Reviews (4)

Delightful ghost story based on a classic tale
Based on a short story by non other than the legendary Oscar Wilde this version of the "The Canterville Ghost" makes really delightful viewing boasting top notch production values, a superb cast in fine form, and a terrific look that gives the film an appealing and enjoyable appearance.

Being in theory a ghost story the story is full of much well seasoned comedy and really is a film suitable for the whole family to enjoy. I tend to watch this film around Christmas each year and never fail to enjoy the high spirited carryings on of Charles Laughton in what I feel is one of his most appealing roles. "The Canterville Ghost", set in one of those far off misty castles that only MGM could cunger up, tells the story of how Sir. Simon de Canterville through an act of cowardice is walled up in a room of the castle and is doomed to walk the face of the earth for all eternity unless a relative can commit an act of bravery to lift the curse from him. The story jumps ahead a few centuries to the present (1944) where the castle is occupied by visiting soldiers involved in the war. Among them is Sir. Simon's distant relative Cuffy Williams (Robert Young at his most endearing) who is the one selected to perform the brave deed to free his ancestor from his ghostly imprisonment. The tale is an amusing one as Laughton's character first tries to scare and then win over his cynical relative to help him. Charles Laughton is wonderful as the cowardly ghost appearing out of nowhere, screaming, rattling chains and showing his own failings only too obviously. He is surrounded by a terrific supporting cast beginning with gifted child actress Margaret O'Brien as Lady Jessica de Canterville the present owner of the castle. O'Brien, at the peak of her career around this time with triumphs in "Journey for Margaret", and "Meet Me in St. Louis", is a cute delight as the spunky little girl who is not afraid of Laughton's over the top bellowing and corny scare tactics. Robert Young in his last MGM film is also in top form as the young soldier who first is in danger of falling into the same habits as Sir. Simon but who in the end comes through to succeed in freeing his ancestor from his ghostly sentence by an unselfish act of bravery.

"The Canterville Ghost" is about as English a tale as you can get and came along during the war years when all things British were revered in Hollywood. Keeping company with such British outings as "Mrs. Miniver", and "The White Cliffs of Dover", "Canterville' also boasts a superb supporting cast of stalwart British performers so popular in Hollywood during these years. Headed by Laughton himself the film contains great work by the likes of Reginald Owen, Una O'Connor and Peter lawford who give just that right British feel to a production which because of the war had to be filmed in the USA. Technically the film is a superb achievement with Laughton's ghostly special effects a remarkable effort. The sight of Laughton disappearing through walls and flying across a room remind one of that great 1930's ghost story "Topper". Being a product of MGM the film boasts top flight production values in every department and has superb settings with the castle interiors appearing wonderfully spooky and beautiful on the eye.

Among the many versions filmed of "The Canterville Ghost", I feel this is by far the best. Centred on Charles Laughton's unforgettable ghost the production is enjoyable and a fun way to spend a couple of hours. Before computers created all the special effects this film proved what the old Hollywood was capable of achieving. A totally delightful film to be enjoyed by the whole family.

A Charming Bit of Hollywood Fluff
Very, very loosely based on a short story by Oscar Wilde--so loosely that he is probably turning in his grave--THE CANTERVILLE GHOST is nonetheless a charming bit of 1940s Hollywood fluff about an English ghost who runs afoul of American pragmatism. In the film version, the Americans arrive in the form of WWII soliders, including Robert Young, who are billeted at a notoriously haunted castle where they encounter a legendary spectre much given to theatrical materializations.

Although the story is very, very slight, the cast makes it enjoyable. Child star Margaret O'Brien gives a typically enjoyable performance as the unwilling heiress to the castle, and Robert Young and his fellow actors mug their way through the script with entertaining aplomb. The greatest pleasure, however, is Charles Laughton as the ghost, which he plays most delightfully. The emphasis is on comedy rather than ghostly thrills, and although the comedy is quite mild it is expertly done. THE CANTERVILLE GHOST will never make any one's short list of "great cinematic art," but both grown-ups and kids alike will have a good time with it; recommended for an old fashioned family night.

