Reviews (13)

An Ingenious Blend of Art and Science
"Hemo the Magnificent" is a story of a scientist trying to convince a skeptical Greek god and his forest friends about the reality and wonder of how the heart works. And in so doing we are convinced; we find ourselves awestruck over the ingenuity and beauty of nature.

One of the great things about "Hemo" is that it takes a fairly complex subject matter and makes it understandable and entertaining. I can imagine even a pre-schooler learning something from it.

I first saw this film in grade school in the late 60's, and lastly in college while getting my health science degree. It never seemed dated even though it was made in the 50's.

Educational films today seem dry and unemotional in comparison, as if producers were ashamed to show more than an academic view of their subject. It is unfortunate that no one makes films today the way Frank Capra and the Bell Science series did.

Even today when I hear Beethoven's Eroica symphony (which was its soundtrack), my first thought is of that great film. I would recommend this to anyone, especially to parents and teachers.

Hemo's the greatest
The study of science, especially back in the pre-space program days, was encouraged and assisted by many corporate sponsors. Bell Laboratories was foremost in this area. Hemo the Magnificent made biology come alive for many children. I still love watching this film today and I use it extensively to simplify the heart and circulatory system as I teach in an allied health post secondary school. I have never forgotten Dr. Baxter or Mr. Carlson as they jolly along with the cartoon animals and Hemo himself. It is interesting to note the opening scene with Mr. Carlson having a cigarette dangling casually from his mouth and to espy such antiquated medical modalities as leg braces and the iron lung used so long ago during the polio epidemics. Nevertheless, Hemo is as fresh and pertinent to science students today as it was 45 years ago. It is unfortunate that Rhino no longer prints this wonderful film.

Best Educational Film EVER!
This is frankly the best educational film EVER!
It stars the marvelous Dr Frank Baxter , Richard Carlson (cigarette smoking man in the picture) from "The Creature from the Black Lagoon", Sterling Holloway (the Disney legend THE original Winnie the Pooh and Kaa from Jungle Book) and of course HEMO.....Hemo is the best educational film EVER- This movie has inspired and continues inspire generations of health professionals- Imagine today's Doctors, Pharmacists, Nurses, Dentists, Paramedics as 6th graders sitting on the floor in their Toughskins watching Hemo for the first time. Nobody teaches the LUBDUBS like HEMO [its all in the valves]! HEMO also shows us why we breathe, why we faint when we stand for too long, why we stretch each morning, how boxers get knocked out, vagal and sympathic systems and MUCH MUCH MORE! When I watch Hemo as an adult health professional I am amazed at how well it stands up and how much solid info is packed into this 55 minute masterpiece!
I am so happy that i transferred my copy to DVD- Too bad Rhino hasn't released it on DVD yet- My copy looks great!

.

Hemo the Magnificent
As a child I marveled at the way the circulatory system was shown in "Hemo". Now as a teacher I still marvel at it's simplicity and timeless delivery. As a nurse, I see a way to educate people, again in a timeless form. Patient and student education is much easier because of it. Too bad other video's are not as efficient. The vocabulary used and the method of communication is excellant.

The most cherished education film from our elementary days
It is nice to know our childhood memories are being preserved even if we do not remember how many times we were shown "Hemo the Magnificent" or any of the other films in the Bell Science Series. This was always my favorite as Dr. Frank Baxter and Richard Carlson teach us all about the human circulatory system by engaging in some friendly banter with Hemo, who looks like a Greek god, and his animal friends. My clearest memory of this video is that the film broke or we had to change reels after Dr. Frank was challenged by Hemo to prove he knew about the origins of blood. The answer (yes, I saw you had your hand up) is "Sea Water." I do not know what else I remember from elementary school in New Jersey, but I know that blood has its origins in seawater. We also get to learn about why blood is colored red, why the hearts of smaller animals beat so much faster than large animals, and lots of other fun stuff I had pretty much forgotten. Directed by William T. Hurtz with animation by Shamus Culhane, this 1957 film was produced by Frank Capra, which probably explains why it worked so well. Along with "Mary Poppins" and "The 300 Spartans," "Hemo the Magnificent" is one of my fondest movie memories from my youth. I am so glad this is still available and am not at all surprised that those fine people at Rhino, who gave us the Smother Brothers and the Monkees on CD, are providing this videotapes as well. Final note: I am not bothered at all that as the years go by I am looking more and more like Dr. Frank. ... Read more

Reviews (11)

Light Comedy, One of My Favorites
Bette Davis plays Apple Annie, a bag lady who has, by correspondence, convinced her daughter that she is a wealthy socialite. Her daughter (Anne Margaret), who has grown up in Europe, is now on her way, with her fiancee (the son of a Spanish noble) and his family, for a visit, putting poor Apple Annie into crisis.

In steps Dave the Dude (Glen Ford), a small-time gangster wannabe with a big heart and a strong belief that Apple Annie's apples are his lucky charm and his ticket to the Big Time. Dave the Dude, his girlfriend (Hope Lange), and his henchmen (played by a cast of character actors half a mile long and featuring a young Peter Falk), step in to save the day, by transforming Apple Annie into Lady Manville. Unfortunately for Dave, the crux of Annie's transformation coincides with his making the Big Deal that will boost him into being a Big Time Gangster. He has to choose.

This is a somewhat over-acted but thoroughly charming movie that is loads of fun. I've never seen "Lady for a Day", which is this movie's predecessor and, according to many of my fellow reviewers, a superior movie. "Pocketful of Miracles" is such a favorite of mine that I'm not sure I want to risk seeing this supposedly better version of the story. Either way, "Pocketful of Miracles" will never be a disappointment to me and, I think, to many.

Charming, tender, funny, and very touching!
"Pocketful of Miracles" was Frank Capra's last motion picture he directed. For a last picture for him, I think it is quite a masterpiece. This is a remake of the 1933 movie "Lady For A Day" which Capra directed then. Bette Davis is wonderful as Apple Annie, a boozy street peddlar whose best customer is gangster leader Dave the Dude (Glenn Ford) who thinks her apples bring him luck. His flashy girlfriend Queenie Martin (Hope Lange) thinks otherwise, and the Dude can't keep her out of his hair. Peter Falk plays on his sidekicks named Joy Boy, and Mickey Shaugnessey (Elvis' costar in "Jailhouse Rock") plays the Dude's other sidekick and chauffeur Junior. They all help Apple Annie a.k.a. Mrs. E. Worthington Manville prepare for her daughter (Ann-Margret) to come from Spain to visit with a Spanish count (Arthur O'Connell) and his son (Peter Mann). They announce that she will marry the count's son, and will give a reception. The Dude, Queenie, Joy Boy, Junior, and Apple Annie's temporary "husband" Judge Blake painstakingly round up the gang members of the dude and Queenie's chorus girls to try to impersonate officials and attend the reception. Meanwhile, the police, the comissioner, the governor, and mayor are hot on the job to track down missing reporters kinapped by the Dude. (We all know even though their tied up, Dude's still kind-hearted underneath). They're in a jam, when Queenie's nightclub is surrounded by cops. Dude makes a deal with the comissioner. What ends up happening is, the governor and mayor get word and the people at the coincidental party for the mayor show up miraculously for Annie's reception. At the end, it shows, Louise (Ann-Margret), the count and son Carlos leaving to go back to Spain where the two will get married. This is a real fanciful scene there. It's a real great classic everyone will enjoy.

