Reviews (111)

Richard Gere and all the Women
This is an excellent Altman movie. Though there is the usual large cast you expect from an Altman movie this one is unique in that despite all the periphery confusion it brings an ever increasing focus on just one character, Dr. T himself. Richard Gere has never been one of my favorite actors but he gives an impeccable and likable performance as an always generous and compassionate gynecologist. His wife played by Farrah Fawcett has a breakdown(and gets naked in a fountain) at the mall early on and spends the entire movie institutionalized. His daughters are played by Tara Reid and Kate Hudson, ones a JFK conspiracy nut and the other a lesbian cheerleader(her lover played by Liv Tyler). Dr. T's work life is equally confusing as he treats one hypochondriac after another. Excellent small part by patient Janine Turner. While his wife is in getting treatment he begins an affair with independent golf pro Helen Hunt. In synopsis the movie sounds wacky and it is but it is also a very solid drama. The movie has a backbone and that is Gere. As his perfect life falls away before him he becomes more and more exposed, vulnerable. Lyle Lovetts soundtrack provides a sober running commentary on one man losing control of his life and how he deals with that. An ending that will blow you away....highly recommended. This is a very confident Altman being experimental in a very interesting way, he's full of insight again. Reminds me of some of his seventies work like 1978's The Wedding, but with firmer directorial control.

The most boring film I have ever seen!
I picked this out on a rainy Saturday afternoon. I had heard nothing about it but because of the all star cast thought it would be a good choice. As I began watching I started thinking to myself over and over again that these actors must have agreed to make this movie to supplement their incomes during a slow year. I have never written a review of anything before but as this movie plays endlessly on I am writing this review to keep someone else from the misery I have endured this afternoon. My time would have been much better spent sitting and enjoying the sound of the rain.

Just Plain Despicable
This may be the worst movie ever filmed. Its portrayal of women borders on the misogynistic, even though the lead character, Dr. T, is alleged to love women--his wife too much, even. The symbolism has all the subtlety of being beat about the head with a bat: It's a twister, get it? His life is in turmoil! The plot is disjointed and that ending... boy, is it bad. At first you think the screenwriter just gave up, but then you suspect perhaps he ingested hallucinogens.

Some bad movies redeem themselves by being laughable. This one, as another reviewer pointed out, just makes you hate it.

OB-gyn NOXIOUS. Ha ha, get it? That's so funny!!!!!
I had heard bad things about this film, but I decided to check things out for myself. Ouch. Rarely have I been so bored while watching a movie. It's a terrible film, and I'm surprised that I managed to stay awake till the end.

I like Richard Gere, I like many of the actresses in this and I like Altman, but what the f... went wrong here? Was everybody sleepwalking or dancing around with their head in the clouds like Fawcett at the mall getting naked in the fountain? The dialogue is some of the worst and dullest I've ever heard in a movie. The performances are phoned-in and everyone looks like they could give a hoot. How sad. Was everyone involved so desperate for money or so willing to be in an Altman film that they forgot to read the script before signing on the dotted line? Oh, and this is a comedy?! I laughed not once. Not once. That has never happened before while watching a comedy.

The opening scene in the reception room of Gere's ob-gyn office with the many women patients and staff members almost gave me a headache - it was a flurry of voices and made everyone seem like they didn't have any brains. Are all upperclass women in Texas this horrific? I hope not. Couldn't Altman find anything nice to say about these women? Make any of them interesting?

Helen Hunt is always good, but here she's wasted as the no-nonsense golf teacher, who has an affair with Gere while his wife, Fawcett, is in the funny farm after retreating into herself and remaining childlike. I think she just went nuts while on the set of this film.

Liv Tyler and Kate Hudson get to play lesbians, and after seeing Kate's choice of husband, who can blame her for dithcing him and eloping with Liv?

The cheerleading class scenes with Kate Hudson talking on her cell phone with her equally obnoxious sister Tara Reid, one of the worst actresses I've yet to see, almost made me turn it off.

Thankfully I got the film for free from the local library, but too bad Friends of the Library wasted their money on this mess.

I rest my case Your Honor. Send this one to the gallows, would ya, thank you very much, aha, as Harry Shearer would say.

Decent theme, but no ending
Dr T and the Women is about a GYN and his dealings with the many women that are in his life; his daughters, his wife, his secretary, his new love interest, and not to mention the many female patients that go to his practice.
The movie sets up everything that is going on in Dr T's life; his daughter is getting married but finds out she is a lesbian, his other daughter is obsessed with JFK, his wife has a mental disorder that causes her to act like a kid and therefore really can't be his wife anymore, his secretary is in love with him, his patients almost tear the place down every day trying to get in to see him, and his dealings with his new love interest (Helen Hunt).
Things eventually go so crazy that he can't take it anymore. At the beginning of the movie, he makes a statement about understanding women and what they want, but after the movie's climax, he realizes that he doesn't know a thing and seems to conclude that women are crazy and unpredictable. Really, I think that's probably what the movie is all about and could be stated as the theme for the entire film.
This movie had a teriffic lineup of characters and actors to play them. The story wasn't too bad either. My problem is with the ending; it's inconclusive, unsatisfying, and anti-climatic. That's being nice. And yes, the ending is that important to a film like this. 2 stars. I felt cheated, in a way. ... Read more

Reviews (2)

Good View
Along with the two part classic, "Hills Are For Heroes", this
episode depicts a humanistic, sensitve side of Saunders which is rarely showcased on this series. A cowardly, non-
confrontational soldier (James Best) is left to cover the back of Saunders during battle. This occurs after Saunders receives news about a brother who's missing in action.

A poignant, thought provoking episode which is easily one
of Combat's best. And certainly one of Vic Morrow's best
performances.

MAIL CALL - great Vic Morrow episode!
This is one of the best "Saunders" episodes from the 1960s WWII television series "Combat!" In this episode, Sergeant Saunders, while dealing with a malingerer, receives a personal letter with bad news. One of the few episodes where fans learn something of Saunders' home life. Guest star James Best. ... Read more

Reviews (5)

On the big screen it was potent and powerful as any
On the big screen it was potent and powerful as any film I had seen. The tension created kept me on the edge of my seat. Maybe as a gay man I perceived something of the conflict between myself and this rigid frigid military environment that crept into many a nighmare of mine. It had a live stage feel to it. Many emotions and personal historys were left up to the audience to interject, kind of compressing many diverse backgrounds into a short though volitale interaction. It remains one of my favorite films and I would very much like to see it on dvd.

Another mess by Altman
How can the man who directed M*A*S*H* and Nashville have directed this drek?

The characters are unbelievable, their actions unmotivated and the storyline hopelessly unrealistic.