How could it miss?
This is a movie that could cure a rainy day. Great story, great cast, fun SFX (even by modern standings). I think this is the kind of movie they're trying to make again, with mixed success. Funny without being coarse, outrageously sentimental without being cloying, and, my goodness--the "chemistry"! Entertainment you don't have to feel guilty about enjoying.

Very Enjoyable!
By far the Best version of the many made of Canterville Ghost! Robert Young plays his part so well! And the little girl is an inspiration! Many laughs! ... Read more

Amazon.com

"Ladies and gentlemen, the motion picture you are about to see is called The Naked City." With a helicopter shot slowly closing in on Manhattan, producer Mark Hellinger's staccato narration introduces the film ("It was not photographed in a studio . . .") and continues throughout like a documentary commentator with a literary flair. It's a conceit that serves this police story nicely, giving the patina of realism to this deglamorized look at the work of the homicide squad. Barry Fitzgerald reigns over the film with his jovial good humor as a veteran detective investigating the murder of a high-living model. He has few clues and fewer suspects, until he cracks the story of big-talking Howard Duff and throws some light on his shady past. Jules Dassin, who had just come off the shadowy, expressionist Brute Force, peels away those flourishes to shoot in a straightforward style influenced by the Italian neo-realists and the contemporary American newsreels. The film is rich in supporting performances by soon-to-be-famous character actors--Arthur O'Connell, James Gregory, Paul Ford--but the city itself becomes the film's most vivid character. Shot entirely on location in New York City, the distinctive cityscape looms over practically every shot and injects the film with a defining sense of place (cinematographer William Daniels won an Oscar for his work). You can see the roots of The French Connection in the bustling city scenes and the exciting foot chase finale on an elevated walkway. --Sean Axmaker ... Read more

Reviews (7)

A Turning Point In Film Noir Style
There are two styles of Film Noir. Fueled by writers like James M. Cain, Dashiell Hammett, and Raymond Chandler, the first style emerged in the 1940s and was characterized by a cynical, often witty tone; anti-heroes, dangerous women, and assorted criminal elements; and complex plots that emphasized betrayal and moral ambiguity. It was also photographed in a remarkable visual style that combined glossy production values with atmospheric emphasis on light and shadow--and films like THE MALTESE FALCON, THIS GUN FOR HIRE, MILDRED PIERCE, THE BLUE DAHLIA, and DOUBLE INDEMNITY remain great classics of their kind.

But after World War II public taste began to change. Things that could only be hinted at in earlier films could now be more directly stated, and as audiences clamored for a more gritty realism the glossy sophistication of 1940s Noir fell out of fashion. The result was a new style of Noir--photographed in a grainier way, more direct, more brutal, and even less sympathetic to its characters. And the 1948 THE NAKED CITY was among the first to turn the tide. The sophisticated gumshoe, slinky gun moll, and glossy production values were gone; this film felt more like something you might read in a particularly lurid "true detective" tabloid.

In an era when most films were shot on Hollywood backlots, THE NAKED CITY was actually filmed in New York--and while filmmakers could film with hidden cameras sound technology of the day posed a problem. But producer Mark Hellinger turned the problem into an asset: the film would be narrated, adding to the documentary-like style of the cinematography and story. (Hellinger performed the narrative himself, and his sharp delivery is extremely effective.) The story itself reads very much like a police report, following NYPD detectives as they seek to solve a dress model's murder.

For 1948 it was innovative stuff-but like many innovative films it falters a bit in comparison to later films that improved upon the idea. The direct nature of the plot feels slightly too direct, slightly too simple. The same is true of the performances, which have a slightly flat feel, and although Barry Fitzgerald gives a sterling performance he is very much a Hollywood actor whose style seems slightly out of step alongside the deadpan style of the overall cast. Even so, the pace and drive of the film have tremendous interest, and while you might find yourself criticizing certain aspects you'll still be locked into the movie right to the very end. Particularly recommended for Film Noir addicts, who will be fascinated to see the turning point in the style.

