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Movies like The Landlord just don't get made anymore. Nowadays, the plot--an idle, wealthy young man (Beau Bridges) buys a tenement house in a poor black neighborhood and finds himself confronted and changed by the radically different lives his tenants lead--would be the basis for a broad comedy or a ponderous, self-important statement picture in which the hero comes to a profound understanding of something bland and inoffensive. But in the 1970s, a movie could be something too slippery to categorize. The Landlord is part social satire, part character study, part serious examination of race and class--and it delves into these things without having any answers or even strong advice, just a sense of the reality it depicts. Bridges, with his baby-faced innocence, is excellent, as are Lee Grant as his capricious mother and Pearl Bailey and Lou Gossett as some of his tenants; the rest of the cast is less recognizable but just as good. The movie uses abrupt editing to juxtapose the past and present or upper- and lower-class environments; the production and costume design use black and white to subtly comment on our responses to color in the world. The accumulation of all this lacks the focus that might make The Landlord a great movie, but it is a provocative, unpredictable, and engaging one, and well worth watching. --Bret Fetzer ... Read more

Reviews (5)

The Landlord a cult classic
Beau Bridges is the son of a wealthy but racist white mom, who falls in love with a black woman named Fanny and who ends up actually having a baby with her!!!

Elgar's mother, Mrs. Enders is the owner of a building in
which several black people live in. Mrs. Enders cares nothing about the people except that they pay her on time with rent.
Elgar, on the other hand, is a sensitive and open minded
guy who gets along with everyone in the building with the

exception of a black racist professor named Professor Duboise (Melvin Stewart). Every encounter these two have, results in either Duboise mocking the white society, or
Duboise, try to show Elgar how superior black people are
to white people. When it was it released it probably got alot of controversy because interracial romances was something that just wasn't shown on screen. Making things more complicated is the fact, that black men and women still didn't have the rights that white people in the time. It's a great example of great cinema directing, in one scene, Elgar Enders (Beau) has just made love to

Fanny, then the girls leans over and tells him that she
loves her boyfriend Copee (played by Louis Gosset Jr in
one of his first movie appearences). The scene then cutaways to Elgar running to talk to another girl for advice while Fanny is telling Elgar this. Copee is a black, jealous and violent boyfriend of Fanny. When he learns that Fanny is pregnant and he is not the father, he goes berserk, beating Fanny into telling him who the father is.

Once Copee, learns who it is, he grabs an axe and goes
after Elgar!!!! I loved the film because it breaks several stereotypes:

*It shows that color doesn't matter when we are talking about love, it's all about the feelings a man and woman feel for each other that is important.

*Elgar represents a group of conscious men who don't see Blacks and other minorities as inferior. In fact, throughout the film, Elgar is actually happier with his black friends than with his own mother.

*There are several messages about the dysfunctional family.

Elgar's mother (Lee Grant) is a rich white woman who has everything, yet she is a cold, miserable woman.

It was interesting to see Louis Gossett Jr. (Copee) as a crazy , jealous boyfriend . He usually plays good guy roles, but in this role, he nails his part by playing a guy who

has completely lost it.

The movie was directed by Hal Ashby, a man who has directed
several important cult films of our time including:
*Being There (1979 film with Peter Sellers ) *Shampoo (Great 1975 film with Warren Beatty and Julie Christie)
* Coming Home (A good 1978 film with Jane Fonda)
This is a very good movie, hard to find on video, but I highly recommend it.

A bit confusing, but a decent movie about race.
In case you don't know what the movie is about, I'll tell you. Beau Bridges plays a man who became a landlord to a ghetto area in Brooklyn. He wants to tear it down, but changes his mind when he meets some of the locals. The movie started off really well, and then got a little confusing with the plot and the relationship between Beau's character and Lanie, who he slept with after a party and got her pregnant. There also is a lot of weird edits that just come out of nowhere, but it's a decnt movie about racism, the lower class, and freedom. It's also quite funny, espeically the part when Marge and Joyce, a white woman and a black woman, get drunk together. Decent movie

A bit dated, but fun
Pearl Bailey, Diana Sands, and Lou Gossett, Jr. all give powerful performances. My favorite line was delivered by Diana Sands while pointing at her very pregnant belly. Pearl Bailey could easily give Queen Latifah a run for her money if she were around today. Don't get it twisted, I love Queen Latifah. Unfortunately a very young Beau Bridges was out of his league, and the ending seemed forced and derivative (I thought) of The Graduate. Hopefully someone will release this on dvd soon.

Hal, we need you now!
I agree- they DON'T make 'em like this anymore- honest, bold, uncompromising, socially and politically meaningful... yet (lest we forget) ENTERTAINING. Like Stanley Kubrick,the late Hal Ashby didn't direct a whole lot of films, but most of them were built to last ("Harold & Maude", "The Last Detail", "Being There", "Shampoo"). "The Landlord" was Ashby's impressive directorial debut in 1970. Spoiled rich kid Beau Bridges, worrisome to his parents due to his "liberal views", buys a run-down tenement building with intentions to rennovate. His introduction to, and subsequent involvement with, the various black tenants is played sometimes for laughs, sometimes for intense drama, but always for real, and that's the magic of Ashby's work. The social satire is dead-on, but never preachy (are you listening, Spike Lee?). The ensemble work is top-notch, with a young Lou Gossett (with hair!) giving a memorable dramatic turn, and the lovely Susan Anspach hilarious as Bridges' perpetually stoned and bemused sister. The scene in which Pearl Bailey and Lee Grant (two more knockout performances) get drunk and bond over a bottle of "sparkling" wine is a minor classic all on its own. Don't miss this one.

"explores black consciousness"
Based on the novel by African American novelist, Kristin Hunter, this movie explores the intricacies of black consciousness during the 1960's. Further it examines the effect of gentrification on existing communities. It stars Pearl Bailey, Lou Gossett and features a spectacular performance by the late, great Diana Sands. The film is visually provacative and incorporates a number of literary techniques that add dimension. It stands out above many of the "blaxploitation" flix of its day and is an overlooked classic. ... Read more

Reviews (17)

The worst performance of everyone involved.
Do you want to watch a bad movie? Here it is! Despite of the title, the director and the casting, the result is poor. The exception is Roberto Benigni, of course, whose effort gives the small amount of comic wit you can enjoy in watching the movie; this is why we rated the second star. Apart from his comic scenes, the movie lacks continuity of action and even misses to end some minor plots, making you wonder if it will ever have a sequel, or if the director himself pitifully stopped the movie, just to avoid more boredom to the audience. If you like Peter Sellers, don't watch this movie: you will miss him. If you like Roberto Benigni, use your scissors and keep just his best performances.

The End Of The Line For Blake Edwards
This is the movie that proves the genius behind the Pink Panther movies wasn't Blake Edwards, but Peter Sellers who unfortunately, is long gone when this one is made. In my fifty years of enjoying movies, I've only actually walked out of the theater before the end three times. This is one of the movies. Roberto Benigni is horrible. Admittedly, I don't find him funny at all. I have seen about six of his films and each time I fail to find anything funny about this guy. This movie will test even the true Benigni fan, however. I can't remember one funny moment (in the hour I stayed). I was so disappointed being such a fan of Peter Sellers and hoping that Edwards hadn't totally forgotten how to be funny. If I could have given this zero stars, I would have. This is one of the few things I will change if I ever get a time machine. Debbie Boone, Celine Dion, and Roberto Benigni better hope that never happens.

Good lead performance, mediocre film
Not a great comedy by any means but it's certainly not the worst of the Pink Panther series. The two films that preceeded this one are absolutely awful movies, and The Revenge Of The Pink Panther (the last film starring Peter Sellers when he was alive and kicking) was no great shakes either. In his last film as Clouseau (sorry, I'm not counting 'Trail'), Sellers was operating on autopilot, probably realising that these films no longer held any interest or challenge for him other than how best to spend his paycheque.

Unlike the two films before it, this film has something really special going for it...star Roberto Benigni. Rather than walking through his scenes like Sellers was apt to do when provided with less than challenging material, Benigni is overflowing with comic energy regardless of the drawbacks of the script. He dominates every scene he appears in...even when he doesn't have any lines he's always doing little bits of comic business that capture the viewers attention. When he's not onscreen the movie flatlines and doesn't come alive again until he reappears.