What's most annoying is that there are brilliant images and ideas in this "almost movie" that will never be seen by most people as they will not have the patience to suffer through the worst parts.

The movie (based on a play) takes place entirely in a barracks as these Airborne soldiers are waiting to ship out to Viet Nam.

Richie (played by a beautiful Mitchell Lichtenstein) is a young soldier who claims to be "queer" and keeps making accusatorial comments to Billy (played by a young and attractive Mathew Modine) There is apparently a story there but we never hear it.

Guy Boyd and George Dzundza, both talented actors play two sergeants who act totally out of character. (Grown men playing "Hide and Seek" in the rain after drinking all night?) They do have some great moments when they talk about paratroopers whose chutes don't open, but even then there are continuity and reality problems.

David Alan Grier (who went right on to play Corporal Cobb in A Soldier's Story) plays the only black soldier in the group until Carlyle (Michael Wright lately seen on HBO's OZ) shows up.

Carlyle ends up stabbing both Billy and Sgt Rooney and nothing is resolved. Overall the movie is not worth a waste of two lives (even fictional lives) and certainly not worth the 90 minutes I spent watching it.

Excellent adaptation of a brilliant play
Ever since I read "Hurlyburly" about five years ago, I have been a fan of David Rabe. When I became aware that "Streamers," possibly his best play, was made into a film, I wasted no time in renting it. I found the it to be true to the original script, with minor additions that do nothing to help or hinder the play's dramatic impact. The plot concerns the interaction of six men in a desolate army barracks. It is only days (weeks?) before the men are to be shipped out to vietnam, where they will, most likely, die. This tentative, chilling circumstance is the impetus for the story's action. The central characters are Billy, a moralizing, confused college graduate, Roger, a street smart black man, Richie, who is an uninhibited homosexual and Carlyle, a lonely and paranoid psychopath. The diverse nature of these individuals makes symbiosis difficult, and their respective tensions and prejudices culminate in a nihilistic and violent explosion that metaphorically represents the conflict in vietnam, and the conflict inherent in mankind. Streamers is an intelligent, claustrophobic and highly disturbing film that I emphatically reccommend to any who appreciate good cinema.

A very well acted film
Very good performances from all actors, especially by Michael Wright as Carlyle. Guy Boyd and George Dzundra are excellent as two drunken old sergeants. The film itself is somewhat stage-bound as it is based on a play, but the acting makes this a worthwhile experience for any fan of strong acting and strong themes including war, death, and repressed (as well as open) homosexuality.

Decent movie, bad video...
This version is recorded in EP. The sound quality is horrible. The image alternates between muddy and fuzzy. I'll assume the more expensive version is higher quality. The film itself is OK, though a bit preachy and heavy-handed. ... Read more

Reviews (8)

Lonely Bird
The depictions here are the only accurate substantial accounts of Jimmy Dean's life. There are no bios that can even scratch the surface about him. All of them (authors) put their ideologies above the truth of who Jimmy was. It's too bad that the only truth about this man can never be fully told even by "some" who "claim" they knew him. Christy White is the only one and maybe Bill Bast who appear to be faithfull to his past. The other closest is "maybe" the movie made by TNT in 2003.

Peace..
rj

Vintage Film
This film is a must-see for anyone wanting to know more about James Dean. It was released in 1957, over a year after Dean died, and we get to see and listen to family members who are no longer living. We hear from other citizens of Fairmount, Indiana, who knew "Jimmy." We also see and hear show business friends and acquaintances. It also includes alot of great still photographs.

Please remember this film was made in the late 50s, and its dated. It sort of depressed me watching it because it really brought home the fact that "Jimmy" has been dead almost 50 years. But I would think this film would be a necessary part of anyone's collection of James Dean films.

invaluable to anyone who wants to know more about James Dean
the information from this documentary is invaluable and the insight from his family and the people who saw him on a regular basis gives a glimpse of Jimmy that not many people saw. it is one more facet of a brilliant diamond that shone for too brief a time.one word of caution to anyone with asthma,high blood pressure,heart disese,or tramatic stress disorder,the reenactment of his fatal car crash combined with pictures from the actual crash site are a little too graphic for some.watch at your own risk.

For all of us who love Jimmy
Everything the other reviewers have written is true: this documentary of Dean's life is slow-paced, dry, old-fashioned and dated. If you're one of those people who prefer the colorized versions of classic Black and White films, then this film will probably not be to your liking. But I look at it another way: where else can you view interviews with people who actually knew Jim and knew him well? Most of these were filmed shortly in the aftermath of Dean's death, and therefore, their recolections were contemporary. Time hadn't faded their recollections of this amazing young man. You also get to see a many scenes of Dean's childhood in Indiana: his home, High School, roads he traveled, places he visited. If you're a fan of James Dean, you eat this sort of stuff up; I know I do!

A weakness is that the entire production is in black and white, so the clips they show of his color movies are not in color. It's a little disconcerting to see various scenes of "East of Eden" shown in black and white, but you'll grow accustomed to it. As for the second half of the movie, the short TV drama Jimmy made in 1954, "The Bells of Cockaigne," it is excellent and showcases yet again his amazing talent and his beautiful ability to rivet an audience. The quality of this movie is poor, and it does detract from the viewing experience. The quality of the documentary portion is excellent.

If you love James Dean, this is a must have DVD for your collection. Despite its flaws, it's still riveting because of the interviews with intimates who really knew him.

A must have for any James Dean fan!
This documentary was made right after the rebels death and success. Which is interesting because you get to hear what people who are not alive now had to say about him and see the way the world was at the time of Jimmys death and stardome. It catures the feel of the legacy he left behind. Not only that, it also includes interviews with his family and friends who are dead now along with a recording of James Dean talking with his family and a deleted scene from "East of Eden." Though the documentary was creepy and haunting, as its first image was, it was also heart felt. ... Read more

Reviews (88)

"The game of life is hard to play, I'm gonna lose it anyway"
Probably no cinematic comedy produced by Hollywood in the last half of the twentieth century is as irreverent, disdainful of authority, critical of war and its effects, and, incidentally, as funny as "M*A*S*H", that 1970 comedic masterpiece starring Donald Sutherland, Elliott Gould, Tom Skerritt, Gary Burghoff, and Sally Kellerman; written by Ring Lardner, Jr.; and directed by Robert Altman, in his directorial debut.

"M*A*S*H" is actually a very difficult film to review for a variety of reasons. First and foremost, it's darned near impossible to provide an adequate synopsis for readers who've never seen the movie. Because, unlike most modern films that contain a linear story line, an easy-to-follow plot, and well developed characters that one can either root for or vilify with ease, "M*A*S*H" is a film that can only be described as a series of loosely joined comic vignettes, featuring a set of very true-to-life characters that are all BOTH very likeable and flawed.