Enjoyable Film!
A fine film full of great performances and superb storytelling. Great for the collection! Grade: A+

GLOSSY BUT ENJOYABLE.
In 1961, Frank Capra decided to remake his 1933 film LADY FOR A DAY (based on Damon Runyon's MADAME LA GIMP); although it's enjoyable enough, it unfortunately pales when compared to the classic original version. Bette Davis was lured out of semi-retirement to play the gin-soaked apple peddlar, Annie, a destitute street person who learns that her Spanish convent-educated/raised daughter Louise (Ann-Margret) is planning to visit her. Annie's friends, Mobster Dave the Dude (Glenn Ford) and his blonde, brassy moll Queenie (Hope Lange) come to her rescue and transform the old girl into one Mrs. E. Worthington Manville, an elegant, wealthy dowager....Capra and Davis did NOT see eye to eye during the filming this rather dated (even in '61) and overblown fairy tale; it was Capra's swan song for the movies. Many critics felt that Davis's transformation from Apple Annie to the elegant Mrs. Manville wasn't convincing because it was done too quickly - I agree...Hope Lange does well as Queenie; her performance is sharp, honest and convincing as the moll with a heart of gold.

Dreams do come true.
A wonderful little Cinderella story. The cast works well together. Betty Davis is believeable as a Mother down on her luck. Frank Capra delivers another heartwarming tale. ... Read more

Reviews (27)

Mr. Capra Goes Overboard
Director Frank Capra's work doesn't hold up as well today as some of his contemporaries' because of his habit of over-inflating his scripts. "Deeds" starts out wonderfully well when the tuba-playing small-town yeoman Gary Cooper inherits a fortune and heads for the big city to look into it. But Capra can't leave well enough alone and transforms the funny contrasts into a ridiculously overblown sanity hearing. Capra repeated the same missteps in "Mr. Smith Goes to Washington" and "Meet John Doe", straining for social commentary and ending up with pomposity. Still, I would recommend Deeds and those other two pictures for all the scenes Capra got right. Cooper serenading the townspeople by playing "Auld Lang Syne" on his tuba from the back of a departing train is a real classic.

Moving Capresque flick
MY RATING- 7.8

This is quite a moving tale a la american by the master of socio drama, Frank Capra in which he uses one of his fave actors Gary Cooper as the country man who inherits a fortune from a rich uncle and is double crossed in the city. I never enjoyed the first roles of Cooper in MOROCCO, yet it looks like he's been improving his acting over the years and his eyes seem to be brighter and emotional with Capra efforts. Jean Arthur is very good too with her sexy voice and tender love. The cast also includes H. B. Warner as the judge and Lionel Stander as Deeds gardian angel with that frog voice.
Maybe a bit overlong, however it's moving (not as much as It's a Wonderful Life"), , love triumphs at the end, with the Capraesque final act at the court.

better than the sandler version
This is a great movie. The Adam Sandler version might be funnier in a silly, mindless way, but this movie makes a point that too many people forget. People who criticize this movie as naive or propaganda have bought into too much capitalist propaganda. The only people who wouldn't like the message this movie makes are slaveholders and feudal barons. Beautiful movie making a point that we should all remember in our daily life. When Deeds' assistant comments on the difficulty of feeding all of the farmers ("there's 2000 of them"), Deeds replies "that doesn't make them any less hungry." This movie isn't naive. It should simply remind us of how to be human. Its a shame that the message even needs to be said or that the Sandler version would suck the beauty out of it for a cheap lines from a hispanic butler.

I'm sure this was GREAT sixty some-odd years ago.
...But today I found it as bland as a glass of water, however not pure or refreshing. In fact reading a dull, damp B&W newspaper is just as entertaining and very similar. Classic or not I just found the remake with Adam Sandler & Winona Ryder very funny and fresh. So I wanted to see where it came from. My great grandma loved the original when she was my age.. I'm guessing. But being that the only B&W film I liked was "Psycho", I'm glad that they remade this film just for me.

just to naive to be true
This kind of social comedy, with its naive eulogy of the simple man, the inocent farmers and the small american town, just gives me the creeps. Look out for the way it is satyrized in Preston Sturges' "Sullivan Travels". ... Read more

Description

Blitzkrieg, or "lightning war," was the method of war adopted by Hitler and his generals. Behind the iron will of their Fuhrer, German forces occupied and conquered Austria and Czechoslovakia in a matter of weeks. This film documents Germany's preparations for war and demonstrates how Hitler maneuvered politically while militarily preparing for the conquest of Europe. The eventual attack on Poland is accurately documented in this historical film which formed the basis of many later documentaries on this subject. ... Read more

Reviews (9)

American Propoganda
These movies were perfect for the US troops in World War II. They caused anger in the troops. It made them want to fight.

As for being of historical value - well... they aren't. Take anything you watch with a grain of salt. Some of it may be true, some is not correct at all. The Americans use basic propoganda techniques like constantly repeating what Hitler said, and then showing what he did. The movies don't bother to tell how the political climate had changed and Hitler had been forced to act against what he had originally promised.

I'm a history professor at a well-established university (sorry, can't tell you which one... anonymity is key to survival). I would not use this to teach my classes. The real facts are very different from what the movies portray.

As I said... They served their purpose to boost morale in the troops back in 1944-45... but to the general public it is just hogwash.

The opening volume in Frank Capra's "Why We Fight" series
The famous "Why We Fight" documentary series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor as we mobilized for a war to be fought across two oceans . Eventually the series was shown to the public in theaters across the country.

"Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

This first chapter in the "Why We Fight" series defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

"Prelude to War," the first volume of Capra's "Why We Fight"
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra's documentary on the origins of World War II
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. "Prelude to War," the introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won).

"Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda.

Frank Capra explains to Americans how World War II started
As you probably know, the "Why We Fight" series was produced by Frank Capra when he was a major in the U.S. Army Signal Corps. The series was commissioned by Army Chief of Staff, General George C. Marshall, as a way of indoctrinating all the troops who signed up in the wake of Pearl Harbor and the declaration of war. The idea was to make it clear we were doing more than just remembering Pearl Harbor. Eventually the series was shown to the public in theaters across the country. This introductory film in the "Why We Fight" series covers the events leading up to the Second World War, focusing on the rise of Fascism in Italy and Germany, the Japanese attacks on Manchuria, and the United States' lack of military preparedness. The last is particularly interesting because it implicitly explains Pearl Harbor not as a Japanese victory, but rather as an American defeat (we lost rather than they won). "Prelude to War" defines World War II in black and white terms as the totalitarian worldwide conspiracy threatens to turn the free world into a slave world. Admittedly a propaganda film, this 1942 documentary is quite informative, explaining about Hitler's book "Mein Kampf," Lebensraum, the Tanaka Plan, the London Naval Treaty, the Kellogg-Briand Pact, the Nuremberg Laws, and even such details as the Roman fasces.

This 54-minute black & white film won the Academy Award for best documentary in 1942 and the series as a whole is credited with redefining the documentary as an art form. Of great historical value, it must be underscored that "Prelude to War" is not exactly propaganda in the most pejorative sense of the term. The film's great "sin" along those lines is that it makes the case that public opinion was moving in the direction of joining the war. Instead of dismissing this film and Capra's efforts as the American counterpart to what Goebbels was doing in Nazi Germany, it is more accurate to think of it as being the film equivalent of a prosecutor's speech in a trial. "Prelude to War" makes much better use of evidence without the radical distortion you usually find in classic examples of propaganda. ... Read more

Reviews (11)

Light Comedy, One of My Favorites
Bette Davis plays Apple Annie, a bag lady who has, by correspondence, convinced her daughter that she is a wealthy socialite. Her daughter (Anne Margaret), who has grown up in Europe, is now on her way, with her fiancee (the son of a Spanish noble) and his family, for a visit, putting poor Apple Annie into crisis.