Another thing this film has going for it is the entertaining opening credits sequence featuring the Pink Panther and Jacques Clouseau Jr.-in animated form-interacting with Bobby McFerrin and his fellow singers performing a terrific acapella rendition of The Pink Panther Theme. The animation is far superior to anything seen since Richard Williams work on The Pink Panther Strikes Again and is reminiscent of Who Framed Roger Rabbit. It's a short sequence, but gets the movie off to a promising start.

However, the movie falters badly around the halfway mark when director Blake Edwards decides to once again incorporate supporting characters from previous films (he tried to prop up the previous two films by doing exactly the same thing, with dire results). Rather than introduce a new lead comic character and move forward, Clouseau Jr. is weighed down by the pointless reintroduction of characters from the Peter Sellers movies. The film stops dead in its tracks when Benigni visits costumer Auguste Balls (played by Graham Stark and not Harvey Korman, as in 'Trail') and meets Kato who joins Clouseau Jr. on his case. Herbert Lom also appears as Dreyfuss, but Lom is much more subdued in this film. The eye-twitching is still there, but he's no longer the gibbering headcase of the Sellers Clouseau films. He's the one returning element that works.

Forget about plot or story (I did!) as the only reason to see this film is for Benigni's wonderful performance. With a stronger script and less reliance on characters from the preceeding films, this film could have launched a new revitalised Pink Panther film series. Unfortunately Blake Edwards found it impossible to let go of the past, and the film became nothing more than an interesting curio as a result.

Benigni could truley be Sellers' child
Despite the bad reviews this movie received, I rather liked it. Benigni was very convincing in his role as the Great Detective's illigitimate son, right down to stumbling around like an idiot, looking for a "cleau", being an officer of the "leau" and the giving and receiving of "bimps".

ill-legitimate attempt at continuing the Panther dynasty
Oh dear. The "ill-legitimate" son of Panther. Positively ill-making, desperately forced attempts at humor. A confused plot. Broad pratfalls and grimacing. If you liked the silly subtlety of Peter Sellars, you will be horrified by this ill-advised attempt at cashing in on his legacy. If you want a good giggle to lighten your day or evening, try "The Imposters", instead. ... Read more

Reviews (616)

Smith's fun movie shows what he can do with Hollywood budget
Kevin Smith ("Clerks", "Mallrats" and"Chasing Amy") continues to get better with each film. If"End of Days" does not sound like a fun Armageddon-themed film, try Dogma. Dogma is fun, for sure, but not for the easily offended. S those who would prefer not to see angels use profanity, or the wrath (i.e. violence) of misguided angels of death, they should avoid this film like the plague. Chris Rock also makes an appearance as the 13th apostle Rufus, who claims that he was left out of the Bible because he's black. Witty dialogue, plenty of pop culture references (Who's house? Run's house!) and some interesting philosophical questions make for a very entertaining way to spend an evening. The only negative aspects are the bad special effects (in one scene, there is a s--- demon that looks like something from "Jason and the Argonauts".) and a lame ending including an appearance by Alanis Morisette as God. It might've been four, but with the Alanis Morisette appearance, three stars. Josh Bob says check it out as a matinee, or pay full price and leave when "God" arrives ...

Great writing, wonderful cast, bland direction.
Let's be frank: visually, "Dogma" is unimpressive. The special effects look TV-quality, the editing is jerky, the cinematography is bland and Kevin Smith's direction is unispired.

Thankfully, the sins of "Dogma" are far outweighed by its virtues. Smith's script is hilarious, thought-provoking, and ultimately touching. To act it out, he's rounded up a top-notch cast that brings genuine life to their roles.

Brainy bombshell Linda Fiorentino is Bethany, chosen seemingly at random by the sarcastic angel Metatron (Alan Rickman) to work for God. Her mission: to stop a pair of fallen angels (Ben Affleck and Matt Damon) from exploiting a Catholic Church loophole that will get them back into Heaven. If they do, they'll prove God wrong, thus erasing everything He/She has created.

Bethany's reluctant allies in her quest include Chris Rock as Rufus, the unrecorded 13th apostle, kicked out of Earth, Heaven and history for rightly insisting that Jesus was black; Salma Hayek as a Muse with a heavenly body and a brain to match; and everyone's favorite potheads Jay and Silent Bob (Jason Mewes and Smith.)

Fiorentino gives yet another great performance, contrasted nicely by Rickman's sad, exasperated angel. Affleck and Damon's menacing twist on their pretty-boy images is genuinely disturbing. Mewes is reliably funny as the imbecilic Jay, and Smith shows perfect comic timing and impressive range as Silent Bob.

The story mostly coasts along on a vast supply of smart-alec wit, but a few scenes rise above the rest: an unnerving parking-garage confrontation between Affleck and Damon, and a quiet lakeside chat between Fiorentino and Rickman. "Dogma" also scores points for keeping most of its script's excessive violence stylishly offscreen.

Bottom line: "Dogma" is not a well-made film, but it is a good one. You will laugh loudly and often, and come away with a greater respect for the power of faith and the importance of believing in something greater than yourself.

Film fans take note: in October 2000 View Askew will release the "collector's edition" of this film, with more than an hour of cut footage and plenty of other extra goodies.

BOLDLY CYNICAL (AND OCCASIONALLY FUNNY) LOCKER-ROOM PRATTLE
As a sweet bite of blaspemy this Kevin Smith stinker may do fine, supported by a star-studded cast and a crunchily inventive premise to sink our collective teeth into the heart of Catholicism.

But it is amusing to see a horde of reviewers call this clever and thoughtful. Sorry folks, the film's troop of eccentric characters do very little to bail it out of its convoluted ramble about theology.

When it comes to intellectual muck-raking, the film with its doozy "loophole" simply drowns under the weight of diminishing returns. Religion is not an intellectual exercise, it's role is to fulfill spiritual, psychological and emotional needs in our lives. A person needs his world to make some sense to them, and religion can comfort with answers that science can not yet provide.

If on the other hand you're game for some tongue-in-cheek degenerative humor (for example, giant monsters of bubbling human excrement) sure, this may be right up your alley. Just make sure you have plenty of time as the circus goes on for a while.

dogma is cosmic law.
two angels,who were kicked out of heaven long ago,find a loop-hole so they may return.they need to go to new jersey.jay and silent bob go with the last zion,the 13th apostle rufis-left out of the bible because hes black,and the muse join forces to prevent this for if the angels get to heaven all creation will go poof!it stars matt damon and ben affleck as the 2 angels.alanis morriseete as god,chris rock is rufis and even george carlin as a bishop in the church.of the jay and silent bob movies it ranks second id say,but a lot of people say its the best also.it is the best religious based movie of all time!however,it will piss off all church goers.no naked chicks in this one either.chris rock,although normaly one of the most obnoxious racist bigots alive,actualy doesnt bitch too much in this one.he does make a good point that if there is a christian god-and lets face it theres probaly not-hes black.why would he be anything else?the world started in AFRica right?i abselutely love this movie!

Didn't live up to the hype
The idea of skewering the Catholic Church is not new. Nor is it particularly "brave", since they're supposed to love their persecutors. I'm still waiting for the "brave" film that skewers, say, militant Islam. Yeah, you kind of lose your courage when you might actually get hurt.

Anyway. The general hype looked promising. A film that pokes fun at Catholicism. I popped in the DVD and waited.

And waited.

And waited.

Let's see: there were excrement demons, a black apostle, some homicidal angels ... but where was the satire?

It's a shame. This film would have worked better as a comedy. That is, if the writer/director(s) had said, hey, let's make this humorous. Throw in some jokes, some laughs. After all, they had Chris Rock. The idea of a black apostle is sort of funny; why not make it intentionally funny? They had George Carlin; why not make him say some funny lines? Why not have those two *write* some funny lines?

But no. As it is, I'm not sure what the film really is. The heroine's deadpan, bored delivery might be a clue.

Apparently some viewers thought it was a satire or comedy, but perhaps it's sarcasm. Or just plain meanness, trying to convince others to suffer through this tedious film. Or maybe - maybe they really thought it was funny - no, wait, I'm starting to entertain really wacky thoughts here.