"M*A*S*H" is one of the best comedies ever made, and for good reason. It is genuinely funny. It is artistically produced; it contains great writing and acting; and it proclaims an important social message to viewers.

Having said all that, "M*A*S*H" is very likely NOT a movie that will appeal to everyone's tastes - even now, 32 years after it was first released. How the movie was written and produced has a lot to do with that fact.

As the story goes, the idea for producing a movie version "M*A*S*H" got its start when literary agent Ingo Preminger referred Dr. Richard Hooker's famous novel of the same name to 20th Century Fox executive Richard Zanuck. Zanuck enthusiastically supported the idea, hired Preminger as the movie's producer, and set out to find a screen writer and director. Ring Lardner Jr. (son of the famous 1930s sports writer) was brought in to write the script. Robert Altman was hired to direct. (As Altman tells it, he was about the "13th choice" of the studio to direct.)

Shooting began during the summer of 1969. At the same time, the films "Patton" and "Tora! Tora! Tora!" were in production. Altman, eager to be successful in his first major film, decided to "hide out" on a back lot of the studio, where he would escape the watchful eyes of studio executives.

As a result, Altman was able to apply many innovative techniques to the film. He wanted his actors to improvise as much as possible in each scene. He wired each actor with an individual microphone and encouraged them to talk over one another. He incorporated several bloody operating room scenes in the film. He tried to mask the fact that the film was supposed to be set during the Korean War. He wanted audiences to assume that this was a film about Vietnam, and he wanted them to understand his clear message about the monstrosity of war.

(By the way, Altman's technique enraged Lardner, who thought Altman had basically thrown away the script. Lardner came perilously close to disassociating himself from the project, but in the end, accepted both the sole writing credit for the film... and the Oscar for Best Screenplay at the 1971 Academy Awards.).

Because of Altman's innovative (some say crazy) filmmaking techniques, "M*A*S*H" succeeds as a brilliant film that achieves almost all of Altman's goals. The film is deeply imbued with a lifelike realism that allows viewers to "feel" what it was like in the fictional 4077th MASH. The actors speak like one would expect them to when confronted with the reality of war and the boredom of inactivity.

Comedy scenes are uniformly uproariously funny, employing jokes and gags that range from subtle to coarse to borderline lewd. Interspersed with the comedy scenes are operating room sequences that are bloody to the point of horrific, but that bring home with full force the full brutality of war... so much so that, for a short time, the Defense Department banned the "M*A*S*H" from being shown in military theaters worldwide.

I've read some reviews of "M*A*S*H" in which a criticism is leveled that the movie's characters are not well developed. I disagree with this judgment. I found I was readily able to identify with all the characters, whether they were likeable or not. Hawkeye, Duke, Trapper, Frank, Hot Lips, Henry, Radar, and all the others were completely believable, and fleshed out in detail... no small feat since the actors who played these parts were directed to perform their roles in such a highly improvisational manner.

"M*A*S*H" is one of those rare films that gives viewers everything they could ask for from a great film: wonderfully realistic acting; a great script; brilliantly funny comedy; superb drama, important social commentary; and artful, innovative filmmaking techniques. "M*A*S*H" has steadfastly stood the test of time for thirty years, never becoming outdated or irrelevant. Whether you've never seen it, or, like me, you've seen it many times: RUN, don't walk, to your nearest video store and check it out!

M*A*S*H - intelligent satire in a benchmark DVD release
M*A*S*H is one of the zaniest and most intelligent satires ever produced by Hollywood. This is a war movie in which only two shots are fired -- as signals in a football game. It is a masterpiece of wider appeal -- even to veterans -- than is suggested by its setting in Korean War military hospitals, or by its director's explicit aim of promoting liberal opposition to the Vietnam war during the '60s and '70s.

The 2002 two-disk M*A*S*H special edition from 20th Century Fox Home Entertainment in many ways is a benchmark for DVD releases of cult movies. Picture and sound quality are high. The special feature content is entertaining and insightful.

This content includes extensive retrospective comment by director Robert Altman, producer Ingo Preminger, former studio boss Richard Zanuck, scriptwriter Ring Lardner Jr, actors including Donald Sutherland, Elliott Gould, Sally Kellerman, Tom Skerritt, John Schuck and Gary Burghoff, and medical veterans of the Korean War. We see the 30th anniversary M*A*S*H reunion at Fox, and presentation of a studio life achievement award to Altman.

The special content gives fascinating insights into the driving half-mad genius that so often makes a great director, and of egos and bigheartedness in movie making.

Almost everyone, from the scriptwriter to the studio executives and the actors, lined up against the director at some time. Donald Sutherland and Elliott Gould once even tried to get Altman fired, fearing that he would damage their careers. In the M*A*S*H special edition features they eat their words and graciously pay tribute to Altman. Former studio boss Richard Zanuck says that until Altman came along other directors were afraid of the screenplay or didn't like it. 'Altman came in, and seemed unruly enough to be able to understand this subject matter.'

M*A*S*H was made on a shoestring budget with Fox's Century Ranch standing in for Korea. It emerged from chaotic creative tension as an enormous artistic and financial success. Altman accepted a salary of only $75,000. His son Mike is reputed to have made more money from writing the lyric to the keynote ballad, 'Suicide Is Painless', with Johnny Mandel. Altman kept costs down by casting the movie with mostly unknown and out-of-work actors. 14 of the movie's 30 speaking roles were played by actors making their screen debut. Shooting finished three days ahead of schedule in 1969, and almost half a million dollars under budget. M*A*S*H went on to earn more than $80 million at the box office, a Palme d'Or at Cannes and an Oscar (for the heavily reworked script of formerly blacklisted scriptwriter Ring Lardner Jr), and to inspire a long-running popular TV series.

This is a rare thing: a five star classic movie in a five star DVD release.

Second Release on DVD?
Normaly I would give this movie a 5 stars. I mean it is that good. The movie is outstanding.

Here is the reason I am giving this only 3 stars:

I am puzzled of why 20th Century Fox is re-releasing this movie as a single disc DVD.

They should have released the single disc first, then the Five Star Collection edition.

Hey 20th Century Fox, why????????