GFT, Amazon Reviewer

Dear God, why wasn't she born ugly?
I can't remember another movie that took as many chances as THE NAKED CITY and successfully pulled it off. It doesn't look quite like any movie I've seen before and doesn't play quite like any other movie.
The story is simply enough - a young model is found murdered and the Homicide Squad is called in to solve the case.
Even before the murder, though, we're introduced to something new. We're given and aerial sweep and pan shot of the skyline of New York City. A voice over narrator emphatically tells us that this movie was NOT photographed in a studio; the stars perform "in the streets, in the apartment houses, in the skyscrapers of New York City itself." And so it is. No matter how well the set is designed, you can usually spot it as quickly as you can CG animation, and this ALL looks like NYC to me.
The casting is out of the ordinary, as well. I mean, Barry Fitzgerald as top-star in a crime story? Come on. Get serious. Yeah, maybe if you want a pleasant little slightly inebriated Irish chap - but a homicide detective? Yeah, right.
But it works. Fitzgerald is just right as Lt. Daniel Muldoon because this movie doesn't rely on Mike Hammer-ish brutality, or a brilliant and intuitive crime solver. I think the film makers here were looking for a cast who could meld into the city rather than rise above it, and Fitzgerald is a surprising and inspired choice.
This is a movie about dusting for fingerprints and putting evidence in plastic bags. It's about wearing out shoes interviewing potential witnesses and striking out 90% of the time. The Fitzgerald character works because he fits into the world better than a major star would have. The film-makers seem to be striving for a documentary feel to things (I trying not to use the term cinema veritie here).
Scenes are bracketed by location street scenes - hordes of people entering a subway station, a horse-drawn milk cart and milkman on a quiet city street, two young women admiring a gown in an upscale store window.
There's a price to be paid for relying exclusively on location shots. There are a few scenes that sound like the voice recording were done in an echo chamber. And the film has a flat look to it (not all that bad for a noir-ish crime drama.) The reason we can tell studio shots so quickly is because they look good - the photographer has control over lighting and light sourcing.
If there are detective movies and gangster movies and any number of other sub-genres in the Crime category, I guess you'd call this a police procedural movie. There are a couple of punches thrown and a few guns fired, but for the most part attention lingers on characters and procedures. This is one of the first movies, to my knowledge, that seems to recognize that crimes are more likely solved in the lab than in the brain of an inspired crime fighter.
I unhesitatingly recommend this to everybody. For crime and noir buffs, this is a must see.

EXCELLENT, REALISTIC NOIR.
THE NAKED CITY is New York: a metropolis of playgrounds and police precincts, fire escapes and brownstones, neon lights, subways rushing during rush-hour & fire hydrants sprinkling the streets on a sweltering summer day. Definitely not a city constructed on a Hollywood back lot: this film benefits immensely from location shooting. The film is a series of powerful scenes, first depicting the murder of a pretty, man-hungry larcenous young model, and then detailing the efforts of the cops to sniff out her killers. Eventually, they unravel the case culminating with a thrilling chase sequence across the Williamsburg Bridge from Manhattan's Lower East Side into Brooklyn. The fact that big-name star weren't cast in the film add to its appeal: this curiousty adds to the realism of this film. Highly innovative for 1948 was the cinematography technique used: the camera crew worked from inside a van equipped with a one-way mirror which enabled them to film the city while remaining invisible to the passerby: this technique has inspired scores of films since.