In steps Dave the Dude (Glen Ford), a small-time gangster wannabe with a big heart and a strong belief that Apple Annie's apples are his lucky charm and his ticket to the Big Time. Dave the Dude, his girlfriend (Hope Lange), and his henchmen (played by a cast of character actors half a mile long and featuring a young Peter Falk), step in to save the day, by transforming Apple Annie into Lady Manville. Unfortunately for Dave, the crux of Annie's transformation coincides with his making the Big Deal that will boost him into being a Big Time Gangster. He has to choose.

This is a somewhat over-acted but thoroughly charming movie that is loads of fun. I've never seen "Lady for a Day", which is this movie's predecessor and, according to many of my fellow reviewers, a superior movie. "Pocketful of Miracles" is such a favorite of mine that I'm not sure I want to risk seeing this supposedly better version of the story. Either way, "Pocketful of Miracles" will never be a disappointment to me and, I think, to many.

Charming, tender, funny, and very touching!
"Pocketful of Miracles" was Frank Capra's last motion picture he directed. For a last picture for him, I think it is quite a masterpiece. This is a remake of the 1933 movie "Lady For A Day" which Capra directed then. Bette Davis is wonderful as Apple Annie, a boozy street peddlar whose best customer is gangster leader Dave the Dude (Glenn Ford) who thinks her apples bring him luck. His flashy girlfriend Queenie Martin (Hope Lange) thinks otherwise, and the Dude can't keep her out of his hair. Peter Falk plays on his sidekicks named Joy Boy, and Mickey Shaugnessey (Elvis' costar in "Jailhouse Rock") plays the Dude's other sidekick and chauffeur Junior. They all help Apple Annie a.k.a. Mrs. E. Worthington Manville prepare for her daughter (Ann-Margret) to come from Spain to visit with a Spanish count (Arthur O'Connell) and his son (Peter Mann). They announce that she will marry the count's son, and will give a reception. The Dude, Queenie, Joy Boy, Junior, and Apple Annie's temporary "husband" Judge Blake painstakingly round up the gang members of the dude and Queenie's chorus girls to try to impersonate officials and attend the reception. Meanwhile, the police, the comissioner, the governor, and mayor are hot on the job to track down missing reporters kinapped by the Dude. (We all know even though their tied up, Dude's still kind-hearted underneath). They're in a jam, when Queenie's nightclub is surrounded by cops. Dude makes a deal with the comissioner. What ends up happening is, the governor and mayor get word and the people at the coincidental party for the mayor show up miraculously for Annie's reception. At the end, it shows, Louise (Ann-Margret), the count and son Carlos leaving to go back to Spain where the two will get married. This is a real fanciful scene there. It's a real great classic everyone will enjoy.

Enjoyable Film!
A fine film full of great performances and superb storytelling. Great for the collection! Grade: A+

GLOSSY BUT ENJOYABLE.
In 1961, Frank Capra decided to remake his 1933 film LADY FOR A DAY (based on Damon Runyon's MADAME LA GIMP); although it's enjoyable enough, it unfortunately pales when compared to the classic original version. Bette Davis was lured out of semi-retirement to play the gin-soaked apple peddlar, Annie, a destitute street person who learns that her Spanish convent-educated/raised daughter Louise (Ann-Margret) is planning to visit her. Annie's friends, Mobster Dave the Dude (Glenn Ford) and his blonde, brassy moll Queenie (Hope Lange) come to her rescue and transform the old girl into one Mrs. E. Worthington Manville, an elegant, wealthy dowager....Capra and Davis did NOT see eye to eye during the filming this rather dated (even in '61) and overblown fairy tale; it was Capra's swan song for the movies. Many critics felt that Davis's transformation from Apple Annie to the elegant Mrs. Manville wasn't convincing because it was done too quickly - I agree...Hope Lange does well as Queenie; her performance is sharp, honest and convincing as the moll with a heart of gold.

Dreams do come true.
A wonderful little Cinderella story. The cast works well together. Betty Davis is believeable as a Mother down on her luck. Frank Capra delivers another heartwarming tale. ... Read more

Amazon.com essential video

James Hilton's novel Lost Horizon proposes a perfect hidden community within the uncharted Himalayas, a land where peace reigns and the inhabitants live for hundreds of years. So indelible is this mythical land that its name has entered the culture: Shangri-La. Director Frank Capra, riding high during his mid-'30s hot streak, spared no expense in creating Hilton's paradise onscreen, taxing the coffers of Columbia Pictures and the patience of mogul Harry Cohn. The results, however, are magical: shimmering, seductive, and maybe a bit foolish, truly the creation of an idealist (understandably, the spectacular art direction won an Oscar). And Capra's hero is an idealist, too. Ronald Colman, at his most marvelously elocutionary, plays a wise diplomat whose plane crashes in the snows of Tibet. He and the other survivors are guided to Shangri-La, where they wrestle with the invitation to stay. The young Jane Wyatt plays Colman's love interest, but leaving a more lasting impression are H.B. Warner, as the benevolent Chang, and Sam Jaffe, in great old-age makeup, as the wizened High Lama. This version has been restored as closely as possible to Capra's original cut; the film had circulated for many years in a trimmed form. Lost Horizon was remade, notoriously and hilariously, as a big-budget musical in 1973; it was a complete flop. --Robert Horton ... Read more

Reviews (58)

Welcome to "Shangri-La" the Fantasy Classic. Now on DVD!
James Hiltons novel "Lost Horizon" has been beautifully transferred into a Classic 1930's Fantasy film under the Direction of Frank Capra and Columbia Pictures.

This film was almost lost forever due to film deterioration and studio neglect. After years of gathering every known bit of film and audio tracks we have a digitally restored "Directors Cut" 132 minute film. With all the best prints & audio available we have a wonderful film presentation to enjoy forever.

This is a collectors DVD! Hollywood film at its best!

Summary: English hero and popular Diplomat Robert Conway (Ronald Coleman)is due to return to England from China for a very important diplomatic appointment. A revolt occurs and Conway must make a hasty departure to Shanghai by airplane before being captured. Surprisingly he & his fellow passengers are high jacked & kidnapped to Tibet. The aircraft crash lands in the snow ravaged Himilayan mountains. Mysteriously they are rescued almost immediately in a blizzard. They are dressed warmly and escorted to this utopian valley of "Shangri-La". A place where time is almost frozen and the aging process is slowed drastically. Conway finds that he was intentionally brought here. Why? A very curious situation. The the story of "Shangri-La begins.

This tale is a Classic one which even today stands the test of time. Now digitally restored to the Directors Cut of 132 minutes. The extras are informative & loaded with historical information about the film.

A family film classic to enjoy for generations thanks to the dedication of film restoration teams & the American Film Institute (AFI). Enjoy.