GOTTA HAND IT TO ALTMAN, GRUDGINGLY
At the same time, Robert Altman's "M*A"S*H" came out. It, too found an audience, and truth be told many who enjoyed "Patton" enjoyed "M*A*S*H". It was just plain funny, and the anti-military theme was subtle. Altman walked a brilliant tightrope between a pro-American and unpatriotic premise. There is no doubt that Altman intended it as an anti-Vietnam movie. It was written by former Communist Ring Lardner, Jr. Lardner had been Blacklisted, and this fact featured prominently in the politics of the film's aura. It was based on a sexy paperback novel about surgeons in Korea. The film was set in Korea, yet made every possible attempt to convey the image that it was actually Vietnam. Many of the movie's set pieces were deliberately Vietnamese in nature and costume, for that very purpose. To the extent that it was unpatriotic, it subtly described "regular Army" officers as unyielding, intolerant Christians, utterly blinded by stupid jingoism. The draftees, however, are funny and attractive as they drink and love their way through a bevy of good-looking nurses, all while saving lives in the style of comic Galahads. Altman showed genius as a filmmaker. The movie avoided real controversy because it was just so darn good.
"M*A*S*H" spurred a television show that ran for years. In the 1970s it played for its time and audience. Re-runs, however, strain its credibility beyond Altman's original themes. Two doctors played the "bad guy." The first was a complete buffoon. Frank Burns was prominently identified as a Republican. He is given zero good qualities. He is ugly, a bad doctor, a coward, a racist and all-around mean SOB who cheats on his wife with Major Margaret Hoolihan, who at least is given some character. She is half-Vixen, half-Fascist, naturally Republican, a patriotic American in the "worst way," who worships the idols of war. Over the years the writers gave Margaret a little development. Very little. Burns was replaced by Major Charles Emerson Winchester, a Boston Brahmin, naturally a Republican whose father "knows Truman. He doesn't like him, but he knows him." Winchester, like Hoolihan, is allowed a touch of humanity when the liberal writers felt charitable, but generally was available for all possible bashing. Two hero-doctors anchor the show by showing their intelligence, medical skills and tolerance as direct contrasts to the war effort. The CIA is lampooned, and a military effort that in reality featured MacArthur's Inchon campaign, perhaps the most brilliant invasion in history, is also played as foolish. In the end, the TV show and the film avoid being really and actually unpatriotic because they do feature an emphasis on the basic goodness of the American spirit under stress, but you will not catch me tuned in to those old re-runs(...)

Suicide is painless
Dear lord, I could not stop laughing during this movie, everyone from Hawkeye to Hotlips are back in a special edition five star collection restored set, the picture and sound are restored wonderfully, I watched this on VHS when I was 12 and I can appreciate DVD quality, the anti-war message is beautifully satirical, right from the opening theme to the heart warming ending, it is quite a trip ... Read more

Reviews (8)

Lonely Bird
The depictions here are the only accurate substantial accounts of Jimmy Dean's life. There are no bios that can even scratch the surface about him. All of them (authors) put their ideologies above the truth of who Jimmy was. It's too bad that the only truth about this man can never be fully told even by "some" who "claim" they knew him. Christy White is the only one and maybe Bill Bast who appear to be faithfull to his past. The other closest is "maybe" the movie made by TNT in 2003.

Peace..
rj

Vintage Film
This film is a must-see for anyone wanting to know more about James Dean. It was released in 1957, over a year after Dean died, and we get to see and listen to family members who are no longer living. We hear from other citizens of Fairmount, Indiana, who knew "Jimmy." We also see and hear show business friends and acquaintances. It also includes alot of great still photographs.

Please remember this film was made in the late 50s, and its dated. It sort of depressed me watching it because it really brought home the fact that "Jimmy" has been dead almost 50 years. But I would think this film would be a necessary part of anyone's collection of James Dean films.

invaluable to anyone who wants to know more about James Dean
the information from this documentary is invaluable and the insight from his family and the people who saw him on a regular basis gives a glimpse of Jimmy that not many people saw. it is one more facet of a brilliant diamond that shone for too brief a time.one word of caution to anyone with asthma,high blood pressure,heart disese,or tramatic stress disorder,the reenactment of his fatal car crash combined with pictures from the actual crash site are a little too graphic for some.watch at your own risk.

For all of us who love Jimmy
Everything the other reviewers have written is true: this documentary of Dean's life is slow-paced, dry, old-fashioned and dated. If you're one of those people who prefer the colorized versions of classic Black and White films, then this film will probably not be to your liking. But I look at it another way: where else can you view interviews with people who actually knew Jim and knew him well? Most of these were filmed shortly in the aftermath of Dean's death, and therefore, their recolections were contemporary. Time hadn't faded their recollections of this amazing young man. You also get to see a many scenes of Dean's childhood in Indiana: his home, High School, roads he traveled, places he visited. If you're a fan of James Dean, you eat this sort of stuff up; I know I do!

A weakness is that the entire production is in black and white, so the clips they show of his color movies are not in color. It's a little disconcerting to see various scenes of "East of Eden" shown in black and white, but you'll grow accustomed to it. As for the second half of the movie, the short TV drama Jimmy made in 1954, "The Bells of Cockaigne," it is excellent and showcases yet again his amazing talent and his beautiful ability to rivet an audience. The quality of this movie is poor, and it does detract from the viewing experience. The quality of the documentary portion is excellent.

If you love James Dean, this is a must have DVD for your collection. Despite its flaws, it's still riveting because of the interviews with intimates who really knew him.

A must have for any James Dean fan!
This documentary was made right after the rebels death and success. Which is interesting because you get to hear what people who are not alive now had to say about him and see the way the world was at the time of Jimmys death and stardome. It catures the feel of the legacy he left behind. Not only that, it also includes interviews with his family and friends who are dead now along with a recording of James Dean talking with his family and a deleted scene from "East of Eden." Though the documentary was creepy and haunting, as its first image was, it was also heart felt. ... Read more

Reviews (1)

COMBAT! Episode "The Flying Machine"
This episode features Rick Jason (Lt. Hanley) on a solo mission away from the squad as he goes on a surveillance flight with a cantankerous pilot (Keenan Wynn). Their single-engine monoplane, of course, crashes, and the two are in for an adventure behind enemy lines. From the 1960s WWII series, "Combat!" [Note: no other cast members from the show appear in this episode] ... Read more

Reviews (8)

Lonely Bird
The depictions here are the only accurate substantial accounts of Jimmy Dean's life. There are no bios that can even scratch the surface about him. All of them (authors) put their ideologies above the truth of who Jimmy was. It's too bad that the only truth about this man can never be fully told even by "some" who "claim" they knew him. Christy White is the only one and maybe Bill Bast who appear to be faithfull to his past. The other closest is "maybe" the movie made by TNT in 2003.

Peace..
rj

Vintage Film
This film is a must-see for anyone wanting to know more about James Dean. It was released in 1957, over a year after Dean died, and we get to see and listen to family members who are no longer living. We hear from other citizens of Fairmount, Indiana, who knew "Jimmy." We also see and hear show business friends and acquaintances. It also includes alot of great still photographs.