Top Notch Police Procedural
This movie really stands out as being different from the usual noir crime story of the past. One observant reviewer already pointed out the difference in the realism conveyed here as opposed to the Hollywood stylized reality of its contemporary "The Big Sleep". You won't find any tough talking detectives slugging down a shot of bourbon in the middle of the day and conversing with a tough dame like Lauren Bacall in a dialogue, which no one would ever have in real life. What you have here is a police story with cops who get up in the morning, kiss their wives good-bye, and go to work. The work can be frustrating and tiresome; a lot of walking and asking questions around town; many leads are followed and few pan out. At the end of the day they ride commuter trains back home in the heat and humidity. They get home and kiss their wives hello. There is a dynamic here that is very different from modern police crime dramas as well. How many times today do we see the same tired and clichéd characters and relationships in police movies? The chief of police is always a jerk. The hero cop has to solve the case in spite of the chief's meddling and hostility (sometimes he's even suspended and has to solve it on his own time). The hero cop is a disillusioned veteran who is probably divorced and lives alone with nothing but cold pizza and beer in the fridge. Does this sound familiar? Throw in a partner who is probably a rookie learning the ropes and probably gets shot in the shoulder during the last chase scene (don't worry it's always just a flesh wound). You want realism? Use the four letter word whenever possible. Aren't we all tired of that by now? See this movie if you are.

Another reason to see this film is because it was shot in the streets of New York around 1948 and from the first shot where we see the Empire State Building before it had the antennae added, it offers us a glimpse of the city that has changed and will never be the same. If you knew New York around this time, or if you are just interested from a cultural perspective, you'll enjoy the views of the city streets where milk is still delivered in horse drawn vehicles and every one seems dressed to the 9s.

Dark As Tar!
The naked City plays out like no other film noir eve made. Unlike other noir's that explore a vast landscape the Naked City turns NYC into a fully fleshed out character. In this vision NYC is the home of run rampant jewel thieves, beautiful women and wisdom filled cops. But it's the overwhelming sense of reality adn open ended didalogue that blasts this gem off the screen. Unlike many Noir's Naked City has no problem placing the action in the day light which is glorius. Taking the gloss and sheen off the actor's faces and replacing it with sweat and urgency as they chase criminals; over the years this technique became standard. THe film begins with a shocking image of two men corvorting over a woman's dead limp body only to take off in numerous plot twists and turns as a winding road. To follow film noir is to love it the reverse of good and evil with extended laps in judgement and violence with in the world of irony. The naked City is a prime example of brilliant film making; a precise plot, elegant cinematography and brilliant acting and casting. This film is a little seen gem that has to be viewed now! ... Read more

Amazon.com

Director Jules Dassin (Night and the City, The Naked City) fashioned this breezy and intricate 1964 thriller with a sly comic bent, and it enjoyed international popularity and became an influence for other high-toned European caper films. Peter Ustinov (Spartacus, Death on the Nile) won an Academy Award for his performance as a hapless driver, clueless to the plans of his cohorts, two jewel thieves who plan to steal a priceless dagger from the Topkapi museum in Istanbul, Turkey. Maximilian Schell (Deep Impact, Judgment at Nuremburg) and Melina Mercouri (The Victors, The Gypsy and the Gentleman) play the jet-setting thieves, who choose a motley band of amateurs instead of pros in order to throw off the authorities. But when Ustinov is apprehended by the cops, he agrees to act as a spy in order to thwart the robbery.Eventually, Ustinov must choose between saving his own hide and remaining loyal to the seductive Mercouri as the machinations of the robbery become ever more complex. Sleek and entertaining, Topkapi is filled with intrigue and thrills at every turn. --Robert Lane ... Read more

Reviews (12)

Great movie, but truly lousy MGM DVD transfer
This '60s heist movie sparkles, dazzles, and charms with its strong international cast, story adapted from an Eric Ambler mystery novel, and typically great direction from Jules (Rafifi) Dassin. Dassin gets a truly captivating performance from his wife Melina Mercouri as a thief obsessed with stealing the Topkapi emeralds, and an Academy Award-winning comic turn from Peter Ustinov. This was my favorite movie of all time when watching it on tv as a child. I waited a while to see it on DVD. Sadly, MGM seems to have transferred the movie through a vat of mud. The source print is faded and looks lousy. The movie is great, as is the theme song.