Almost A Lost Film
LOST HORIZON is a very special and very philosophical movie based on the James Hilton novel. The movie makes a few changes from the book, but in many ways the film actually improves on the novel, not the least of which is having the great Ronald Colman flesh out the part of Robert Conway. It's not Colman's most memorable performance (see TALE OF TWO CITIES for that) but he wears the part like a comfortable suit. Supporting him are some other great players like Edward Everett Horton, Thomas Mitchell, Sam Jaffe and Isabel Jewell to name a few. What would YOUR reaction be when you discover that the commandeered airplane that took you to a mysterious, beautiful land in the middle of the wintry Himalayas was not an accident, but a plan? The lost world of Shangri-La is something different to everyone, and it's not always a land of bliss and happiness as you'll see. The film itself has gone through many difficult years, and the painstaking reconstruction (sometimes down to still frames with audio) receives a fine presentation on DVD. It's the restoration and the extras that make the disc worth viewing. A brief section shows how some frames were restored, and we get to see some rare pristine footage of the funeral procession. A good feature commentary and documentary are also included. Overall, then, it's a fine film and a fine DVD supplying fine extras. What's not fine? Well, it's only fair to comment on the extremely variable quality of the image (as I said, it's a combination of several decent prints, some 16mm prints and the occasional still-frame section). That's not the fault of Columbia, as it is most likely the best they could do. But upon comparison to my VHS tape of the restored film, I was surprised to see that the quality is only *slightly* better, not dramatically better. That's why I say in all fairness that it's really the extras that make it worthwhile, but that's coming from someone who already had a video copy of the restored film in his collection. If you've never seen the film, I recommend it unreservedly.

A sweet, enduring classic
I was surprised how much this classic touched me. Afterwards, it reminded me of John Lennon's lyrics: "Life is what happens to you when you are busy making other plans." For example, one stranded traveller, who is initially bequiled by the gold he found at Shangri-La, gradually has his heart opened wide by the children of Shangr-La, and he sees/feels the real riches around him. The old sage's only rule, "Be kind" was simple and great. I didn't balk at the fact that the two "Hollywood nymphets" (as referred to by another Amazon.com reviewer) were not Asian; because the old sage, himself, was a Belgian missionary and many of Shangri-La's inhabitants were supposed to have been lost foreign travellers who had been rescued. The idea of Shangri-La as a sanctuary for the meek who shall inherit the earth after the strong destroy the strong mysteriously forebode World War II's horrors that happened not too many years after this 1937 film was released. With today's Global Positioning Satellite technology, a hidden, physical Shangri-La could probably never be in the cards. However, it can dwell where it most should--inside us. (No, they don't make 'em like they use to.)

An early Capra directed movie

Director: Frank Capra
Format: Black & White
Studio: Columbia/Tristar Studios
Video Release Date: June 28, 1994

Cast:

Ronald Colman ... Robert Conway
Jane Wyatt ... Sondra
John Howard ... George Conway
Margo ... Maria
Thomas Mitchell ... Henry Barnard
Edward Everett Horton ... Alexander P. Lovett
Isabel Jewell ... Gloria Stone
H.B. Warner ... Chang
Sam Jaffe ... High Lama
Dennis D'Auburn ... Aviator (We Can't Take More Than Seven)
Val Durand ... Talu, Hijacking Pilot with Gun
Neil Fitzgerald ... Radio Operator
Willie Fung ... Bandit Leader at Fuel Stop-over
Lawrence Grant ... First Man
Joe Herrera ... Candle Maker
Boyd Irwin ... Assistant Foreign Secretary
Noble Johnson ... Leader of Porters (Return Journey)
Manual Kalili ... Servant
Richard Loo ... Shanghai Airport Official
Richard Master ... Servant
John Miltern ... Carstairs (Club)
Ray Mitchell
Henry Mowbray ... Englishman
Leonard Mudie ... Foreign Secretary with Prime Minister
John T. Murray ... Meeker (Club)
Wedgwood Nowell ... Englishman
Milton Owen ... Fenner, Hijacked Pilot
Max Rabinowitz ... Seiveking, Pianist with Sondra
Arthur Rankin ... Passenger
Richard Robles ... Porter
Chief John Big Tree ... Porter
Alex Shoulder ... Servant
Wyrley Birch ... Missionary
James Smith ... Porter
Norman Ainsley ... Steward (Club)
Carl Stockdale ... Missionary
John Tettener ... Montaigne (Club)
David Torrence ... Prime Minister
Eric Wilton ... Englishman
Barry Winton ... Englishman
Victor Wong ... Bandit Leader
Ernesto Zambrano ... Servant
Hugh Buckler ... Lord Gainsford (Toast at St. George Club)
Sonny Bupp ... Young Boy in Sondra's Choir
John Burton ... Wynant (Club)
Eli Casey ... Porter
George Chan ... Chinese Priest
Darby Clark ... Radio Operator
David Clyde ... Steward (Club)
Robert Cory ... Englishman
Margaret McWade ... Missionary
Ruth Robinson ... Missionary
Beatrice Blinn ... Passenger

Patricia Curtis ... Passenger
Mary Lou Dix ... Passenger

The story of Shangri-La is a fantasy tale. Robert Conway (Ronald Colman), his brother George (John Howard), Alexander Lovett (Ed Horton), Henry Barnard (Thomas Mitchell), Gloria Sone (Isabel Jewell) and their Tibetan pilot crash land in Tibet. The pilot dies. Then, their adventure begins.

They are taken to a monastery, where despite the winter weather, it is spring inside the valley. They are told that they were abducted, and that they will not leave.

The story goes on from there, with love interest and Colman's realiztioon that he has met his destiny.

This is a good story, well acted. Well directed by Capra. Although released in video in 1994, it is an old black and white. Franklin Roosevelt, when asked where Doolittle's Tokyo bombers came from, in 1942, said "Shangri-La."

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

Enduring Masterpiece & Calming Movie Escape
If you enjoy movies similar to Seven Years in Tibet or any movie featuring faraway fantasy escapes where mankind seeks peace, then this movie might interest you. Lost Horizon is not the lavish classic it once was. Strangely enough, a movie about people who lived for 200 years was not protected or preserved properly and Robert Gitt's restored version is an extraordinary accomplishment. Robert Gitt worked for over 25 years to find enough footage to restore missing scenes.

The dramatic start and the confusion of the first few scenes draw you into the movie and then a surprisingly leisurely-paced plot keeps your attention to the last second. As a plane takes off by the light of the burning hangers, a few lives have been saved while the fate of those left behind is not really discussed. Once aboard, they realize this plane is flying in the wrong direction. To make matters worse, the plane crashes in the mountains and leaves the passengers stranded in the bitter cold.

Robert Conway (Ronald Colman) is almost unnaturally calm in the face of certain death and throughout the movie he displays the qualities of a hero who is faced with difficult choices. At first he is a captive of Shangri-La's choices and then later he puts his life at risk to follow his destiny. I did love when Conway said: "Not knowing where you are going is exciting..." Conway wastes no time anguishing over the unpredictability of life and is a great example of how we can stay calm in the adventure of life itself. I saw this movie as a metaphor for everyone who is seeking an escape from the conflicts of our planetary existence. In a way, the message in Lost Horizon reminded me of the messages in the movie Camelot.

The ideas of how we are killing ourselves with "indirect suicide" are still very relevant for today. Walking for 30 minutes and then practicing yoga for 70 minutes is sure to dissolve mountains of stress. If you do that before watching this movie, it can only help to dissolve even more stress. Yoga (a meditation of the body and not a religion) definitely makes you feel and look younger than your age.