Please remember this film was made in the late 50s, and its dated. It sort of depressed me watching it because it really brought home the fact that "Jimmy" has been dead almost 50 years. But I would think this film would be a necessary part of anyone's collection of James Dean films.

invaluable to anyone who wants to know more about James Dean
the information from this documentary is invaluable and the insight from his family and the people who saw him on a regular basis gives a glimpse of Jimmy that not many people saw. it is one more facet of a brilliant diamond that shone for too brief a time.one word of caution to anyone with asthma,high blood pressure,heart disese,or tramatic stress disorder,the reenactment of his fatal car crash combined with pictures from the actual crash site are a little too graphic for some.watch at your own risk.

For all of us who love Jimmy
Everything the other reviewers have written is true: this documentary of Dean's life is slow-paced, dry, old-fashioned and dated. If you're one of those people who prefer the colorized versions of classic Black and White films, then this film will probably not be to your liking. But I look at it another way: where else can you view interviews with people who actually knew Jim and knew him well? Most of these were filmed shortly in the aftermath of Dean's death, and therefore, their recolections were contemporary. Time hadn't faded their recollections of this amazing young man. You also get to see a many scenes of Dean's childhood in Indiana: his home, High School, roads he traveled, places he visited. If you're a fan of James Dean, you eat this sort of stuff up; I know I do!

A weakness is that the entire production is in black and white, so the clips they show of his color movies are not in color. It's a little disconcerting to see various scenes of "East of Eden" shown in black and white, but you'll grow accustomed to it. As for the second half of the movie, the short TV drama Jimmy made in 1954, "The Bells of Cockaigne," it is excellent and showcases yet again his amazing talent and his beautiful ability to rivet an audience. The quality of this movie is poor, and it does detract from the viewing experience. The quality of the documentary portion is excellent.

If you love James Dean, this is a must have DVD for your collection. Despite its flaws, it's still riveting because of the interviews with intimates who really knew him.

A must have for any James Dean fan!
This documentary was made right after the rebels death and success. Which is interesting because you get to hear what people who are not alive now had to say about him and see the way the world was at the time of Jimmys death and stardome. It catures the feel of the legacy he left behind. Not only that, it also includes interviews with his family and friends who are dead now along with a recording of James Dean talking with his family and a deleted scene from "East of Eden." Though the documentary was creepy and haunting, as its first image was, it was also heart felt. ... Read more

Reviews (343)

Not for 14 year old boys?
While taking all those guided tours through cavernous estate houses in England and Ireland (and even a few on the north shore of Long Island), I always wondered what it was like to live that lifestyle. But of course, walking around those still houses doesn't really tell you about the people who lived there anymore than a stage tells you about its actors. However, Gosford Park was a great way to fill in those blanks. The way it pulls you into the world of 1930's English high society and all its pretense and hypocrisy is great. This movie definitely enlivened my understanding of class in old European societies.

The reason Gosford Park has such great insight is the film's screenwriter, Julian Fellows who himself grew up as part of the English aristocracy. Much of what makes this film fun is the idiosyncrasies of its characters and their world that Fellows has personal experience with. A maid and driver stand in the pouring rain until their mistress gets in the car. Servants only refer to each other by their master's name, and they maintain the same hierarchy as their masters so that a duke's servant is treated better by other servants than a baron's. Only married women are allowed to have breakfast in bed; unmarried women must go to the dining room. What a strange world they lived in, especially to someone like me who grew up in a middle class New York neighborhood.

The spine of Gosford Park is, without question, NOT the murder mystery. In fact, the murder mystery plot is about 5% of the movie-if that. It's what's known in film lingo as a McGuffin, a device that helps propel the plot in a story but is of little importance in itself. If a viewer turns to the murder mystery plot for what this movie is all about, they will most likely be sorely disappointed, seemingly like many of the negative reviewers here were.

The key to enjoying this movie is to think about what it's like to live in a society that is extremely oriented by class. What must it take to keep it going? As I alluded earlier, pretense and hypocrisy grease the gears of high society. From scene to scene, we peep around corners and into bedrooms to see characters trying to hide one secret or another. And in the end, we see the unpleasant consequences of this duplicity.

This is definitely not a film that lays out its purpose before the audience. Since the almost 60 characters (for a chuckle, look under product details above for the colossal cast list) each add something unique to the larger picture, and since the audience is usually only told something once, you definitely have to be your own detective. However, Julian Fellows does a brilliant job interweaving these characters into a solid whole, and he definitely deserves the Oscar he received for the screenplay.

Since this is a complex and subtle film, multiple viewings are helpful, but unlike some other reviewers, this is something I really enjoyed. Like a good album, each time with it reveals another layer and increases your appreciation. Robert Altman, the director, says in his DVD commentary (which was boring except for a few insights, but Julian Fellow's commentary was excellent) that the film is "like looking in through the windows of a house, you only get part of the picture at a time." I think this analogy fits nicely, especially since the film is set in a house. Altman also acknowledges what some of the negative reviewers complain about, saying he meant the audience to be left wondering after the first viewing. He didn't intend this movie for the "wham, bam, thank you ma'am" set. In fact, Altman went out of his way to insert curse words, guaranteeing an R rating so that "14 year old boys couldn't walk off the street and watch it."

And of course, last but not least, the acting was great. Gosford Park has an excellent ensemble cast with not a single weak link. Maggie Smith as the snobbish Aunt makes you smile; Kelly MacDonald as the Aunt's young, innocent maid makes you want to give her a big wet kiss (maybe that's just me); and Clive Owen's cool restraint as a mysterious footman keeps you following him around the screen.

All through, Gosford Park is a movie very well done.

Buy this DVD and watch it again and again....
because you miss most of the film the first time around!

On the surface this appears to be a very formulistic murder mystery. It has the classic setting, 1930's period, an isolated English manor house filled with guests for a weekend shooting party, and all of the servants both resident and visiting. Everybody has secrets, the tension is so thick it could be cut with a knife and there is conveniently one missing from the kitchen. For more than half the film we see motives offered and wait for the murder and yet after it occurs it becomes evident that this is NOT a murder mystery at all!

The film has been compared to Upstairs Downstairs and it does involve the lives of those both above and below stairs, but it is much more than that. The various stories are added layer by layer some, such as the imposter in the servants' hall are obvious while others like the secret abortion are only alluded in a couple of lines. The various stories are, while interesting, not really the point of the film either. This is a beautifully drawn portrait of a way of life that is long gone and will probably never return. Almost everyone has read about or seen depictions of English Country Life in the '20's and '30's. It is a setting that has been used in drama, comedy, romance and of course mystery genres for years but Gosford Park makes it clear that we have only the faintest ideas of what that life was really like. The genius of this film is that it takes all the information that could have been spread out in a PBS documentary series and used fiction to illustrate the same points in a much more effective and enjoyable way.

