladys in her early years, and Peter Chong is a delight as Yang the cook.
It is odd that the only Oscar nomination went to director Mark Robson; perhaps Bergman was overlooked because she had received a "Best Actress" for "Anastasia" two years earlier, but Bergman fans will give this film their own five-star award.

The fabulous location filming by Freddie Young was done in Snowdonia National Park, North Wales, a remarkable substitute for Shaanxi Province, in the heart of China. The village reproductions are very well done, and look incredibly similar to films I have seen shot in China. The lovely score by Malcolm Arnold adds much to the film, and Alan Burgess, whose book "The Small Woman" is the basis of the story, wrote the script, which is witty, wise and wonderful, with Isobel Lennart.
Many times I've laughed out loud , and many times I've cried watching this film; it's good for several viewings, as it is epic in scope, and the script has an intelligence that makes it a rare gem. total running time is 158 minutes.

In the film, Chinese tradition has five "Happiness" wishes: Wealth, longevity, good health, virtue, and a peaceful old age and death. "Each person must decide in their heart what the sixth happiness is".

Break out the Kleenex...
...for this manipulative, mawkish tear-jerker. The story feels superficial (you never get a feeling for Aylward's sense of spirituality, only the very ocassional bit of tacked-on religiosity), and it's all grossly sentimental. All those feel-good moments with singing kids and long hugs actually detract from the important message about selfless service by making self-sacrifice seem all too easy and romantic, even in the face of brutal Japanese invasion.

The casting choices will try your suspsension of disbelief, to say the least: a Swede as an Englishwoman, a hulking German as a half-Dutch/half-Chinese colonel, and an Englishman as a Chinese mandarin. That said, this is still a fun film if you take it for what it is. It boasts an unusual story and exotic setting, and Bergman is as radiant as ever (even if she overacts in a couple scenes). Donat and Jurgens are uqually winning, in their own way.

Hardly Bergman's best film, but certainly worth a watch if you're a fan.

Noah visits the baby Jesus
The Inn of the Sixth Happiness was filmed in Wales and the scenery is beautiful. Ingrid Bergman is in top form as Gladys Aylard would be missionary to China. One of my favorite scenes is when her assistant Yang, who has a fondness for Noah and his ark, is telling the diners at the inn that Noah came in his ark to visit the baby Jesus along with the wise men. When she gives him a disapproving look he goes on to explain that even though Noah was born long before Jesus people lived alot longer back then, so no one could say for sure that he couldn't have been there. ... Read more

Description

Carly Beth is quiet and shy -- easily scared and overly trusting.She's never seen such a great Halloween mask -- really scary, really creepy, and really life-like.She has to have it -- to scare those boys who tease and humiliate her all the time!And when she does get it, the mask is every bit as weirdly spooky as she had hoped it would be. But wearing the mask seems to be causing strange things to happen to her and other people.Can the mask -- the symbol of her revenge -- be the cause of it all?What strange powers could a Halloween mask have?Unwilling to give up the mask, or to believe that it could be evil, she keeps on wearing it -- only to discover one day that she can't take the mask off.Carly Beth and the mask have become one.

... Read more

Reviews (13)

If looks could kill...
Based on the childrens book series "Goosebumps" by R.L. Stine, "The Haunted Mask" tells the story of a very "scarable" 11 year-old girl named Carly Beth (Kathryn Long) who is the victim of bullies like Chuck (Amos Crawley) and Steve (John White). This Halloween she wants to get her revenge on everyone. But how? While looking in the back of a party store, she finds a row of terrifying Halloween masks.

When she gets her hands on the most terrifying mask, she doesn't listen to the shopkeeper's (Colin Fox) warning about the mask being evil. When she tries the mask on for the third time on Halloween night, it makes her do horrible things to other people. It turns out that the mask is evil. Now she must find a way to stop the evil that is going on inside her and get the mask off that has become one with her.

"The Haunted Mask" is a very interesting video. The storyline is really fun and it's not scary at all. At times the acting is really cheesy but you have to understand that it's an episode of a childrens TV-series. Kathryn Long (of TV's "Forever Night") does an outstanding performance as Carly Beth making "The Haunted Mask" worth seeing. Overall, this video is sorta cheesy but still worth every penny spent. BUY IT OR RENT IT TODAY!

HAUNTED MASK
I LIKE IT MUCH BETTER THAN THE SECOND ONE!I ALSO WROTE A REVIEW ON THE SECOND ONE AND I GAVE IT FOUR STARS AND I GAVE THIS ONE FIVE!

Goosebumps: The Haunted Mask
Probably one of the best (or the best, actually) of the television series based on R.L. Stine's novels aiming to scare teenagers and pre-teens. This eerily effective and scary GOOSEBUMPS episode delivers enough thrills and chills to actually scare more serious horror fans who find movies like HALLOWEEN and THE EXORCIST scary. Just the thought of this normal Halloween mask (which first of all, is extremely scary looking to begin with) being stuck on your face as you slowly become the monster is just frightening. The script is nicely written so that it doesn't cross the line into extreme horror, but it does maintain excellent atmosphere.

It was pretty good!!!!!!!!!!!!
It was pretty scary!!.I liked it, Carly Beth was a GOOD character!!!!!!!!!.It starts out Carly Beth is a quiet,shy timid and very SCARABLE young lady!!!.Her half-friends half-enemies Chuck & Steve, constantly make fun of the poor girl and they are ALWAYS TERRIFYING her with worms,living pumpkins and dead octopuses!!!!!.I saw it when I was 6 years old,...so I don't remember much about it!!!.But it was GOOD and I have to give it a four!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

The scariest movie since ''Bride of the Living Dummy''
This movie ''The Haunted Mask'' has a good plot. It all starts with Carly Beth putting on a mask. She doesn't know that the mask can't be taken off.
With help from Sabrina,her best friend,Carly Beth better get the evil mask off...before it becomes her face...forever!
I think it's scary. Every minute,something scary occurs.
R.L.Stine writes scary books. And,surprising.
This scary film teaches a lesson of love but in a scary way.
So,i think everybody should see this.
It's very scary,and surprising.
Nobody knew the mask was evil.
It was a surprise. A surprise in disguise.
That rhymes. So,see it to believe it.
My critic business rocks my foundation.
So,see The Haunted Mask now! ... Read more