Borrow, don't buy. ... Read more

Reviews (108)

Perfect name for a nearly perfect movie
Meg Ryan's character is afraid to fly, so she can't join her Canadian fiancee (played by Timothy Hutton) in Paris for a convention. But when he telephones to say he has met a "goddess" and is reconsidering their relationship, she forces herself onto the plane, where she meets the oh-so-gallic Luc (Kevin Kline). She doesn't know it yet, but she and Luc have some unfinished business.

"French Kiss" is a perfect title for this Continental tease of a comedy that combines elements of romance, screwball comedy, and a touch of international intrigue. Ryan and Kline seemed perfectly cast even if he is a good deal older than she. It isn't a magnificent movie, but it's quite a good one and much better than the critics would have us believe. A welcome souffle for any fans of Ryan, Kline, or for romantics anywhere.

Best Romantic Fantasy Film Ever!
This is a review I wrote in 2002 - all I have to say is that it STILL hasn't lost it's appeal to me. Still watch it - although the DVD version is much more durable than the VHS version. So, still no French Kiss 2? Hmph!

This is the only movie I've bought that I've had to replace due to wear and tear. I was curious to see what other people thought of my "favorite" movie and heartened to see that I'm not the only French Kiss addict in the world! I was appalled at the hollywood reviews of this fine, romantic comedy. From the opening scene where Meg Ryan is in a fear of flying desensitization training course to its very happy ending, this movie entertains enormously both with its incredibly romantic storyline and the hilarious bantering between Kate and Luc. I admit that I can do "lines" from this movie. Both Kevin Kline and Meg Ryan are in top form. I think that they sizzle together as a romantic couple! Am I the only one who wants to see them reunited in another movie (ala Tom Hanks?)?

One to fall in love with
Great chemistry...You'll love the unpredictible situations...One of my favorites...If you've ever been dumped for another "goddess"this one is great to curl up on the couch with the love that you found...A++++++++++++++

It's been awhile since I've seen it but...
From what I recall it deserves a five star rating. I watched this in French class and I remember thinking oh boy another sucktastic school movie and was pleasently suprised.

At first I doodled, but you can't help but be pulled into the story and the delightful Meg Ryan. I soon was completely involved with storyline and loved every minute of it, and I for once didn't even mind the pretictable ending.

A movie that is worth renting, watching, and then purchasing. Enjoy.

Predictably adorable
In my never ending endeavor to evaluate all the adorable movie stars (I'm sorry, I can't help myself) I've seen yet another Meg Ryan movie and I must say I'm beginning to be smitten. She is just so darn cute. And ageless. And perky. And actually a wee bit sexy when she gets in the right mood. And anyway since the movie takes place mostly in France (the stomping ground of my partially misspent youth) the scenery is nostalgic, the title is cute, and believe me, the food is delicious.

But what carries this movie is a beguiling performance by Kevin Kline and his very oo, la, la French accent. I also liked the concierge who takes Meg's 100-Franc note (worth about twenty bucks) as his God-given concierge right with nothing more than a belated, merci you vile American touriste.

Okay, I have to confess. I have a love/hate relationship with Meg. I just want to take her home and tuck her into bed, but all she cares about is being cute on screen and teasing me.

Director Lawrence Kasdan (Body Heat 1981, Anne Tyler's The Accidental Tourist 1989, writing credits with George Lucas sagas, etc.) has a few jokes with the nearly all female theater audience and their drag-along beaux. (Actually this video is currently being viewed on the couch across the nation by Roseanne Barr and John Goodman look-alikes with Roseanne making sarcastic remarks about Meg's eyeshadow and scrawny physique while Goodman chortles with squinty eyes as he anticipates the action to come après le flick.) I especially liked the vast vineyard (Meg is drooling) that Kevin DOES NOT HAVE due to his wild and crazy ways (he says, but shows it to her anyway). I mean, RESOURCES are what a real woman wants in a man, dodo brain. What are you doing, playing hard to get?

Anyway, as all romance movie fans know, boy meets girl (cute), boy and girl cannot get it on just yet for 1001 wacky reasons, and finally boy gets girl or actually girl gets boy, and boy turns out to be worth getting as he naturally comes up with beaucoup des ressources of a very special kind. Etc.

See this for Kevin Kline, an underrated actor who has a lot of fun behind the five o'clock shadows and the French pastry while proving he can Can Can with the best of them. ... Read more

Amazon.com essential video

Black comedy and suspenseful action inside a German POW camp during World War II--a setting that was later borrowed for the TV sitcom Hogan's Heroes. The great director Billy Wilder adapted the hit stage play, applying his own wicked sense of humor to the apparently bleak subject matter. William Holden plays an antisocial grouse amid a gang of wisecracking though indomitable American prisoners. Because of his bitter cynicism, Holden is suspected by the others of being an informer to the Germans, an accusation he must deal with in his own crafty way. Holden, who had delivered a brilliant performance for Wilder in Sunset Boulevard, won the 1953 Best Actor Oscar for Stalag 17. Very much his equal, however, is Otto Preminger, an accomplished director himself, who plays the strict, sneering camp commandant. --Robert Horton ... Read more

Reviews (52)

An excellent blend of humor and drama...
Stalag 17 is one of the best war movies ever, and it is probably the second best film ever made about prisoners of war (The Great Escape would be the best). Directed and co-written by the great Billy Wilder, Stalag 17 features an exciting plot, great performances, especially from William Holden, and many humorous moments. All in all - very entertaining!

Essentially, as Cookie, the narrator, explains, the movie is about what happened in a certain barrack in Stalag 17, a German prisioners of war camp. Because of several failed escape attempts and their horrible luck in concealing secrets for the Germans, the inhabitants of the barrack conclude that there must be a traitor in their midst. Their suspicions turn towards the character played by William Holden, who is an extremely cynical loner who spends his time trading with the Germans and running projects to earn money from his fellow prisioners.

In addition to the exciting plot about the traitor, Stalag 17 paints an accurate and often humorous, sometimes serious, portrait of the men in the camp and how they deal with their situation through joking around. Anyhow, Stalag 17 is a classic war movie and is very entertaining - highly recommended!

The BEST WWII POW FILM for real life drama, now on DVD !!
The Best WWII post-war Classic films dealing with the human factor were; "The Best Years of Our Lives" (1946), "Twelve O'Clock High" (1949) & "Stalag 17" (1953). These Black & White Classics dealt with the dark & forgotten side of war. The Best years - war battled veterans returning home, Twelve O'Clock - the terror of dying & Stalag - the captured, imprisoned POWs. Hollywood was at their best with these films and we are forever reminded of the sacrifices that the "Greatest Generation" made for us.

Summary: We are introduced to American POW airmen at a WWII German prison camp ("STALAG 17"). It is Christmas 1944 and the narrator Cookie (Gil Stratton) explains the specific situation happening at his Barracks #4. The latest problem is all escaping POW's are being killed so their is suspicion that there is a "Stoolie" amongst them. Sefton (William Holden - Oscar winning performance) is the lead suspect since he is the Barracks hustler and friend to all (including the Germans) for a price. The Security Officer Price (the young Peter Graves - outstanding) seems a little to perfect for Sefton. So the story has many turns but finding the spy is the primary focus.

This DVD is Black & White, Full Screen / Standard Format (before WideScreen). Excellent quality picture.

This the Best POW film dealing with the true "Black Comedy" of war. Note: Black Comedy / Dark Comedy was the nervous humor which came out in the most dismal time and the horrors of war.

This is a CLASSIC FILM to watch again & again. Shall we never forget !!!

Caught this once again during the Memorial Day orgy of
World War II flicks. It is special & because of William Holton stands above the rest. I loved Steve McQueen & James Garner in The Great Escape & The Bridge over the River Kwai, also starring Holton, is epic. This movie is on a much smaller scale & is the best of the POW genre. Holton plays the disreputable Sgt. Sefton, a prisoner throughly despised & suspected of being the traitor in the POW camp responsible for escapees being caught & shot. How he singlehandedly reveals the Nazi in their midst is the movie's climax. Shot in glorious black & white adds to its grittiness realistic feel. I get caught up in it every time. It's on cable often, rent it or buy it cheap, here. Classic cinema from the 50's.