Wonderfully entertaining, with great Ustinov performance
One of my favorite films, and quite possibly the most entertaining caper movie of all time. A jewell thief (Melina Mercouri) has her heart set on a fabulous emerald-encrusted dagger. The priceless object is being kept at the high-security Topkapi Museum in Istanbul. Mercouri enlists the aid of sometime lover (and professional thief) Maximilian Schell to devise and execute an intricate plan of stealing the dagger. Schell assembles a team that includes Robert Morley as an inventor and electronics expert, and Peter Ustinov as a small-time con man who doesn't realize that he's part of the scheme. Ustinov is persuaded to spy on Mercouri's group by Turkish authorities who think the gang members are terrorists, but he is eventually made aware of the actual intentions of the thieves. The first few minutes of TOPKAPI may lead you to believe that you're in store for one of those hopelessly fluffy "comedies" of the 60's. But don't be fooled. From the moment the jovially frantic music score is played over the opening credits, rest assured that you're about to be treated to a light-hearted, fast-paced movie that expertly combines humor, suspense, and thrills. The international cast is great, but Peter Ustinov is especially delightful to watch in the role that won him the 1964 Oscar for best supporting actor. As Arthur Simpson, a shifty yet sympathetic character who gets used by just about everyone in the film, Ustinov easily steals the movie (although Akim Tamiroff also has his share of funny moments as a drunken cook). This film has all the elements for a first-rate piece of entertainment: an engaging cast, exotic locales, good dialogue, and artful direction by Jules Dassin whose earlier work in RIFIFI partly inspired this movie. TOPKAPI is a wonderfully entertaining motion picture that should appeal to everyone.

DVD Widescreen Transfer Is Perfect
I must elaborate more on the reviewer who said that the transfer to DVD looked like it had been dragged through a vat of mud. I had the movie on VHS tape and knew what to expect of it. The reviewer may have only noted the first 6-7 minutes of the movie which I would call a dream sequence with shades of different colors around the screen. Once this sequence is over, the movie is normal and the transfer to DVD which I rented was perfect. The movie was just as it is on my VHS tape but of better quality, of course.

Topkapi
This is in the end a good caper movie and maybe worth watching because its possible a lot its elements have been emulated in other films like the Pink Panther, Mission:Impossible and Entrapment.
It is a jewel theft caper involving a hypersensitive floor security system, where you drop in from the roof. I am not giving anything away that isn't in the trailer. But it is stuff you have now seen many times before. The gymnastics and plotting of how that is carried out is the variance. There is some pretty good tension in pulling off the crime.
As in any movie like this, whether you like it depends a lot more on whether you like the characters. And this is the point where the film gets a little iffy for me. This is the first Melina Mercouri I have seen. So I don't have the perspective of years prior knowing what a great beauty she was. I am going to get in trouble for calling it as I see it her. Melina Mercouri is an attractive enough older woman but well past her prime and trying and failing to hide it behind hair died from silver gray to blonde and heavy mascara and eyeshadow. But perhaps she is merely past her prime and just unapologetic and sassy about it.
The effect is the same. She is a little grotesque.Maximillian Schell on the other hand is a truly handsome and suave as the organizer of the plot.
Peter Ustinov is cute. As a fairly early role you see him here developing a lot of his most popular affectations that will serve him well in future roles. This production seems a little low budget and doesn't show off his distinctive voice and mannerisms as well as a film with more deft camera direction and better sound can. The stalwart British character actor Robert Morely as the inventor is very good. Also on the team is a brutish strong man who seems to have little purpose in the film who is partnered with an acrobat who cleverly mimes most of his part because he is a mute.
Ordinarily I don't have much trouble making allowances for the style of films of the various decades but Topkapi has a style that to me seems particularly dated and tips the hand of its minimal budget badly. There are many filler shots of the marketplace and locals of Istanbul that aren't particularly interesting and slow the pace of the film down. Also the image and sound is of marginal quality and frequently dubbed though it is an english speaking film.Its not out of synch but it has that odd unnatural feel to it. If you mind has the mental alacrity to make allowances for this its a clever enough film to keep you entertained. But I can't imagine anyone under 25 raised on modern production values not being a little antsy and impatient deciphering some of the slightly muffled heavy accents of the international cast.