The cast is huge and filled with actors, both well known and soon to be well known. No one is given such a large role that it becomes their film and yet each performer manages to turn their scenes into a polished little gem.

The extras included in the DVD are wonderful. They include deleted scenes (with commentary), features on the making of, and authenticity of the movies as well as Q & A with cast and filmakers. The best of the extras by far are the commentaries with the director, Robert Altman and screenwriter, Julian Oscar.

I highly recommend the purchase (as opposed to the renting) of this film. It is so packed with detail that it would be impossible to absorb it all in just one or two viewings.

"Nothing's more exhausting than breaking in a lady's maid."
The upperclass friends and relations of Sir William McCordle (Michael Gambon) arrive at his country house for a weekend of shooting, accompanied by maids, footmen, and valets, all of whom will be staying under one roof. Sir William is a mean-spirited and self-centered old man, married to a much younger, emotionally distant wife (Kristin Scott Thomas), with many family members dependent upon his continuing largesse. The hilariously waspish Countess of Trentham (Maggie Smith), who believes she has a lifetime stipend, arrives with young Mary Maceachran (Kelly MacDonald), who is trying valiantly to become a good lady's maid. Ivor Novello (Jeremy Northam), a Hollywood star, and Morris Weissman (Bob Balaban), a producer of Charlie Chan movies, are the only guests without aristocratic backgrounds and inherited privilege. The atmosphere of the house, filled with venomous "friends" and relations, soon becomes even more poisonous.

The "below stairs" lives of the servants are also fully revealed, as they share living quarters, eat meals together, tend to the laundry and cooking, and gossip about their employers. The butler Jennings (Alan Bates) and the head housekeeper (Helen Mirren) run the household and try to guarantee that no real-world cares will intrude upon the lives of their employers. Since "upstairs" and "downstairs" occasionally meet very privately at night, secrets abound, many of them secrets of long standing. When Sir William is poisoned and stabbed ("Trust Sir William to be murdered twice"), nearly everyone has a motive for wanting him dead.

For director Robert Altman, the primary focus of the film is on the characters, their way of life, and their values, with the murder mystery secondary. Set in late November, the end of the year 1932, the action takes place when this secure aristocratic lifestyle is also nearing its end, something that the arrival of the newly rich Hollywood characters, Novello and Weissman, illustrates. Dramatic cinematography (by Andrew Dunn) emphasizes the cold and rainy dreariness of the weekend, and suggests parallels with the coldness of the dying aristocracy.

Interior shots reveal the contrasts between the elegant and mannered lives of the "upstairs" characters and the hardworking daily lives of the "downstairs" characters, who adhere to their own rigid social codes. Every detail rings true, and as the characters' lives and interrelationships are revealed obliquely in brief snippets of seemingly unrelated conversations, a broad picture of the upstairs and downstairs lifestyles gradually emerges. Fully developed, many-leveled, wonderfully acted, often funny, and impeccably directed and filmed, this is a film one can watch again and again with delight. Mary Whipple

The Triumph of the Tried and True... a la Robert Altman!
GOSFORD PARK is an enchanting movie on every level and should please even the most discerning audience. Quite unexpectedly, Robert Altman has thoroughly researched the Agatha Christie murder mystery-type stories, the archetypical British mystery/drawing room genre, and (more important) the stuffy and unbelievable class disparities of olde England and has produced a stylish, smart, lushly beautiful recreation of England in the 1930s. The settings are elegant - a mansion/castle where the 'haves' and their lowly servants carry on their lives as though 'to the manner born'. Blessed with a dream cast that includes nearly all of the greats of the British acting school, Altman has given plumb roles to Maggie Smith, Helen Mirren, Eileen Atkins, Emily Watson, Kristin Scott Thomas, Stephen Fry, Michael Gambon, Jeremy Northam, James Wilby, Alan Bates, and Derek Jacobi. The story is an interesting murder mystery but it merely serves as the matrix upon which these fine actors, writer, cinematographer and director capably flaunt their skills. This movie is Delicious! It is so fine that it bears repeated viewings just to make sure you catch all the innuendoes and rapid, superb double entendres encased in this bit of magic. Altman devotees will not be disappointed and those who are not fond of the eccentric director's previous films are bound to be won over to the genius of Robert Altman.

Upstairs, downstairs, cold stares
No matter how many actors, including bankable stars, appear in a Robert Altman movie, it seems to be about Altman. He has an individual, if by now familiar, style of filmmaking that is always calling attention to itself. That style includes very fluid camera movement, quick-cut editing, and a good deal of dialogue that is covered by other dialogue or sounds distant. We are meant to be awed by the spontaneity and naturalism of it all.

Apparently many people are impressed by this mannerism and consider it a sign of artistry. On the whole, I find it pretentious and irritating. In one of the supplementary features on the DVD, Altman, his screenwriter and a handful of the actors from Gosford Park are interviewed in front of a studio audience. Altman and the writer rattle on about how every scene is shot by two cameras that are always in motion, so that the actors are never sure whether they are going to be foreground or atmosphere, or what angle they'll be seen from. Does Altman really think he invented the idea of shooting a scene from multiple angles, and choosing one during editing? And why is a camera that's gliding and panning constantly somehow more "truthful" than one that's framing the character or group that the director believes is most essential to telling the story at that moment?

It can be said in Altman's favor, though, that he never makes a merely conventional or routine film; they are all a bit eccentric (a compliment in my book) and, despite my reservations about the camera and sound-recording style, usually offer a fresh view of the theme or its environment. Gosford Park is your standard Agatha Christie-style murder mystery set among a dinner-jacketed, evening-gowned crowd in an English manor house in 1932 -- except, in this case, the doings of the upper crust are set against the army of servants below stairs who work their tails off to make everything straight, gleaming and smooth for their social betters.

Altman and his screenwriter Julian Fellows do a very creditable and humane job of conveying the personalities and individuality of the servants; they aren't just symbols of The Oppressed. The characters of the gentry, though, while ably portrayed (the acting talent makes sure of that), are almost universally so sour, rude and calculating that it's hard not to feel that there's a touch of old-fashioned, left-wing agit-prop involved. (The one exception is Jeremy Northam, who plays Ivor Novello -- a real singer and film star of the period -- with considerable charm.) I can believe that an assembly of English bluebloods in that era might have carried within themselves much wickedness, but they would have been far too polished to display it as openly and crudely as they do in Gosford Park.

Altman recruited a clutch of A-list British stage and film actors, and they don't fail him. Altman's casual attitude toward the basics of craftsmanship (as opposed to displaying his self-assumed creative genius) ensures that you will be lucky to figure out who half the characters are and their relationships with one another by the time of the denouement, but their cultivated swinishness holds the attention anyway. I think actors love playing obnoxious and unlikeable characters; these seem to be enjoying their roles, and you will, too.