The romance in this movie is quite mild and I actually preferred the alternate and more dramatic ending. There are a few flaws in the Shangri-La philosophy of life. How could anyone be happy giving away the woman they loved? While the heart may want peace, the heart may prefer conflict in such cases. It does seem that at times we humans thrive on inner conflicts and external controversy. We are born for the struggle, but Shangri-La definitely sounds like an interesting vacation escape, just don't make me live there without computers. ;) There are ways to find inner peace and I assume that if everyone did yoga, no one would have any time to start wars because they would be floating in some blissful state that is difficult to explain, but very real.

More peaceful escapes: Sarah Swersey's Nightingale CD.

~TheRebeccaReview.com ... Read more

Reviews (3)

The Nazi march across Europe in Chapter 2 of "Why We Fight"
"The Nazis Strike" is the second in director Frank Capra's "Why We Fight" series, which remains the supreme example of American propaganda from World War II. During the war Capra was a major in the U.S. Army Signal Corps and was commissioned by General George C. Marshall, the Army Chief of Staff, to make series of films that would explain the government's policy to the troops hastily being assembled, trained, and sent overseas.

In this 41-minute black & white documentary, which was released in 1943, Capra covers the rise of the Nazis to power as Hitler establishes his dictatorship over Germany and then has his armies march on Austria and Czechoslovakia before invading Poland and officially beginning the war. What is emphasized is how attempts at appeasement were made but failed to deter Hitler from his dreams of conquest. Capra documents how Hitler combined political maneuvers with military preparedness to position Germany for war. The section on the "Blitzkrieg" ("lighting war") attack on Poland is a superb record of the fall of that nation before the German juggernaut.

Capra was able to use the facilities of MGM, Paramount and 20th Century Fox, as well as the talents of filmmakers like Walter Huston, George Stevens, and William Wayler, as well as composers Alfred Newman and Dmitri Tiomkin. The animated map sequences were doen by Walt Disney and his staff. In addition to being effective tools of propaganda, helping to shift American from an isolationist to a war footing, the "Why We Fight" series effectively redefined the art of the documentary and remains a key source of archival footage today. In 2000 the "Why We Fight" series was added to the Library of Congress National Film Registry and this last chapter just reinforces why.

The series was eventually shown to the public in theaters and prints were shown to American allies in England and the Soviet Union as well. Even today the "Why We Fight" series remains a prime source of archival footage of this period. "The Nazi Strike" is followed by "Divide and Conquer," which continues the story of how the Nazi easily conquered most of the European continent.

The Nazis march across Europe in Capra's documentary
"The Nazis Strike" is the second in director Frank Capra's "Why We Fight" series that is the supreme example of American propaganda from World War II. During the war Capra was a major in the U.S. Army Signal Corps and was commissioned by General George C. Marshall, the Army Chief of Staff, to make series of films that would explain the government's policy to the troops hastily being assembled, trained, and sent overseas.

In this 41-minute black & white documentary, which was released in 1943, Capra covers the rise of the Nazis to power as Hitler establishes his dictatorship over Germany and then has his armies march on Austria and Czechoslovakia before invading Poland and officially beginning the war. What is emphasized is how attempts at appeasement were made but failed to deter Hitler from his dreams of conquest. Capra documents how Hitler combined political maneuvers with military preparedness to position Germany for war. The section on the "Blitzkrieg" ("lighting war") attack on Poland is a superb record of the fall of that nation before the German juggernaut.

Capra was able to use the facilities of MGM, Paramount and 20th Century Fox, as well as the talents of filmmakers like Walter Huston, George Stevens, and William Wayler, as well as composers Alfred Newman and Dmitri Tiomkin. The animated map sequences were doen by Walt Disney and his staff. In addition to being effective tools of propaganda, helping to shift American from an isolationist to a war footing, the "Why We Fight" series effectively redefined the art of the documentary.

The series was eventually shown to the public in theaters and prints were shown to American allies in England and the Soviet Union as well. Even today the "Why We Fight" series remains a prime source of archival footage of this period. "The Nazi Strike" is followed by "Divide and Conquer," which continues the story of how the Nazi easily conquered most of the European continent.
[Edit Review]

Very good video
This is the second part in the Why We Fight series. This will explained the events leading to Nazi Germany's seige of Austria and Czechoslovakia. Also Neville Chamberlain failed Munich Pact. And the Nazi victory in Poland and the ruthless destruction of Warsaw. ... Read more

Reviews (4)

Frank Capra toying with the formula...
Barbara Stanwyck as Sister "Faith" Fallon, charismatic leader of a Pentecostal sect. David Manners plays a blind man who falls in love with her after hearing a sermon which rouses hope in him; Frank Capra's unusually blunt attack on religious quackery previews familiar themes of individual moralism and the little guy going up against a crooked system. The baby-cheeked, 20-year-old Stanwyck is drop-dead gorgeous in scene after scene, and brings the house down -- literally -- in the beginning and closing scenes. Nice early exploration of Capra's populist ouvre, but mostly just a chance to admire Stanwyck's incandescence.

Frank Capra's Darkest Film Might Be his Best
Predating "Elmer Gantry" (the film) by twenty years is this overlooked gem starring Barbara Stanwyck as a vindictive daughter of a minister. She begins the film with an intense diatribe against religious hypocrisy, but she eventually succumbs to the very corruption she originally railed against.
When she meets a charming blind man her eyes have finally opened up to her sins and "sees the light".
There's a scene that recalls the old "Golden Calf" episode from the Bible involving a party full of drunken carny people revelling at Sister Fallon's home.
Stanwyck's acting in this film is a real eye-opener. She alternates between powerful virtue and an understated sexuality that's subtle and very well done. David Manners' performance was so convincing. He did an unbelieveable job portraying a handicapped man.
TCM shows this film from time to time, but I'd like to see a DVD release so everyone can see what a great film this is.

STANWYCK AND CAPRA
Sister Florence Fallon (Stanwyck) becomes a popular evangelist, broadcasting her message daily to poor city dwellers from her Temple of Happiness. A young blind man (David Manners), who has failed as a song-writer is saved from committing suicide when her hears her cite the achievements of handicapped artists such as Beethoven and Milton. His spirits renewed, he decides to attend a revival meeting at the temple with his landlady.......... This 1931 feature was a well-directed slam at commercial evangelism with a personal sock at Aimee Semple McPherson and her Los Angeles tabernacle. Capra managed to create several original situations for the film, and the does well in this unusual and decidedly interesting movie. It's beautifully lighted and photographed and Barbara is mesmorizing in the lead as Florence "Faith" Fallon. An expensive film in it's day, every penny shows on the screen. Capra thought the picture was corny, but it holds up remarkably well; nearly 70 years later, there are evangelists using the exact same techniques, (except now they do it for millions of dollars a week on television!).