Certainly a better film than Entrapment. I think overall the film is merely OK. Either of the Ocean's Eleven films does has a more entertaining ensemble cast and are more fun to watch in this genre.

rififi....
A band of thieves, assembled by a deliciously intent Mercouri, attempts to steal a fabulous emerald-encrusted dagger from the Topkapi Palace Museum in Istanbul. The utimate theft is depicted in a long sequence reminiscent of his earlier heist scene-but this time with considerably more levity. Dassin assembled a flawless cast of charming rogues and charlatans, including Peter Ustinov in an especially humorous performance that earned him the Oscar for Best Supporting Actor. If you are not a WT, then it is a very nice movie for you.... ... Read more

Reviews (6)

I love Richard Burton!
I first saw this movie years ago on cable tv when I was a teenager home sick from school one day. I sat and cried my eyes out because I too fell in love with Ashley (Richard Burton) and vowed to name my first child after him.

His character has morals and values and that is why he takes the high road and turns down the love from a younger woman, not quite of legal age, despite the fact that her love brings him to life again as an artist. He honors and respects the American culture of age appropriateness and for that his character becomes even more endearing to me. He's a safe man for a young girl to have a crush on.

Tatum ONeal is fabulous in this story, playing well beyond her years in maturity... and I will never forget the look on her face in the busy streets of New York as she slowly walks away and stands there as Ashley sticks to his resolve to send her back home after she shows up without his invitation all alone to confront her love for him.

Love is like that sometimes, it makes no sense, but in the end, if it's love, it always does the right thing and that's what I love about this movie.

Deary Canadian Pedophilia
Tatum O'Neal never fulfilled the promise of her first, delightful role as a child actor in Peter Bogdanovich's Paper Moon. Although she grew into a pleasant looking teenager, some unwise forces -- parents? agents? -- allowed or pushed her into "sexy" roles in terrible pictures like this and 1980's Little Darlings. There seemed to be a very unwholesome interest back in the late 70s/early 80s in pre-teen girl sexuality -- look at movies like these and Brook Shield's Pretty Baby and Blue Lagoon. I don't think you could get away with this kind of leering nonsense in today's climate of greater sensitivity towards child molestation, Jon-Benet Ramsey, etc.

Not too surprisingly, this low budget Canadian mishmash was directed by an older (French) director. It's the ultimate in fantasy for a late middle-aged male -- that a nubile teenager would fall in love with you and throw herself at you (and you of course would heroically refuse to have sex with her). Also that it would rejuvenate you not only romantically and personally, but professionally as well.

Aside from Ms. O'Neal's horribly leaden and awkward performance, there is so much that is wrong and off-key here -- a dreadful script full of lame dialogue and pontification, implausible situations and a cast of supporting actors who look like deer caught in the headlights of an oncoming truck.

Tatum O'Neal (Sarah) is supposed to be a 15 year old girl -- which she probably was at the time of the filming -- but she dresses like an middle-aged woman in loose blouses, dressy shoes and long flowered skirts. Apparently neither the director or costume designer was aware that teenagers in the 80s wore jeans, t-shirts,and sweatshirts. As a result, instead of coming across as an authentic 10th grader, "Sarah" seems to be a adult woman with a high pitched squeaky voice. This takes our focus off the disheartening spectacle of her sexual involvement with a man easily old enough to be her grandfather.

Richard Burton (Ashley), who looks very handsome and fit here, and has a grand theatrical speaking voice, appears pained and uncomfortable (I imagine he had kids younger than Tatum O'Neal), and although he tries mightily to make the character human and sympathetic, he doesn't stand a chance with the lame & embarassing lines he has to spout. To his credit, he comes across as grandfatherly with his co-star and not lecherous, but that tiptoes around the basic problem that a 60 yr old man having a romantic attachment with a 15 yr old girl is sick and destructive.