Entertaining story set over sixty years ago, in Germany

Studio: Paramount Studio
Video Release Date: August 21, 2001

Cast:
William Holden ... Sgt. J.J. Sefton
Don Taylor ... Lt. James Skylar Dunbar
Otto Preminger ... Col. von Scherbach
Robert Strauss ... Stanislas 'Animal' Kasava
Harvey Lembeck ... Harry 'Sugar Lips' Shapiro
Richard Erdman ... Hoffy (chief, barracks #4)
Peter Graves ... Price (security)
Neville Brand ... Duke
Sig Ruman ... Sgt. Johann Sebastian Schulz
Michael Moore ... Manfredi
Peter Baldwin ... Johnson
Robinson Stone ... Joey (ocarina player)
Robert Shawley ... Blondie Peterson
William Pierson ... Marko the Mailman (At Ease)
Gil Stratton ... Clarence Harvey 'Cookie' Cook (Narrator)
Jay Lawrence ... Bagradian (cohort of Dunbar)
Erwin Kalser ... Geneva man
Edmund Trzcinski ... Triz' Trzcinski ('I believe it!')
James Dabney Jr. ... Bit part
Carl Forcht ... German lieutenant
Ralph Gaston ... Bit part
Jerry Gerber ... Bit part
Ross Gould ... Von Scherbach's orderly
Russell Grower ... Bit part
Ross Bagdasarian ... Singing soldier
Peter Leeds ... Barracks #1 POW getting distillery
Wesley Ling ... POW
Harald Maresch ... German lieutenant
Bill McLean ... POW
John Mitchum ... POW
Robin Morse ... POW
William Mulcahy ... Bit part
Rodric Beckham ... Bit part
Richard P. Beedle ... POW
Joe Ploski ... German guard-volleyball player
Harry Reardon ... POW
Paul Salata ... Prisoner with beard
James R. Scott ... Bit part
Bill Sheehan ... POW
A. Gerald Singer ... Steve (the crutch)
Warren Sortomme ... POW
Herbert Street ... Bit part
Anthony M. Taylor ... Bit part
Bob Templeton ... Prisoner with beard
John Veitch ... POW
Alex Wells ... Prisoner with beard
Max Willenz ... German lieutenant (von Scherbach's aide)
Mike Bush ... Dancer
Don Cameron ... Bit part
Jarvis Caston ... POW
Tommy Cook ... POW
Alla Gursky ... Russian woman prisoner
Svetlana McLe ... Woman POW
Mara Sondakoff ... Russian woman prisoner
Audrey Strauss ... Woman POW
Lyda Vashkulat ... Woman POW
Janice Carroll ... Russian woman prisoner
Yvette Eaton ... Russian woman prisoner

A story set in a German prison camp in WWII. There is a snitch in the barracks: the lowest of the low, who is costing American prisoners their lives, as well as giving away escape plans, short wave radios, and espionage activities. Holden (Sgt. Sefton) is suspected because he is trading with the Germans (and everyone else in sight) to get what comforts are available. But the real traitor is another: a German posing as an American.

This is a fine film. Not, perhaps, on a par with The Great Escape, but it is nevertheless entertaining and worthy of viewing. Not to be confused with the television series of the same name. The actors are all different. I thought Robert Strauss ("Animal") did a great job of providing laughs.

Joseph (Joe) Pierre

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

and other books

William Holden is the world's most underappreciated actor
I know he won an Oscar for his performance in this role, but has any great Hollywood star been shunted to the background of history as much as William Holden? The list of films in which the man made his character memorable runs the gamut from Sunset Boulevard to Picnic to The Wild Bunch to Network. And while I don't think it's his overall best role, Stalag 17 will be remembered not just as a great film but the one that got Holden his due.

As the opening voiceover says (and I'm paraphrasing), there have been a lot of war movies about submarines, flying leathernecks, tank commandos, etc. but none about the P.O.W. camps. Leave it to the late great Billy Wilder to rectify that. Certainly there's no glory of war here, or at least not the kind we're accustomed to. Wilder creates an insular world of desperate and downtrodden men thrown together in confinement and heaps on the stark reality of war's "other side".

Holden is the barracks' con man/horse trader and, thanks to the already poor relationship with his fellows, the immediate suspect when they determine someone on the inside is spying on them for the Germans. It's a testament to how well the film has held up over the years that even after seeing it long ago (and thus knowing who the spy is) that I was still riveted in anticipation of how he would be found out.

The Germans are a combination of menace and comedy, the former exemplified by Otto Preminger as the camp commander and the latter by the great character actor Sig Rumann as Sgt. Schulz. This film was the inspiration for Hogan's Heroes, but it's best to separate them in your mind if you can and appreciate the complexities of the situations and the characters. ... Read more

Amazon.com essential video

One of Mel Brooks's weaker vehicles, this 1976 feature finds a movie producer (Brooks) deciding that the public is ready for the silent film form again. Reasonably ambitious and promising, the film ultimately doesn't do for silent cinema what Brooks did for atmospheric horror (by reviving it while parodying it) in Young Frankenstein. Lots of famous faces pass through Silent Movie, to varying effect. Perhaps the best joke in the movie is the one performer who actually has a line of dialogue: mime Marcel Marceau. --Tom Keogh ... Read more

Reviews (18)

Brooks, Chaplin, Keaton????
Mel Brooks' homage to silent movies isn't nearly as funny or clever as the movies it aims at. I'm a long time Brooks admirer. He's the reason I wanted to become a filmmaker. But,"Silent Movie" is one of the few movies I stay away from. I'll give the movie some credit. It does have a great cast cast; Marty Feldman (Marty Eggs), Dom DeLuise (Dom Bell), Bernadette Peters (Vilma Kaplan), Sid Caesar (Studio Chief), Harold Gould (Engulf) Ron Carey (Devour) and cameos by Burt Reynolds, Paul Newman, Anne Bancroft (It's no suprise to find her in this movie, since she is after all Brooks' wife.) James Caan, Liza Minnelli, and Marcel Marceau (His one scene is an absolute highlight!). If the cast wasn't enough, as with any Brooks movie there is going to be laughs, how many depends on the movie. And this one offers a few. The scenes that really make me dislike this film are the scenes with Brooks, Feldman, and Deluise driving around in their car. It's these scenes that I feel slow the movie up. Whenever the movie starts to carry some energy, we see them in the car in the very next scene! For those who don't know, this movie is about a once great director (Brooks) who was ruined due to drinking. After some time away from movies he tries to make a comeback. His grand idea is to make a...you guessed it...a silent movie. After Sid Caesar warns him that slapstick is dead, and as soon as he's done saying that, he falls out of his chair and flies across the room, proving to us, that yes, slapstick is dead! Caesar won't hear of making a silent movie, even though his studio needs all the help in can get before a conglomerate "Engulf & Devour" (who's tagline is "our hands are in everything") buys the studio. After Brooks suggest what if he gets big stars to act in the film, the studio chief soon realizes that with big stars, the film could make big money, and so he agrees to let Brooks make his film. This all sound like it could be a good funny movie, don't you think? But, it's because of those Brooks, Feldman, and DeLuise "car scenes" I'm unable to suggest anyone renting or buying this. If you insist on buying it, my favorite moments are Brooks and Bancroft's scene together,the hospital scene with Caesar (That one scene offers the biggest laugh in my opinion)and the first time the executives at "Engulf & Devour" first see a picture of Peters, ONLY Brooks would of thought of what you see in that scene. A hell of a lot better then most comedies being made today, but that's not saying much when films by Adam Sandler are being released. I don't know about you, but if I have to pick between Mel Brooks and Adam Sandler, get "Blazing Saddles" in the vcr ready to go lol. ** 1\2 out of *****

"You bad boy"
It's not as cohesive or funny as YOUNG FRANKENSTEIN or THE PRODUCERS, but SILENT MOVIE has plenty to offer. A wild romp that parodies the film business and the all but lost art of creating silent films, SILENT MOVIE stars Mel Brooks, Marty Feldman, and Dom Deluise as a trio of film makers who vow to save their studio by making a new silent film with major stars. Many conventions of silent films are spoofed, such as how the right title card can alter the meaning of a scene (the title of this review is from one such card). Several stars (such as Burt Reynolds and Paul Newman) seem to enjoy parodying themselves, and Anne Bancroft's tango with our heroes is a standout. Harold Gould is the epitome of blackhearted villany and Sid Ceaser contributes some of his trademark pantomime as the neurotic studio chief. Best of all is Marty Feldman; with his wirey body, elastic face, and, of course, those eyes, Feldman looks as if he stepped out of 1920's of Mack Sennett into the 1970's of Mel Brooks. He steals many a scene (subtly or otherwise) in SILENT MOVIE.