Barbara is magical as always in this early role.
The opening scenes of The Miracle Woman are great, and seem as relevant today as they were controversial in 1931. Some of the lines were brilliant and intelligently true, but I guess some people would still consider it blasphemy the way Barbara really lashes out at those hypocrites in charge of her deceased father's church. Though the film lags in certain places, and seems improbable at times, it has a great many fine moments. The best of which are between Barbara and David Manners, who plays the blind man who falls in love with Sister Fallon. Some of the most moving scenes that Frank Capra has filmed. He sure knew how to make love scenes work. Although Miracle Woman lost money at the box office, I still believe that this and his The Bitter Tea Of General Yen deserve their place amongst Mr. Capra's best. I don't understand why these films were banned in Britain. For all it's so called irreverence, the film ends up being a safe story of one woman's journey towards redemption, and the Salvation Army in the end. ... Read more

Amazon.com essential video

Now perhaps the most beloved American film, It's a Wonderful Life was largely forgotten for years, due to a copyright quirk. Only in the late 1970s did it find its audience through repeated TV showings. Frank Capra's masterwork deserves its status as a feel-good communal event, but it is also one of the most fascinating films in the American cinema, a multilayered work of Dickensian density. George Bailey (played superbly by James Stewart) grows up in the small town of Bedford Falls, dreaming dreams of adventure and travel, but circumstances conspire to keep him enslaved to his home turf. Frustrated by his life, and haunted by an impending scandal, George prepares to commit suicide on Christmas Eve. A heavenly messenger (Henry Travers) arrives to show him a vision: what the world would have been like if George had never been born. The sequence is a vivid depiction of the American Dream gone bad, and probably the wildest thing Capra ever shot (the director's optimistic vision may have darkened during his experiences making military films in World War II). Capra's triumph is to acknowledge the difficulties and disappointments of life, while affirming--in the teary-eyed final reel--his cherished values of friendship and individual achievement. It's a Wonderful Life was not a big hit on its initial release, and it won no Oscars (Capra and Stewart were nominated); but it continues to weave a special magic. --Robert Horton ... Read more

Reviews (223)

Black & White Isn't "Too" Bland, Non?....
In fact, the black & white setting suits "It's A Wonderful Life" as perfectly as technocolor would have for this Frank Sinatra-esque cult classic. James Stewart has this "Rocky & Bugsy"-era voice and a vigourous demeanor & Donna Reed is just brung in to play the hard-to-get young girl and the reserved wife. My focus refused to stay entact while watching this movie, but the ideas I did withdraw from this movie is that George Bailey (James Stewart) is caught in the tangled web of a financial scandal... and on the brink of suicide. That is... until a cliched assigned guardian angel appears out of the sky and falls in the waters of Bedford Falls... to save George (ironically). Before this happens, George is on a bridge contemplating (supposedly) suicide (due partially to a busted-lip from a brute in Martini's bar whose wife George insulted on the phone, heh heh), and when he sees Clarence (the "quote on quote"... angel), he jumps in after him and retrieves him. Henceforth, George rebuffs the idea of an angel and wishes he was never born, and granted... he was never born. And boy, does he take the in-your-face gruff reality of having no identity for a sham, but to his shagrin... it's as serious as a heart attack. George is a non-existent would-have-been making a futile attempt to spark some remembrance in his lost friends & family. Predictably, George repents and returns to existance... with a little (or lot of) monetary help from the whole town for his business trouble (whose lives apparently were impacted greatly by him somehow). Upon the saccharine conclusion (where George, his wife, & kid are basking in the solace of christmas communion), my eyes almost started to well-spring... I haven't the faintest idea why (I'm only 17). A nice retrospective on the golden age of Christmas classics. Somebody please make "It's A Wonderful Life 2000."

It's a Wonderful Message!
Your life doesn't seem so wonderful? Suffering from depression? Then here's a pill to swallow: watch Frank Capra's "It's a Wonderful Life". It's guaranteed to do you some good.

The screenplay of It's a Wonderful Life originated with a Christmas card short story called "The Greatest Gift" by Philip Van Doren Stern. It revolves around the life of George Bailey, an ordinary man who falls in love, gets married, has a family, and unselfishly works hard to support his family and local community. Deep down George has the itch to escape the chains of the small town atmosphere of Bedford Falls and the family business. He longs to travel the world in search of adventure, and has visions of constructing grand buildings. His dreams however are anchored by reality: He feels morally bound to honor his commitments to his family and the family business "Bailey Building and Loan". The first three quarters of the movie slowly builds up atmosphere, as we come to understand George Bailey's character and outlook on life.

It is only towards the very end that the moment of crisis comes: On the eve of Christmas, precisely as a bank inspector is on the scene, a huge sum of money is lost by the bank, and George's entire business is threatened. At this point the lengthy build-up bears rich fruits: as viewers we are now in a position to understand the incredible and painful frustration George feels. We share the hurt and disillusionment of this broken man as he snaps at his family and loved ones, and tears well up as his uncomprehending children pray desperately for their father. It is the slow build up that enables us to share his and their emotions of grief, sorrow, pain and frustration.

When George is at the end of his road, he selfishly considers suicide. At this point heaven answers the prayers of his family by sending a guardian angel second class (AS2) named Clarence to help George renew his perspective on life. When George in his depressed state is convinced that the world would have been better off without him, the angel offers him "a chance to see what the world would be like without you." His magical heavenly touch transforms the world to the place it would have been without George Bailey's touch, so that George can discover that "each man's life touches so many other lives."

The religious aspect is not convincing: Bailey receives divine aid even though he professes himself not to be a religious man, whereas the Bible portrays heavenly help as a gift for believers. The notion of a guardian angel as presented in the movie is especially weak, particularly because of the way it often functions for comic relief in a rather trite and disrespectful manner. Spiritual matters hardly receive the serious treatment they deserve. In the end, religion (represented by the guardian angel) functions more as a backdrop and literary device to examine a serious perspective on life. It's a flimsy and unconvincing backdrop, but the matters that the guardian angel as a literary device serves to reflect on are serious indeed. By being given the opportunity to imagine he had not existed, George Bailey is confronted with the value of life, even a hard and difficult life, and learns that every person can make a difference. As George reflects on all his blessings, and the impact he has been able to have on people's lives, he comes to the conviction "I want to live again." Clarence reinforces George's desire to live: "You see, George, you really had a wonderful life. Don't you think it's a mistake to throw it away?" Life is valuable particularly when it is used in selflessness (represented by Bailey) and not in selfishness (represented by Potter). When serving others instead of mammon, life is tremendously valuable, even though it may be hard.

Though religion is outwardly present in the form of the guardian angel, this affirmation of the value of human life has been stripped of any religious notions. And yet this self-reflection is itself a very religious one. It is too bad that the movie succumbs to the need to have a feel-good ending where George overcomes his troubles, because it results in a overly sentimental feel-good Christmas without the Christ-child. In that sense the movie falls short by not being sufficiently religious. The reality is that the lives of most viewers do not receive the magical solution that George receives, and that their troubles are ongoing - and only the gospel gives life a wonderful significance in the midst of ongoing troubles. By providing an overly sweet ending, the theme of "do good to others" is unchained from the gospel, and an opportunity was lost to convey a message even more profound.

But even so, the message conveyed is still profound and enduring: Life is wonderful, particularly when it is lived in selflessness for others. We might not all touch as many lives as George does, but we can all have a tremendous impact in the lives of others. Unlike so many contemporary movies, It's a Wonderful Life does not promote materialism, greed or immorality, but shows the joys and rewards of a simple and self-less life with family and friends. The concept is brilliant, and we are left to reflect for ourselves what the lives of our family and friends would be like without our touch. Not only does this movie provide enduring and powerful themes affirming the value of marriage, family and self-less human life, but it does so with warm humor and touching romance. Most importantly there is powerful emotion and lasting quality that has the capacity to renew your perspective on your own life. What more could you ask for? Few movies are worth watching more than once, but this is certainly one of them! You only live once, but watching this movie once or more might just improve that life you only have the opportunity to live once.