Speaking of that, where are the authorities -- police, prosecutors, child psychologists etc -- in Toronto anyhow? When Sarah's parents find out she is seeing Ashley, they respond in horror...and lock her in her bedroom (a bedroom that has a huge unlocked window leading to a big branched tree that any teenager could skedaddle down in a minute) but they don't make the slightest attempt to file charges against their daughter's geriatric seducer. Also, Sarah's teenage boyfriend (Michael Wincott) attempts to rape her -- but her parents are unconcerned about this and don't apparently file charges against HIM -- and in turn she bashes him in the head with a large rock and fractures his skull and nothing happens as a result of this either. When she starves herself and threatens sucicide on her 16th birthday, instead of putting her into a psychiatric hospital, her parents allow her to see her elderly boyfriend again.

The worst thing about this type of movie is that it invites us to leer -- even showing us Ms. O'Neal in the nude, quite unnecessarily -- and then wants to overlay the whole thing with a smarmy explanation that it's "true love" and that Sarah is a "woman" because she really loves this senior citizen whom she has known all of one month.

Today this kind of film would probably be made for cable and shown on the Lifetime channel, but hopefully public consciousness is more sensitive these days and no one would make a film glorifying what in fact is not just a crime, but a destructive act of control and manipulation and the objectification of the bodies of very young girls.

In conclusion -- gross, but too dull to be porno.

An American French Film
I agree with another reviewer, this is one of my favorite hard to find videos. I titled this review an American French Film, because of the subject matter. Normally we Americans steer away from the older man, much younger girl romance story. Something the French do with ease. Look at Beau Pere, which you can get right here at Amazon.com. Richard Burton gives a fine performance as the older man while Tatum O'Neil gives us a look at what I consider to be one of, if not her finest performance. A love story for the ages, too bad most ages will never see this film. If you can find this film, buy it. It is a keeper.

A very rare love story
This movie has been my all time favorite hard to find video. A story of an innocent youth (Tatum O'Neal) following her heart with no detour due to outside presures as the repectable aging man (Richard Burton) who recaptures his soul through her eyes which inspires him not only in his paintings, but in the heart and soul as well. A must see movie for all ages young and old alike.

Burton still a powerful force.
Sometimes you run across a movie that just moves you. I've been moved to get up and walk out on some movies, but others like Circle of Two moved me to tell my friends about it. I had the good fortune to see this movie just after it came out and I had a copy for a long time. To many viewings I guess. Burton and O'Neal play their parts very well. If you are a romantic, give it a glance, it will turn into a long look. ... Read more

Reviews (16)

The original Zorba music.
What a pleasure to finally be able to see this great movie again. I never find it in video stores. Melina Mercouri is fantastic. Jules Dassin is a real know-it-all American do gooder who makes me cringe. The dancing and music are so Greek, and I love Greek dancing. Great acting from the Greek cast. You could practice your Greek, though subtitles are provided. There is also plenty of English, if you aren't used to reading subtitles. Actually anyone who knows this film is accustomed to subtitles because you like lots of foreign films.

An oldie but goodie
Never on a Sunday uses the wonderful, bigger-than-life talents of Melina Mercouri to show us the secrets of good living in her native Greece. She an independent prostitute who beds only those she is drawn to, not just those who have the money. Director Jules Dassin plays Homer, the American who is determined to make a moral and honorable woman of her. Um, as you might guess, he's fighting a losing battle from the get-go; it's like a battle between joy and responsibility - which would the average sun-kissed Greek prostitute choose? Mercouri is marvelous as she evades his best intentions while at the same time showing him the finer things in life. And then there's the memorable bouzouki theme song, which is happiness itself.
Watch it with a lover and share a bowl of pasta putanesca.

An All Time Classic With A Great Score
When the Carol Burnett show was on television, she had a skit about foreign films where the stories were mistranslated. When she did the take off on NEVER ON SUNDAY, Burnett's Illia did all that Mercouri's Illia did in the movie, but the lines matched those of a young school teacher collecting money for supplies rather than those of a prostitute. The skit piqued my interest in this film and could hardly wait a while until I saw it on video, since I was probably only ten when the Carol Burnett skit first aired.