Can't see the time for this being released on DVD
This is a classic Mel Brooks movie. Mel is genial, a very talented producer and an extraordinary actor, he and his pals
Dom DeLuis and Marty Freeman (that's how he is called I think)
make a riot and performed a lot of scenes where I literally fell
of my bed laughing. Can not understand why is not on DVD. I have
a collection on DVD of classic and this is on my whising list
(along with High Anxiety, another Brooks classic,and Foul Play).
Really enjoyed how they persuade Burt Reynolds, Paul Newman
and even Marcel Marceau to be a part of a movie project Mel Fun
had. Another highlight of this movie is Sid Caesar performance.
Excellent. Let's see if the wait is not that long.

MEL USE YOUR INFLUENCE AND PUT THIS ON DVD
I love this movie. Its silent of voice but not of music. John Morris' score is wonderfully crafted. Its funny because Mel Brooks is a GODDAMN COMEDIC GENIUS. And its a movie because it deserved to be in the the theater.NOW FOR MY GRIPE. WHYYYY OH WHYYYY ISN'T THIS MOVIE ON DVD.If the saner heads of who ever it is that decides what goes to DVD puts this one out I hope it's in TRUE WIDESCREEN like BLAZING SADDLES and HISTORY OF THE WORLD I'm also waiting for HIGH ANXIETY,ROBIN HOOD M.I.T. and DRACULA DEAD AND LOVING IT.AND MAYBE JUST MAYBE THEY'LL REISSUE YOUNG FRANKENSTEIN AND SPACEBALLS in TRUE WIDESCREEN I dont have an alleged 16x9 widescreen tv. Squashed screen is the more approapiate term.Sooo.. TO ALL DVD MAKERS STOP MAKING YOUR DVDS TO ACCOMODATE THIS FALSE FORMAT. maybe I wasn't helpful with the movie review but I know my other info was crucially helpful.

This Underappreciated Gem Really Should Be on DVD!
Silent Movie is my favorite Mel Brooks movie and I think it is very underrated. I see that some reviewers didn't enjoy the silly humor in this movie but I love it and the jokes and gags never fail to cheer me up when I'm not feeling good but of course it's a wonderful movie to watch anytime! It is both a spoof of and a homage to silent movies and stars Mel Brooks, Marty Feldman and Dom Deluise as well as a lot of cameo apperences from some well known actors and entertainers and I really want to see Silent movie transferred to DVD as my video is wearing out. A widescreen editon DVD would be very nice! ... Read more

Reviews (282)

You Betcha!
Whenever I rave about a movie I've recently seen, there's the inevitable question "What's it about?" With regard to this film, I recall responding that it's about a pregnant police chief who eventually solves a series of brutal murders somewhere in the Upper Midwest. (Brainerd, Minnesota? Fargo, North Dakota?) It is always a pleasure to observe Frances McDormand's performance in a role for which she received an Academy Award for best actress in 1996. The film was directed by Joel Coen who co-wrote the screenplay with brother Ethan. This film effectively combines some of the most dead-on (albeit affectionate) cultural satire of Scandinavian Americans in "Small Town U.S.A." with severe physical violence as when one victim is stuffed upside-down in a wood chip machine. (When I first observed "Margie" methodically gathering information, I was reminded of Colombo whose keen mind is also underestimated.) The basic story involves Jerry Lundegaard (William H. Macy), a desperate swindler. After his wealthy father-in-law Wade Gustafson (played by Harve Presnell whom I did not recognize) refuses to become involved in a real estate project, Lundegaard hires Carl Showalter (Steve Buscemi) and Gaear Grimstad (Peter Stormare) to kidnap his wife Jean (Kristin Rudrud) so that he can use most of the ransom to cover his debts and thereby conceal his crimes. Of course, his plan fails and several lose their lives as a result. As the film ends, the camera focuses on Chief Gunderson as drives her police sedan across the bleak winter landscape (think of the surface of the moon beneath three feet of snow and ice), with one of the two kidnappers in custody. She claims not to understand how anyone could behave badly in such a "beautiful" world.

Yes, this is a nasty film...at times severely violent. It also has a number of delightful comic moments, notably during Chief Gunderson's conversations with her husband Norm (John Carroll Lynch) as well as with Lundegaard. The acting by all members of the cast is consistently brilliant under Coen's crisp direction. After numerous viewings, what I still enjoy most in this film is McDormand's performance. Chief Gunderson may have a trusting heart but also a remarkably sharp mind. She wants so much to believe in goodness, to think the best of others, but she is by no means naive. As played by McDormand, she invests this film a warmth which is all the more remarkable, given the physical setting and time of the year.

Fargo
The Coens did it again. In their production of Fargo, they create an atmosphere of incompetence in the northern Midwest, poking fun at the people of Minnesota. Frances Mcdormand definitely deserves her Oscar, adding that humorous accent. William H. Macy also puts in a great performance as car salesman Jerry Lundegaard, whose wife is kidnapped by two men he paid to do it, Steve Buscemi and Peter Stormare, and then his wealthy father-in-law can pay the ransom, then he would split the money with the kidnappers, and get out of his financial trouble. Instead of just asking his father-in-law, he hires these two numbskulls, and they screw it up big time. I'm possibly the biggest Steve Buscemi fan, and he's great in this one. I think it would have been interesting, however, if he had tried the Minnesota accent. That probably would have added some more humor to his role, even though it is hilarious already. His interaction with the parking booth attendant his great. Playing his partner, Peter Stormare doesn't talk much, he only has about 15 lines, but is funny and ruthless as it is. This movie also recieved the Best Screenplay Oscar, which was well-deserved. This moive is great.

"..that was your accomplice there in the woodchipper."
Fargo fits into a tiny crack between popcorn flick and truly interesting, and not just because it's based on a true story. It feels the right amount of homely and immersing to be just another irrelevent kidnapping "drama", all the while keeping its simplistic "movie feel".

The story is told from mutliple perspectives of the main characters. A less-than-successful car salesman Jerry Lundegaard [Macy] agrees to pay two crooks, Carl Showalter [Buscemi] and Gaear Grimsrud [Stormare] to kidnap his wife Jean [Rudrüd]. But along the way, complications happen and the body count rises as Lundegaard and his two hired crooks try, unsuccesfully, to follow through on their plan. Through this, we meet the primary character, or the one whose perspective we look through most--Marge Gunderson [MacDormand], a 7-months-pregnant police officer who takes it upon herself to figure out the situation.

Fargo has more of a small town murder investigation plot than a dramatic something-isn't-quite-right kidnapping focus, which does nothing to worsen the quality of the overall storyline and how it plays out, but there are points where you can spot editing errors and total blandness, but the movie itself is shorter than you would expect and manages to work in such an innovative take on the genre to the frame. The acting is done well and is completely convincing, and the good direction goes hand-in-hand with it. As mentioned, there are spots were the script could be better done, but so much whereas it takes away from the feel of the movie.