WAKE UP! This is a lousy movie!
This movie never won any awards. It was so bad that the studio could hardly give it away when they first puit it on tape, then they let it be colorized just so they could sell SOME copies of it, and suddenly the big war cry from the Hollywood liberals was -- "OOH! Save a classic black and white film!" Baloney! No one liked this movie when it was made. No one liked it the 1950s. No one liked it in the 1960s. No one liked it in the 1970s. No one liked it in the 1980s, then SUDDENLY! -- it's an American classic. NOT! It's Communist propaganda about the "evils" of American free enterprise from a guy who made a lot of pinko films but never thought HE should have to live like this "common man" he kept making pictures about.

Contemplating worth in Bedford falls...
"It's A Wonderful Life" is not just a Christmas classic, it's a bonafide American masterpiece of good-old-fashioned storytelling. Yeah, it's always a treat to sit around with your family and catch it on the tube the night Santa comes to town, but it's also a great movie to watch when you're feeling a little down on yourself. When George hits rock bottom, it's a pretty depressing sight to behold (thanks largely to a brilliantly subtle, yet intense, performance by Jimmy Stewart). But by the end of the film, when he finally feels like he's on top of the world, you'll understand why this film is the ultimate cinematic tear-jerker; evidence can be found in those salty drips emitting from YOUR eyes.

Indeed, a classic film. And a masterpiece. I wish real life was like Bedford Falls. HIGHLY recommended.

The Greatest Film of All Time?
How do you describe Frank Capra's style? I once called it like Orson Welles, only happy. Visually, these two film-makers were both fond of high-contrast photography and capturing emotions in the characters of their movies. But whereas Welles seemed to focus on all the terrible things that human beings can become, Capra focused on life lessons and the good that lies inside of all people.

While Capra created many masterpieces, this is probably his greatest. It's easy to see why. Rather than focusing on just one aspect of life, this film (like Citizen Kane) captures a person's whole life, with all it's ups and downs. Basically the story is a simple tale of David and Goliath relationship between the small businessman and the evil monopoly, and the internal struggle in a man between what he wants to do, and what he feels that he has to do.

Perhaps there is a bit of George Bailey in all of us. He's a perfectly normal person with perfectly normal dreams. He wants to see the world, build things, become important. But over and over again, in order to help (and in some cases save) others he is forced repeatedly to give up his dreams in order to do what he knows is right. Along the way he builds relationships with all sorts of people in the town where he is forced to spend his entire life. But was what he gave up really an unfair trade? Or did he actually attain a treasure far greater than he could ever imagine?

The emotional climax of the film at it's end (where everything comes full circle and we finally understand how George Bailey got to the point he was at in the film's beginning) has got to be one of the greatest performances in any film ever, and Jimmy Stewart's moment of moments (perhaps only rivaled by his breakdown at the end of Mr. Smith Goes to Washington). I recall the first time I saw this movie, and the huge emotional reaction I had at seeing a man who has done nothing but sacrifice all his life kicked when he's down (if you remember what happens immediately after he prays for help you'll know what I mean).

Ultimately, this movie changed my life. It taught me about the importance of friends, self-sacrifice, and living your life doing what you know it right. But even more than that, this movie is an absolute tour-de-force, and stands out in my mind as one of the greatest films ever made. ... Read more

Reviews (108)

Grant, 2 Old Ladies & Elderberry wine=hilarity now on DVD!!
Frank Capra delivers a great film adaptation of Joseph Kesselring's Broadway hit, "Arsenic and Old Lace". Originally filmed in 1941 just prior to WWII, but not released until 1944 because of the contract agreement to allow the play to complete its Broadway run. (The play ran for 1,444 performances.)

Cary Grant in the leading role as nephew, Mortimer Brewster is at his comedic best in this black comedy of wine, family & insanity. His 2 fabulous Aunts played by Josephine Hull & Jean Adair were encored to the screen and are perfect in their roles. Boris Karloff's obligations prevented him from doing the movie and was replaced by Raymond Massey in the movie version as Grant madcap brother. The great ensemble cast also included Peter Lorre, Edward Everett Horton, Priscilla Lane & John Alexander as a delightful zany crazy, thinking he is President "Teddy Roosevelt".

Summary: It is Halloween, Mortimers wedding day & his life is about to change forever. Visiting his 2 Aunts (Hull & Adair) with his wife (Lane - Ministers daughter!) on their way to their honeymoon to Niagara Falls discovers a body in the window seat. Thinking his crazy cousin, (Alexander) has committed the crime approaches his Aunts. They not only know about the body, but they know who he was & how he died. Their elderberry wine laced with a mixture of arsenic. Oh by the way, he is the 12th to be buried in the cellar. What is Mortimer to do & is his entire family insane? We began a very entertaining & hilarious journey to answering these & many more questions.

This DVD is an excellent Black & White Full Screen (before WideScreen) transfer. Extras include Production notes.

"Arsenic and Old Lace" film adaptation is very close to the actual Broadway play & is a great classic to have in your DVD library. Enjoy.

Arsenic & Old Lace
Plot: Mortimer, a drama critic, has just got married and is about to go on his honeymoon when he discovers insanity runs in his family. His sweet maiden aunts poison lonely old men and have a number of corpses buried in the cellar.....

A film adaptation of the popular stage play, Arsenic and Old Lace is a hilarious movie perfect for people of all ages. The story of Mortimer Brewster (Cary Grant), the youngest of three brothers who were raised by two dear, but eccentric, spinster aunts, who have a nasty little habit of "putting poor souls" out of their misery with a little arsenic-laced elderberry wine.

It is delightful to watch Mortimer go from a nice, normal, newlywed to a nervous, neurotic mess as he tries to figure a way out of the predicament his well-meaning aunts have placed them all in. Throw in one brother who thinks he's Teddy Roosevelt, another who is a psychopathic killer fashioned after Boris Karloff, and Peter Lorre as Dr. Einstein, a slightly intoxicated make-shift plastic surgeon, and you'll be laughing the entire way through.

All of the performances were wonderful, but Cary Grant's facial expressions, double takes, and hilarious body language are a joy to watch. A truly classic, funny movie.

"No, I'm not drunk, madame.......but you've given me an idea!" - Mortimer, seething in frustration as he tries to get past the operator, so that he can get his family committed into the HappyDale Sanitarium.

"Insanity runs in my family. It practically gallops!" - Mortimer, trying to explain to his new bride why it would be best for her to leave him and never look back.

A fun Halloween story
I have seen this movie dozens of times on TV. The problem is they always cut out a lot of the little nuances that make the movie fun; sometimes it is curtail to the story. Now you can see the whole story in its entirety. Lots of sight gags and relies on many expressions to convey what they are thinking. If this looks like a play, that is because it is a play. It was written by Joseph Kesserling and opened in New York City 10 JAN 41. It ran for 1,444 performances. Boris Karloff was an investor and the star attraction so he could not be released for the movie.

The story takes place all on Halloween night in Brooklyn. Mortimer Brewster (Cary Grant) a critic, that wrote a scathing book about the negatives of marriage, gets married. He soon finds out about his families past and where the bodies are buried. Soon he is to be visited by his estranged or just strange brother (Raymond Massey). Seems that his brother and his brother's friend, Dr. Einstein (Peter Lorre), has some secrets of their own. Keep your eye on the elderberry wine.