The English have a term, "curate's egg." The meaning is, "parts of it are very good." ... Read more

Reviews (24)

Quite a film
I am not a big fan of either Robert Altman or John Grisham, but I was going out with some friends and this was the only movie in town that none of us had seen. I was riveted. The use of the color red is reminiscent of the great movie "Don't Look Now." Branagh gives a wonderful performance as a great lawyer who was a so-so husband and becomes a good father through the course of the movie. There isn't a pretentious moment in it. As a southerner by birth, I was the only one of my friends to laugh through the party scene at the beginning. It was dead accurate.

Not worth buying, not worth even renting
I rented this movie, because it featured a few actors I truly like and respect, such as Branagh and Downey Jr. However, I felt this was a real waste of time. The movie is set in Savannah, GA and it rains all through the film, which I felt was totally unnecessary. The setting had nothing to do with the plot, so I felt the whole southern accent thing was unnecessary distraction. The plot starts out boring. You feel that something is up, and you can easily guess what is going to happen next, because frankly there is no other alternative. If you have absolutely nothing else to do, and you catch this on TV, just take a look at it, and you'll see what I mean... Also, I agree with the reviewers who said that noone acts like this in real life. At many points, the actions of the characters just anger the viewer, because they are unrealistic, or simply stupid.

Not Quite Good
The Gingerbread Man should be a better noir than it is. A primary flaw is its inability to get us behind its protagonist in any way- Rick MacGruder (Kenneth Branagh) is pompous, vain, and tempestuous. As an attorney, he is the polar opposite of Gregory Peck's Atticus Finch, willing to sink to any level in order to win a case. When MacGruder helps a young woman deal with her mentally unstable father, we know he is doing so out of a desire to get in her pants rather than any sort of altruism. It is simply hard to care for him as his situation deteriorates- indeed, one almost gets the feeling that karma is simply at work.

Another issue is the plot. While twists and turns are fine, this film saves all of them for the final thirty minutes, and they feel a little overwhelming. While you are trying to figure out how one twist happened, the next one barrels onto the screen.

Stylistically, the film has some interesting and cool moments. The slick opening shot, accompanied by the discordant score, takes us over the Georgia coastal plain and eventually tracks MacGruder's car over the Talmadge Bridge and into Savannah. It hardly matters that traveling from Jacksonville to Savannah (as we are told) doesn't take you over said bridge. The setting is an important part of the story, and Savannah is a location that never fails to lend its uniqueness to a film.

On the whole, The Gingerbread Man has some genuinely suspenseful moments (Duvall is particularly menacing) but it is otherwise disengaging. I was waiting for it to end.

Underrated Altman gem!
I can remember seeing this movie in an almost empty theater when it came out. It's a shame because this is really a well-made, intriguing thriller that only Robert Altman could make. Rumour has it, he completely demolished John Grisham's original story and basically did his own thing--which is what Altman is famous for. The results? An unusual mystery that gets under your skin with characters that are flawed and always interesting to watch.

Much was made about Kenneth Branagh's Southern accent... or lack thereof. To tell you the truth, it really didn't bother me all that much and I think he pulled it off. He certainly is a flawed character, vain, self-absorbed but through the course of the movie he certainly learns his lesson as his whole world gets tossed upside down.

This movie really is about human behaviour as opposed to a concrete A to B to C linear plot. The mystery is really just window dressing to get all of these characters together and see what happens.

As always, Altman has assembled a top notch cast with the likes of Daryl Hannah (?!) and Tom Berenger plucked out of obscurity for solid performances. Robert Duvall also turns up as a crazed hobo character. He makes the most of his limited screen time. And of course, good ol' reliable Robert Downey, Jr. turns in another wonderfully eccentric turn as a slightly-sleazy private detective who's buddies with Branagh's character. He steals every scene that he's in.

The DVD is quite good. The audio and video is excellent. As another reviewer pointed out, if you have a surround sound set-up it feels like the tropical storm in the movie is all around you. Altman really knows how to build atmosphere and suggest a specific place.

This is a really good movie. Very underrated and worth a look.

Sly and Surprising
This review refers to the DVD edition(Universal) of "The Gingerbread Man"....

Director Robert Altman almost always has a way of keeping us involved in the characters and storylines of his films. That is the case with the "Gingerbread Man" as well. This one though is a huge departure from his usual brand of comedy and satire that makes us smile from first frame to last. This one is a fast past thriller, based on a story by John Grisham, that will keep you on the edge of your seat and not wanting to miss a moment of what twist or turn may come next. As a matter of fact, if you didn't already know that this was an Altman film, you may not recoginze it as such. One thing for sure that remains the same is his intuitive ability to put together the perfect ensemble cast that work well together and all have impeccable timing.

The story revolves around golden boy Southern defense attorney Rick Magruder,who becomes romantically involved with a beautiful but mysterious client. Her deranged father and his co-horts are stalking her, and Magruder gets so deeply invovled that pretty soon his own family is put in danger as well. The same justice system that helped make him the success that he is, is now working against him at every turn.He's left to his own wits to keep himself, his family and his client safe.

Not only is this film something very different for fans of Altman, but even the stars seem cast very much against type. Kenneth Branagh, trades in his Shakespearian tones for a Southern drawl, and becomes somewhat of an action hero as our man Magruder. The usually alluring Daryl Hannah, is now a somewhat dowdy(while still looking good!) and uptight legal assistant, and Robert Duvall takes a turn at at being one of the most deranged lunatics you may ever meet! Of course there is also Robert Downey Jr, who treats us to his always fabulous brand of charm, and Embeth Davidtz and Tom Berenger round off this mega cast wonderfully.Once you get past Branagh and his accent it all seems to work surprisingly well!(hey.. if we could handle Kevin Costner doing an English "Robin Hood", why not Branagh as a Savannah lawyer???)

The DVD is a pretty good buy. The price is right for this package that gives you a choice a widescreen or standard formats,Dolby Dig 5.1, English captioning,and French and Spanish subtitles. You will also find several cast bios and filmographies, a theatrical trailer and there is commentary by the director, but may only be accessed on the widescreen side of the disc.The sound is excellent. There is a huge storm going on through most of the story and if you have surround sound, you will think it is happening right there in your living room. The picture in a matted widescreen format is good but not the most crystal clear I have seen.