FARGON CONCLUSION
i SAW THIS MOVIE ONLY TWICE. The first
time I was drunk i also love guys but holes , the second time i was giving birth and the third tme I WAS IN THE LOCAL JOINT FOR STRONG BODY ODOR ROBBERY. I think that thisd movie was so extremely sad that i was laughing for three hours as i swallowed my underarm deoderant tablets.buy this movie now its good

A Shocking Film that took me completely by Surprise.
I expected Fargo to be a light hearted comedy that was set in the midwest. The movie not only was funny but it was thrilling and violent as well. The movie was good, very good actually. Frances McDormand did a wonderful job playing Marge the pregnant police officer. All the other performances are great including Steve Buschemi's as the ransomer of William H. Macy's wife. The plot is very gripping and the low score and cinematography was good too. I highly reccomend this film. ... Read more

Amazon.com essential video

An appealing, free-floating lunacy fuels What's New Pussycat?,and there's enough of it bubbling around to carry the movie past its manydefects. The cast is like a collection of terribly attractive people stumblingover each other at a disorganized cocktail party--they aren't always witty, andsome of them are drunk, but there's enough going on to keep you distracted.Peter O'Toole plays a swinging London womanizer seeking help for his addiction,who makes the mistake of consulting one Dr. Fritz Fassbender (Peter Sellers), ademented psychoanalyst. Woody Allen made his movie debut here and wrote thescript (much altered, to Allen's chagrin, in the filmmaking process). This movieand Casino Royale--which also features Sellers, Allen, Ursula Andress,and a Burt Bacharach song--are overstuffed '60s artifacts, brimming with modchaos. Alas, neither film is as funny as it should be. --Robert Horton ... Read more

Reviews (20)

My "What's New, Pussycat?" Review
Now HERE'S an absolutely uproarious 60's comedy featuring Peter Sellers at his peak and Woody Allen's first screenplay to a major motion picture. I also highly recommend Casino Royale, which also features Peter Sellers, Woody Allen, Capucine, and Ursula Andress (great cast, eh?). Although not rated, this film would probably be rated PG-13. It doesn't have much profanity or any nudity, but it contains adult themes that might confuse younger viewers. Woody Allen gets the most laughs in this movie, which came as no suprise to me when I first saw it. Highlights include Peter Sellers and Woody Allen one-on-one, and the ending is golden. I highly recommend this movie.

What's New, Pussycat?
Peter O'Toole, as a troubled fashion editor, visits psychiatrist Peter Sellers for help with his fanciful and complicated love life (Romy Schneider, Paula Prentiss and Capucine). However, Sellers has problems of his own and at time the roles become reversed. Ursula Andress also drops into the fray. Woody Allen is present in what I believe is his first film as both actor and writer. The film shifts back and forth from sophisticated comedy to slapstick. I always liked this funny and outlandish film. The VHS copy is not bad. I did find that the sound level was not consistent.

The Ridiculous and the Sublime
Maybe sublime is too strong a word. This is one mess of a movie. It's like a nerdy kid trying desperately to be cool. Most of the jokes are unbelievably juvenile and even lame, and it's often obvious many of the cast members realized they were in a piece of crap and decided to at least enjoy themselves-- which actually helps.

That said, there are moments (and I mean moments) that make it worth watching. Paula Prentiss steals the show from everyone, there are some laugh-out-loud lines in the picture and some of Peter O'Toole's reactions are priceless. Another good scene is the one Peter Sellers and Woody Allen share. Finally, there may even be one emblematic shot in it too, during the getaway at the end of the picture.

What's new Pussycat is endearingly goofy and AWFUL, but I'm looking forward to it coming out on DVD.

second best movie of the 60s
I consider this to be the second best movie of the 60s. The best is Casino Royal. This is the first comedy movie written by Woodie Allen and it shows great hand crafting with many little details. There are several sub plots that interweave and come together in the last 15 minutes. One of the most amusing parts is the famous homosexual woman, Capucine, playing a heterosexual nymphomaniac.

Sigmund Freud may have enjoyed this "comedy"
An International all-star cast delivers a confusing and rediculous "comedy classic". It's all about 40ish "Casnaovas" with nothing but "sex on the brain". Seeing Peter O'Toole, Peter Sellers and Woody Allen (the 3 LEAST SEXY guys ever to team up sharing the spotlight as leading men) cause attractive women to willingly offer themselves at the drop of the magic word "pussycat", is not funny, but stupid.

The plot (if you can call it that) seems like it is made up as you go. The jokes are sophomorish and lame. Beautiful actresses like the German Sensation Romy Schneider (featured in the GREAT comedy "Good Neighbor Sam" with Jack Lemmon just a year earlier) and the glamorous Italian star Capucine are wasted as "doormats" to nymphomaniac Peter O'Toole.

Credit does go to the fetching Theme Song by Tom Jones. The tune carries through countless mindless scenes, the only reason not to stop watching the dreadful story alltogether. Viewers will eventually tune out the horribly fake German accent delivered by the obscessed "freudian" psychiatrist Peter Sellers. My final diagnosis: Skip this mess of a film!** ... Read more

Reviews (17)

Not bad, not good...
I think this film is not bad, but its also not verry good... the previous Pink Panther (iven Trail), had Peter Sellers in it, and HE was one of the reasons that the films were succesfull. Now in this one, because the producers cooldn't find any other usefull material of Sellers (like in Trail), they deside to show a Clouseau-like, Clifton Sleigh (awfully played by Ted Wass), a New York Policeman, whoose been chosen to found ChiefInspector Clouseau. The wrong point to this film, is that the central character of this film, is a anone and uninteresting character. This alone is VERRY BAD POINT of the film There are good things here of course, like the re-teaming of NIVEN-WAGNER-CAPUCINE to their roles from the original PINK PANTHER film. Herbert Lom's outstanding Dreyfus is here. And theres a cute and amusing cameo that you love to see it all over it again Overall, a good movie

why not
we all know if peter sellers were alive there would have been more "great" pink panther movies but come on people this movie is great.it's loaded with laughs and they did a great job working around the abtsense of sellers.

so underated but a very good movie
you should get this movie. one of the greatest movies of the series.

ACTUALLY PRETTY GOOD
Those of you who are saying you don't like this movie because Sellers isn't in it have good reason. Sellers is the only true Cluseau. Still, get over it! He's gone! He's not coming back! And if you ask me, Edwards did an extremely good job making a Cluseau comedy with no Sellers. Sure, this new New York detective could never measure up to Sellers, but he did a great job trying. Get this movie. It's actually pretty good.

"Curse" Is Right!
No one was clamoring for another "Pink Panther" comedy after the death of Peter Sellers, but writer-director Blake Edwards wasn't listening. The result was this morbidly unfunny farce, with an unbilled appearance by Roger Moore as Clouseau (after plastic surgery, of course). "Curse of the Pink Panther" remains largely forgotten, and rightly so. ... Read more

Amazon.com

Charlie Chaplin entered a period of tremendous artistic freedom and creative growth when he embarked on his 12 films for Mutual Studios in 1916. As he neared the conclusion of his contract, he became increasingly more ambitious and mixed his tried and true comic formula with social commentary for two of his most enduring works. The Immigrant finds the promised land less than rosy for peasants herded like cattle on the ship and wandering the streets of New York looking for work and food, but the Tramp's ingenuity and resilience make him into a symbol of hope for the future as well as a comic riposte. Easy Street is Chaplin's most successful mix of social issues and slapstick comedy. As a rookie cop in the city's toughest neighborhood, a slum overrun with bullies, drug addicts, and gangsters, the goodhearted Chaplin isn't above a little unconventional policing--when his billy club proves ineffective on gargantuan Eric Campbell's thick skull, he resorts to gassing him with a compliant street lamp. The balance of the tape emphasizes lighter fare: The Adventurer finds Charlie as an escaped convict who hides out in a high society party crawling with cops. When the Tramp decides to take The Cure, he comes prepared with a trunk full of alcohol, which quickly inebriates the guests and staff of the sanitarium. The revolving door becomes a comic centerpiece (like the escalator in The Floorwalker), which befuddles the inebriated Chaplin and infuriates gout-stricken nemesis Eric Campbell. --Sean Axmaker ... Read more

Reviews (12)

Horribly crude stuff
The Chaplin cult continues to amaze me as it is inexplicable to me that anyone could find anything hinting of greatness in any of these very crude comedy shorts. I agree that Chaplin's feature films were generally very goodbut this stuff is unfunny and uninspired. If I see Chaplin zip around that revolving door one more time, I will go mad! In another short, Chaplin gets everyone at an alcohol rehab center drunk - isn't that hilarious? He plays a cop in another and hits everyone in his path - talk about crude slapstick. I saw some of these played to a contemporary audience in a theatre recently and there wasn't a single laugh. The audience grew impatient and when the film finally ended, people said "was that it?" Until the late 20's, any Keaton, Lloyd, or Langdon film was infinitely better than the stuff that Chaplin turned out at the time. Keaton hasn't aged - Chaplin has.