Capra's Classic Black Comedy.
"Arsenic and Old Lace", starring Cary Grant and directed by Frank Capra, is taken from the stage comedy of the same name. Although the film was released in 1944, it was actually filmed in 1941, due to the stage show was still going at the time. The film also stars Priscilla Lane, along with Josephine Hull and Jean Adair, reprising their original Broadway roles as the two aunts.

Mortimer and Elaine (Cary Grant and Priscilla Lane) play newlyweds, who are about to go on their honeymoon. Mortimer first arrives back at his aunts' house, who he had grown up living with, where he finds out that the two old ladies have been bringing lonely, elderly men into their house, and killing them by putting poison into wine, and then having them buried down in the cellar. More trouble comes when Mortimer's psychopathic murdering brother, Jonathan (Raymond Massey), and his partner, Dr. Einstein (Peter Lorre) come about to make even more trouble, when they need to get rid of their own murdered victim, having escaped from jail. Jonathan comes back looking like Boris Karloff, after his partner's attempts at trying to remodel his face, as one of his many disguises. Then there's the poor new wife, who is continually being avoided by her new husband, while trying not to let her know what's going on.

The film has one of the funniest scripts, and some of the most amusing, and odd characters one could find. Ranging from the aunts who think they are doing the right thing, to the mentally insane nephew, who believes he's Teddy Roosevelt. The lines in the movie are somewhat unforgettable, and it's a great movie for many repeated viewings. Actually, I find myself liking it the more I watch it.

As for the DVD presentation from Warner Brothers, there is a serious lack of extras. Apart from the odd trailer, which you find on most DVDs, that's basically it. What can be noted though, is the very nice looking, clean print used for this decent transfer. The mono sound is very clear also, which helps when you have a film with so many jokes to be heard, on a very regular basis. So apart from the disappointing extras, this is a recommended buy, which every fan of classic movies should add to their collection.

first cary movie i saw
This is the first cary grant movie i saw. For the first one i saw i think this is a outstanding film. One of the things i thought it would not be was funny. But that changed my views from the beginning.
I can not say much else but a outstanding film. ... Read more

Reviews (3)

Dr. Frank introduces us to the Goddess of Weather
"Meteora: The Unchained Goddess" was the fourth film in the Bell Science Series and introduces young viewers to the Goddess of Weather and her companions Wind, Clouds and Rain. This 1956 film, co-directed by Frank Capra and William T. Hurtz, stars Dr. Frank Baxter and horror movie star Richard Carlson ("The Creature From the Black Lagoon"). As with the rest of these beloved films from elementary school, the lessons are taught through a combination of live footage of hurricane, tornadoes, and the like with animation by Shamus Culhane. Yes, we have learned more in the almost half-century since "Unchained Goddess" first made its way into the classroom, but this is still a fundamentally sound introduction to young students for this topic, even if we me the nostalgic value outweighs the educational value. Note: I was surprised to learn that Dr. Frank, who introduced me to such scientific topics as the sun ("Our Mr. Sun"), heredity ("The Thread of Life"), and my favorite, blood ("Hemo the Magnificent"), was not a scientist but an English Professor from USC.

A great teaching tool!
I used this video to entertain my 9th grade science students about weather. The video is especially great at modeling the coriollus effect and high and low pressure systems. It also is great to see the "old" technology and compare with the new.

A real Giggle and check out Mr. Douglas pre Green Acres
I love these videos. I saw them as a kid in grade school. Seeing this one again, I am particularly struck by the suggestion of creating oil slicks and even burning oil slicks in an attempt to steer hurricanes away. ... Read more

Product Description

Coper is at his Low key best as a naive homeless man whose declaration to kill himself to protest world conditions, causes a media frenzy an unwanted celebrity status, along with some life affirming moments. ... Read more

Reviews (26)

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and it becomes necessary for Ann to produce "John Doe." She basically holds auditions and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad. Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father.

As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is a true believer. Then the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, James Gleason, Spring Byington, Gene Lockhart, and Steling Holloway all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

Gary Cooper as the American Everyman in Capra's classic
"Meet John Doe" is clearly the most political of director Frank Capra's "Capracorn" films, even more than "Mr. Smith Goes to Washington" or "State of the Union." Newspaper columnist Ann Mitchell (Barbara Stanwyck in a rare "good girl role") is fired and prints a phony letter in her final column about a man who is going to commit suicide on Christmas Eve to protest the misery and corruption afflicting the county. The letter is signed "John Doe." The letter causes a sensation and Ann gets her job back, but it becomes necessary for her to produce "John Doe" to the skeptics. She basically holds auditions for the role and settles on Long John Willoughby (Gary Cooper), a starving bush league pitcher whose arms has gone bad.

Ann continues to write article in the name of John Doe, calling on everyone to love their neighbor and the like. This only increases the fan mail and in the best scene of the film she writes "John Doe" a speech to read on the radio, inspired by the words of her father. As "John" himself gets caught up in the speech and its response, Ann is totally enraptured by the moment. This all might be a giant con game, but Ann is now a true believer in the fiction she has created. But at that point the powerful publishing magnate, D. B. Norton (Edward Arnold), throws his support behind the John Doe clubs because he wants them to hold a convention where "John" will nominate him as a third party candidate for the presidency. Obviously Norton is some sort of American fascist, and when "John" refuses to play along, Norton publicly exposes him to the mob in a devastating fashion. All that is left to "John" is to fulfill the original promise of the first letter and commit suicide on Christmas Eve.

Cooper and Capra had enjoyed success before with "Mr. Deeds Goes to Town," but this is the much better film by far. Cooper's performance in this 1940 film is certainly Oscar worthy, but his next film was "Sergeant York" and that was the film that won the actor his first Academy Award. Stanwyck's performance is just as good, proving she could do more than film noir bad girls. Like most of Capra's great works, including "It's A Wonderful Life," the mythic structure is clearly that of the crucifixion and resurrection (think about it). The symbolic "death" of John Doe is arguably the most painful in any of Capra's films and the character's "resurrection" is definitely the most believable. Capra originally had a darker ending than what was provided, but we all know that really would have gone against his grain. Again, the supporting cast for Capra's film is absolutely stellar, with Edward Arnold, Walter Brennan, Spring Byington, Gene Lockhart, Sterling Holloway, and especially James Gleason as Ann's newspaper editor, all getting the most out of Robert Riskin's screenplay. "Meet John Doe" is definitely a classic Frank Capra film.

weak
This movie was a weak effort by Capra, who directed it, and the star, Gary Cooper. It's a good story, just poorly directed (Capra can't hit a home run every time). I found the acting very wooden and the movie seemed to just drag on and on. And no extra features on the dvd, at least none to speak of.

It's My All Time Favorite
This, in my opinion, is Capra at his best. If you liked (or even loved) 'It's A Wonderful Life', then this will not disappoint you. The end is the best, as in all of Capra's films, depicting the endearing belief in the goodness of the common man. He could not have ended this movie any other way, it was a perfect end to a perfect movie. Gary Cooper is superb in this role, a man pretending to be something he is not, then beginning to believe he is the part he is playing. You can't help but feel the same way. You can't help but loathe the sinister character, and you hope the girl will come to her senses, and get the guy, as well. It is very heartfelt and touches on the golden rule in the most endearing way. This is a must see, for those who need help with and for those who truly do love their neighbor.

Great Movie--BAD copy
The movie (story, actors, actresses, etc) was SUPER! Another great Capra movie but the quality is awful. Don't expect good, clear Turner Classic Movie Channel quality. In some spots the