A highly entertaining thriller/mystery that will almost certainly keep you guessing. That is of course unless you are as sly as the fox that ate the Gingerbread Man!...Get the popcorn ready and catch him if you can.....Laurie ... Read more

Reviews (13)

A powerful film about a brother's love -- and high art
I'm more than someone who appreciates the art of Vincent van Gogh -- I'm a painter and writer. I was influenced by the work of van Gogh at a young age, and through my years of struggle for self revelation, the power of his work has only grown in my mind. I came across this film about van Gogh in the early 90's and it immediately struck me as the most powerful piece of cinema -- about art or otherwise -- that I had ever seen in my life. Everything ugly and everything that is beautiful about the pursuit of art is effectively portrayed in this film. Where "Lust for Life" sugar-coated elements of the artist's life, in this film we see the dark side of Vincent's life without apology. Well shot and very well acted in a straight forward, no nonsense manner. Written very true to life -- Tim Roth BECOMES Vincent to a frightening degree. I've seen virtually every movie about art and artists -- nothing comes remotely close to this movie for its harshness, truth, and beauty.

Beautiful and sad
Of all the movies I have seen none have captured more sad images than this one. There are scenes in this film that will break your heart. Van Gogh was one of the most misunderstood figures in art. When his name is mentioned we always think about the ear, or about paintings with thick harsh lines that almost resemble a child-like technique. But who really knew the man? His brother Theo. And through his eyes and letters we learn about the madness and the sorrow that permeated his life. Vincent wanted to love but he was so enshrouded by the creative process that he could not be a good father or husband. Sure he was gentle and had a sense of decently, but was incapable of carrying out such a "mundane" task. His heart and head had higher aspirations but during the time in which he lived, people did not understand or appreiciate his work. Vincent wanted friendship and communication but often he was belittled and mistrusted. Other than his brother, Gaugin tried to reach this tortured soul. But by the age of 37 Vincent had given up.

This story is so often repeated. Robert Altman's film helps us understand that creative people can sometimes be totally ignored--only to have a far-off generation appreciate them

But that's the tragedy ...

The Bimbo from Atlanta Georgia Should Re-Watch this Film !!!
This is a Very Moving Film and shot in a very Stark and Realistic manner...Guess She was Just Too Mentally Challeged to see that !!! Gabriel Yared score is meant to make the viewer Uncomfortable just like the unrest in Van Gogh's mind...Guess She is Too Dense to catch that too !!! Must be a Peroxide Bottle Blonde :) Lol...HA,HA,HA The Acting was GREAT TOO !!!

back to the drawing board
This film was a drastic disappointment. First of all, the soundtrack was horrendous - more like a piercing of the inner ear in its often violent screeching...if the composer was trying to relay van gogh's angst and madness, he suceeded more so in annoyance, when at times the music overshadowed and drowned out the dialogue. The story, although delivering passionate exchanges between the two brothers, flatlines in character development - it is mostly devoid of warmth, failing to draw the viewer in to the soul of the brothers van gogh...one is left feeling pity for the pathetic dysfunction, rather than empathy for van gogh's passionate longing, joy and despair.... i have said for years that no one has yet portrayed van gogh's life properly in film, and i will continue to have this opinion until some brilliant filmmaker (with brilliant composer in tow) does justice to this brilliant and misunderstood artist.

Intimate portrait of Vincent Van Gogh & his brother
"Vincent and Theo" is an atypical film for Robert Altman - no repartee, no overlapping dialog, almost no humor, little overt social commentary. But who better than this fiercely independent and creative director to paint a cinematic portrait of the intense, complex relationship between the wildly creative and eccentric 19th Century artist, Vincent Van Gogh, and his brother, Theo?

The movie covers only the last years of their short, extraordinary lives, but these are among the most important historically because Vincent produced so many masterpieces during them. I assume the screenplay is based on the many letters the brothers sent to each other. Considering the chaos that filled their lives, it is almost miraculous that Vincent's works survived, not to mention the letters. Vincent and Theo certainly didn't survive the chaos.

Tim Roth and Paul Rhys are brilliant as, respectively, Vincent and Theo. Ordinarily, it might be irritating to have two main characters with so many tics and odd physical mannerisms, but the idea works here because it cements the illusion that the two are brothers in every way. Vincent may have the artistic genius, but in every other way, they are cut from the same mold.

The photography is stunning, especially in the sections where we see the scenery colored much the way Vincent might have seen it. The locales are well chosen, and the sets and costumes look appropriately late 19th Century European.

One of the advantages of modern cinema's freedoms is that it can show historic figures with warts and all, and Altman takes full advantage of this. Vincent is scrawny and has rotten teeth, while Theo is obviously syphilitic. Not to disparage biographical movies of fifty years ago, such as the 1956 film about Van Gogh, "Lust for Life" with Kirk Douglas, but I find these modern visions much more truthful and accessible. Somehow, by humanizing such people, their genius seems somehow more amazing and profound.

This is one of Altman's more difficult movies, but it is also one of the most rewarding. If there is a social message to it, it must be this: As a society, we have forgotten or dismissed the idea that artistic geniuses are, more often than not, not blessed with certain important social skills. This is a primary reason why they must and should be supported, just as Theo selflessly provided emotionally and financially for his tormented, graceless brother who sold just one painting in his lifetime. Theo was reputedly the buyer. ... Read more

Reviews (8)

Lonely Bird
The depictions here are the only accurate substantial accounts of Jimmy Dean's life. There are no bios that can even scratch the surface about him. All of them (authors) put their ideologies above the truth of who Jimmy was. It's too bad that the only truth about this man can never be fully told even by "some" who "claim" they knew him. Christy White is the only one and maybe Bill Bast who appear to be faithfull to his past. The other closest is "maybe" the movie made by TNT in 2003.

Peace..
rj

Vintage Film
This film is a must-see for anyone wanting to know more about James Dean. It was released in 1957, over a year after Dean died, and we get to see and listen to family members who are no longer living. We hear from other citizens of Fairmount, Indiana, who knew "Jimmy." We also see and hear show business friends and acquaintances. It also includes alot of great still photographs.

Please remember this film was made in the late 50s, and its dated. It sort of depressed me watching it because it really brought home the fact that "Jimmy" has been dead almost 50 years. But I would think this film would be a necessary part of anyone's collection of James Dean films.

invaluable to anyone who wants to know more about James Dean
the information from this documentary is invaluable and the insight from his family and the people who saw him on a regular basis gives a glimpse of Jimmy that not many people saw. it is one more facet of a brilliant diamond that shone for too brief a time.one word of caution to anyone with asthma,high blood pressure,heart disese,or tramatic stress disorder,the reenactment of his fatal car crash combined with pictures from the actual crash site are a little too graphic for some.watch at your own risk.

For all of us who love Jimmy
Everything the other reviewers have written is true: this documentary of Dean's life is slow-paced, dry, old-fashioned and dated. If you're one of those people who prefer the colorized versions of classic Black and White films, then this film will probably not be to your liking. But I look at it another way: where else can you view interviews with people who actu