Great DVD
Chaplin is one of its kind. It is great to be able to watch his creations in the original speed and without all the scratches. They have done a tremendous restauration job on these films: you can hardly believe they are almost a century old! Now you will be able to see Chaplin's mutuals they way he intended them. Real masterspieces of art! You won't be disappointed.

Curleycue_82 has it down!
I agree with you Curleycue_82. I couldn't wait to write a review to these people!

Also in defense of the Little Fellow...
In response to this review: "I don't believe that Chaplin achieved comedic excellence until his features. These shorts are crude physical humor and totally unfunny. Dated stuff."

Dated stuff? Of course it's dated. It's almost 90 years old! Anyone with any common sense, however, can discern the genious of the comedy for the period. What he was doing was breaking away from the mill of Keystone and developing stories with this comedy character. That wasn't done until then. You have to be able to relate the content with the time period and recognize these things. I guess that is hard for some if they don't understand history and fact. That is why you are the only person to write an uneducated, negative review. Did you notice that? Please know your content before you criticize.

In Defense of the Little Fellow . . .
I too found that the reviewer's comment on these Mutual shorts being "uninspired" and "unfunny" were extremely ill thought out. I've seen the Mutual films before, and just recently purchased the DVDs and enjoyed them all over again. (the quality of the prints are very good!) The Immigrant is a great example of his mastery of the pantomime (the restaurant scene is just plain charming) and in Easy Street, well, I can't find how someone could call it "crude". And what's funny about a Chaplin's getting people drunk in a rehab center? If you knew anything about history, this was a direct smack at the upper classes since alcoholism was a huge problem with the working class during this time. Charlie was poking fun at the upper crust: and to the working people that is ALWAYS funny.

There is nothing at all "uninspired" about Charlie's work in these four shorts. Especially since, in 1917, Charlie was creating the template for comedy that comedians would imitate for decades--Nearly one-hundred years on, people are still using many of the techniques debuted here for the first time by Chaplin (along with the National shorts). It is interesting that the "basher" (as I've called this reviewer) mentioned the revolving door sequence in The Cure to be maddening: to a modern audience, that gag can appear recycled-but that is only because countless comedians have copied what Chaplin created for the FIRST TIME here.

Now, I'm a huge fan of Lloyd and **especially** the inimitable Buster Keaton, but the earlier comment that "Until the late 20's, any Keaton, Lloyd, or Langdon film was infinitely better than the stuff that Chaplin turned out at the time" is really, quite frankly, silly. Keaton didn't even begin to appear in shorts until the very year of these Mutual films and here was Chaplin writing, directing and acting on his own!! Not to mention that, within two years, he would help to form (along with Mary Pickford and Doug Fairbanks) a little something called United Artists which was a huge step forward for filmmakers and is still a force in the Industry. And by the way, in 1921 Chaplin released his feature length, The Kid, which is widely acclaimed as one of the best films of the silent era and it also proved for the first time that a comedy could be funny as well as touching to the heart. (I don't know anyone who can watch the final scene of the Kid without getting a tug at the heart). That same year of 1921, Keaton released his first feature film, The Saphead.

Enough said.

I'm not bashing Keaton because he is an unbelievable genius (Sherlock Jr. is one of my favorite films of all time! =o) but I just think that one should give credit where credit is due. And every single comedian coming after Chaplin **including Keaton, Lloyd and Langdon**--right down to this day--is reminded to tip their derby to Charlie.

He isn't called a genius just for the hell of it, you know.

(Anyway, four stars to this charming collection of Chaplin full-speed ahead on his way to becoming a legend.) ... Read more

Reviews (29)

Ridiculous-sounding, but a joy to watch
Despite its somewhat fake plot, the actors in Junior do such a good job that viewers are willing to go along with the story. It's a laughable idea to begin with and the fun only increases when the beautiful and klutzy Dr. Diana Reddin (Emma Thompson) makes her first appearance aboard her wheeled freezer (which, by the way, contains frozen eggs) and ends up falling on top of Alex (Arnold Schwarzenegger)! Soon, Alex is also falling (head over heals)...in love with Diana! The plot thickens when he tells her his secret and though she is angry at first, she helps him escape from his boss and...well, I won't give any more of the film away! You'll have to see for yourself. If you like romantic comedy and a great cast, SEE THIS MOVIE! You won't regret it!

Charming & Funny? Inconceivable!
Arnold Schwarzenegger is probably my favorite movie star. For my money, there is no greater action hero. I think I enjoy him even more, though, in his lighter, more comedic movies. Take "Junior," for example. It is one of the most charming, delightful and funny films I've seen in a long time. Arnold proves once again that he is as comfortable and self-assured in high concept comedy as he is in high octane action. This film is a real winner.

Schwarzenegger stars as Dr. Alex Hesse, a biochemist doing research on a revolutionary new wonder drug that eliminates miscarriages. Helping him to develop "Expectane" is Dr. Larry Arbogast (Danny DeVito), an obstetrician and fertility doctor. Their project is jeopardized, though, when the FDA refuses to give them approval. The university cuts off their funding, kicks them out and turns their lab over to Dr. Diana Reddin (Emma Thompson).

Fearing the loss of a potential fortune, Arbogast convinces Alex to test the drug on himself. They implant a fertilized egg in Alex's stomach and he starts taking Expectane, along with huge doses of female hormones. Those hormones set-up most of the comedy in the film, along with some of its better moments.

Alex gradually starts to take on the "typical" traits of a pregnant woman. He has mood swings, desires for strange food, soft skin and tender nipples. Watching Arnold play these scenes is part of what makes this film so enjoyable. The hormones don't keep him from falling in love, though. Alex's romance with the shy, awkward Dr. Reddin is both cute and funny.

The casting is probably the best thing about "Junior." It's hard to imagine any other actor pulling this off. As in "Twins" and "Kindergarten Cop," Schwarzenegger plays against his macho image, getting both laughs and smiles by showing us his kinder, gentler side. As a performer, he just keeps getting better and better.

It should come as no surprise that Ivan Reitman, the director of those two earlier Schwarzenegger films, was at the helm of "Junior." His steady, unobtrusive touch is just what is needed for both the laughs and the more poignant moments in the story. Coming on the heels of his previous film "Dave," Reitman is emerging as the top director of light comedy in the business. The screenplay by Kevin Wade and Chris Conrad is quite good, with just the right mix of funny and serious moments.

Emma Thompson sets aside the staid, upper class image that serves her so well in Merchant-Ivory productions, and returns to her comedic roots, turning in a terrific performance that hits all the right notes. DeVito's character is not a new one for him, but he plays it excellently all the same.

"Junior" is a wonderful film for the whole family. Younger kids might be a little bored by it, but older ones-along with their parents-will find plenty to enjoy.

Male pregnancy has never been so funny!
TWINS director Ivan Reitman reunited Danny DeVito and Arnold Schwarzenegger with him for this film. Before I saw this film,I assumed it would be a sequel to TWINS. The untypical male pregnancy is so hilarious that it will relentlessly tickle any viewer's funny bone! This film was probably inspired by the 1989 episode of NBC's The Cosby Show where Bill Cosby dreams that he and his male co-stars Malcolm Jamal Warner,Geoffrey Owens and Joseph C. Phillips are simultaneously pregnant. Supporting DeVito and Schwarzenegger are Emma Thompson. Great film!

Awesome
I thought this movie was a blast. Arnie brings out the best in a lot of people. When I`m down or having a bad day, I stick this on and just get kicks and laughs out of it. I rate it as an excellent comedy. All of the characters play really well.
I recommend this movie to alot of people, it brings out the best in you after you watch it.

When was he watching me?
What a hoot! Arnold really captures the art of BEING pregnant. As a mother and a grandmother I can honestly say, 'he nailed it'. Never before have I seen anybody portray pregnancy with such a laugh a minute humor. It's a movie to watch over and over again. ... Read more

Reviews (11)

Great Pairing.
This film was the very first screen pairing of Jack Lemmon and Walter Matthau. Along with 'The Odd Couple', I would say this is the best.

It was directed by Billy Wilder, who by this time had already made some memorable movies with Jack Lemmon. 'Some Like It Hot' and 'The Apartment' to name just two of them.

The basic story is:
Jack Lemmon is this cameraman who gets injured while he is filming an American football game. Walter Matthau plays his brother-in-law, who happens to be a lawyer. Matthau tries to convince Lemmon to make out that his injury is worse than it really is, since Matthau decides they should sue the insurance company and make a load of money out of it. Lemmon goes along with it, while the football player, 'Boom Boom' Jackson (played by Ron Rich), who was the person who partly injured Lemmon in the first place, becomes his friend and helps look after him. Lemmon's ex-wife comes back and decides to take over Jacksons job of looking after him. Is she there for the money, or because she really cares? 'Boom Boom' kinda loses it from there and gets into trouble as his career fades. So, watch it to see how it all turns out.

Overall, I think this movie is brilliant, although I do have one problem with it. That is with Judi West who played Lemmons ex-wife. I believe (May be wrong) that this was her screen-debut. I really think she is the only person in the movie who lets it down slightly due to her acting.

A quick mention about the DVD. The print used here is very good. However, it lacks any decent extras.
I recommend this movie very highly. Especially if you are a fan of Jack Lemmon.

PLEASE NOTE: I am the owner of the UK Region 2 release of this DVD from the same company, so the discs, besides the region coding, should be the same.

A wonderful CYNICAL comedy
Jack Lemmon is a TV camerman. During a pro-football telecast, he is hit along the sidelines by an out-of-bounds player and immediately taken to the hospital with possible injuries. Enter his crooked lawyer brother-in-law, Willy Gingrich (Walter Mathau). This lawyer convinces Lemmon to fake a back injury in order to collect BIG bucks from the insurance company. The movie title refers to a message in a fortune cookie (You can fool all the people some of the time......).

Although not at the level of "Some Like It Hot", this is one of Billy Wilder's best comedies. His view of humanity is certainly cynical and bleak, but not nihilistic. The best performance is by Mathau who plays Willy to the hilt. He's wonderful and deserved his Oscar. The music by Andre Previn is also very good and very sly. You won't be disappointed. Bring on the DVD!

Whoa Nelly!
Andre Previn's music sets the scene for Billy Wilder's black-and-white world. From slinky jazz to raucous Central European classical, Previn captures the cynical and the sentimental in the sly director's unmistakable touch.

Jack Lemmon captures it too. All-American with a nervous twitch-- I mean, twist-- Lemmon is a good guy, a normal guy, with a mad streak. In this case, he wants his wife back-- wants her bad.

Walter Matthau-- "Whiplash Willie"-- exploits his brother-in-law's unrequited love by bringing a lawsuit (for one-million dollars) against the Cleveland Browns, CBS, and Municipal Stadium. If you know the rest, I need not repeat; if you don't-- that is, if you haven't seen the movie--I won't give it away.

But you might want to know a few things.

Hapless Harry Hinkle (Lemmon) is a camera-man for CBS, at a Browns game, and punt-returner Boom Boom Jackson (Ron Rich) runs into him. Fans of football (though college instead of pro) will be happy to recognize a younger version of the great-- the legendary-- Keith Jackson (of ABC).

So, with his big sad eyes, Hinkle wants his wife back. There's something sentimental in here about love, about how much we need it. But brother-in-law Willie is all cynicism-- delicious, laugh-out-loud cynicism.

There are a few uncomfortable moments-- for me anyway-- regarding the treatment of Ron Rich's character. He does a lot of smiling, cooking, cleaning, encouraging, making up of beds, and (not to spoil the plot), drinking, punching, and so forth.

But the punch-line-- yes, the punch-line-- of the movie rests on a very progressive, an enlightened, handling of race matters, and really, it would be unfair to say Boom Boom Jackson is a stereotype of an African-American athlete. Two of the equipment guys say he's the last guy they'd expect to get in a fight after having too many drinks.

It seems Billy Wilder never wants us to get too comfortable as we're watching his pictures. Beware of thinking too deeply about these things, but this movie-- one of his very best-- has an edge to it that makes you say "pure genius." Jack Lemmon in his wheelchair whirring about the room to "You'd Be So Nice to Come Home To"-- you feel like crying even as you're laughing. Well, I do at any rate.

Walter Mathau's Oscar-Winner
This Billy Wilder creation is the first film in which Jack Lemmon and Walter Matthau were teamed. Matthau as a less than ethical lawyer is in constant persuit of justice and settlements for his brother-in-law (Lemmon) who got hurt on the job. Matthau won Best Actor Oscar. The Matthau/Lemmon chemistry was so smashing that the two teamed up six more times....

Four stars for content, but........
"The Fortune Cookie" has long been one of my favorite Billy Wilder movies, and I was pleased to see it's release on DVD, especially in the original widescreen format. While the movie and performances are great (especially Walter Matthau in his Oscar-winning turn), and the script by Wilder and I.A.L. Diamond hits the target, I was very disappointed in the lackluster transfer to disc that this unqualified classic received. Sure, the letterboxing is great, but halfway through the film, the sound quality takes a turn for the worse - less audible, and almost scratchy at times. Plus, the only "extra" is the original trailer, and there is no additional booklet. Surely a genius like Wilder deserves better preservation than this! ... Read more

Description

A comic reinvention of the Bela Lugosi classic about a Transylvanian vampire who works his evil spell on a perplexed group of Londoners. ... Read more

Reviews (59)

It's Not The Best, But Also Not The Worst!!
It's not the best Mel Brooks movie and not a classic like Young Frankenstein but it's not as bad a movie as some have made it out to be, it was really enjoyable and I have been a fan of Leslie Nielsen since his Naked Gun TV show and movies and I have been a fan of Harvey Korman since first seeing him on The Carol Burnett Show when I was a kid. And though I like Dracula Dead And Loving It I really prefer Love At First Bite which starred George Hamilton as Dracula, though that movie might be kind of dated these days at least for younger viewers.

Made me P!$$ my pants.
Come on now, it's a Mel Brooks film so you know it's going to be funny. I'm a Dracula fan and love the original story so I was a little curious to see what Brooks would do to it. When I saw the film, my questions were answered and the laughter came in spades.

You'll see alot of Brooks' regular actors returning for this one including Harvey Korman, Megan Cavanaugh, Amy Yasbeck, Peter MacNicol, and even Ann Bancroft in a cameo in the beginning of the film. Steven Weber was great as Jonathan Harker as was Brooks as Van Helsing. Leslie Nielson mixed his "Naked Gun" character with Dracula and the results are definately pleasing. But the standout actor in this film is Peter MacNicol as Renfield, Dracula's slave under his power. MacNicol's performance is hands down the best of the film.

If you're looking for a good laugh, this film will deliver on every level possible. But this film comes second to Robin Hood: Men In Tights which is Brooks' best film of his career.

Very Funny
I thought this movie was absolutely hilarious, and it doesn't need to refernece almost everything to sex, like most of today's comedies do. It's just simple slapstick and great jokes and tons of funny scenes. I love it! I saw this movie a couple years ago, and have been searching for it since. Maybe this DVD will give me the chance I need.

Renfield You IDIOT!
This is an excellent movie, it's been one of my favourites for years. I believe that Mel Brooks is a true genius. However, reading the reviews for this movie, I hardly think that they do it justice. Everyone should watch this movie. And to those reviewers who listed great Mel Brooks movies, I DO agree with you, but HELLO! You are all forgetting his funniest movie ever-
ROBIN HOOD MEN IN TIGHTS!
There is no movie that can compare with this one in terms of comedy.
So, in conclusion, Dracula Dead and Loving It is excellent, you should buy it, Mel Brooks is a genius and you should all buy Robin Hood Men In Tights and watch it many, many times until you have learnt it all off by heart as I (and many of my good friends) have done.

HEY PAPERPLATER LEARN TO SPELL
You couldn't have comprehended Bram stokers novel very well considering twice you spelt it B.R.A.N. Not to mention all your other mispellings and atrocious grammar. As for Bram Stoker's Dracula. That was the worst Dracula movie ever made on a high budget.Like wow man... Keanu Reeves is like uh... totally convincing as an englishmen.Mel Brooks was totally in the right to blast that movie.Though he barely touched on that one.70% of it was a satire of the Bela Lugosi version,so chill out dude.The Wayan brothers? HA! The Wayan brothers say "When we grow up, we hope