Perhaps what gives the movie its appeal is the fact that Illia, a gorgeous Greek prostitute is not the stereotype of a prostitute. She is not a miserable waif in need of salvation. She is a free spirit who cannot, or perhaps better stated, will not be tamed. The role is played masterfully by Melina Mercouri who won an award at Cannes for her performance. Homer, the American writer who wants her for himself is played by Jules Dassin. The film is set in a small Greek fishing village after World War II amend the locals give the film a great deal of flavor. There is plenty of Bouzouki music and Illia sings a rather seductive version of the well known theme song.

The DVD has a trailer for the original film. In some ways the commercial for this film is humorous since it has very little to do with the actual plot, but I suppose since this film was so risqué in its day, the trailer had to be vague.

Since the film is in black and white, it has a historic flair, but the tale itself is timeless, which makes this a true all time classic.

ARISTOPHANES ......
WOULD APPLAUD HEARTILY ... and IF he were around today, he'd probably write about her [pity though that in ancient times - she'd be played by a man !] Tough act this would be to follow since the Mercurial Mercouri holds the patent ~ and what a patent! A Greek slant on "My Fair lady" [Pygmalion} and perhaps just perhaps Miss Mercouri is perhaps too intellectual for this role? Nah! She's in splendid form! So's the rest of the talented cast. Great soundtrack too.

It's the old tale of the foreigner [a smitten American tourist] trying to 'reform' a local 'lady' who is quite multitalented in her own way - along the way quite a few noses are bent, glasses are broken [a great running gag in the taverna] and hearts are broken and mended.

Shocking for its period [1960] just THAT towel draped around her neck and no visible sign of anything else??

ENJOY this one - a rare find!

HAPPINESS IS.......
This is one of those rare b&w films that I think, wow, if it had been in color...but nevermind that. "Never On Sunday" is fine the way it is. A simple, intoxicating tale of an American writer named Homer (director Jules Dassin) who comes to the Greek isle of Piraeus to write and study the Greek culture. He is amazed at the laid back, carefree lifestyle he sees and the seemingly amoral ways of the local shipbuilders and fishermen. To them, drinking, partying and prostitution isn't bad---it's a fact of life, a necessity. They worship the local independent prostitute Illia (Melina Mercouri) who makes them all happy. She never sets prices and chooses only the ones she likes. She's as wonderful, exuberant and exotic as the Greek isles themselves. Homer cannot believe she's actually a (gasp) hooker and sets out to do the Pygmalian thing with her---educate her and "free" her from her lifestyle. But she is clearly happy with her life and sees nothing wrong with it. Homer has his job cut out for him. But the local bad guy Mr.No Face, who owns the local apartment row and overcharges the prostitutes who live there, wants Illia's business which she refuses to give. He cuts a deal with Homer---two weeks to educate her and get her out of business or else. But of course nothing goes exactly right. "Never On Sunday" is sexy, happy and romantic. The bouzouki music is infectious and won an Oscar in 1960 for film score. Everybody drinks ouzo and dances and sings and vies for Illia's favors. The location filmed cinematography is beautiful. The story is lyrical, like the music, and bittersweet. Dassin is wonderful as Homer, a ga-ga eyed intellectual naif with only the best intentions. But it's Mercouri as Illia who IS "Never on Sunday". She is spectacular as the earthy, wise, good-hearted earthmother/... who can teach intellectuals a thing or two about life. She knows the Greek Tragedies and can tell their stories at the drop of a hat---HER versions: "all these bad things happened and then everyone was happy and went to the seashore". But that's Illia and that's "Never On Sunday". A joyous, harmless slice of happiness you can watch again and again. The DVD print is crystal clear and sharp and the sound perfect for all the bouzouki music you'll be humming for days afterward. The spirit of this film is "ENJOY". So, please do. It's lovely. ... Read more

Reviews (4)

Glamour VS. the Nazis
This movie is amazing in the sense that the studio would make a movie regarding the Nazi occupation of Paris and glamourize it. Crawford wore beautiful frocks throughout the movie, even while running from the Germans. It was basically a vehicle for Crawford to run around and look beautiful. The pairing of Wayne and Crawford seems odd even today, yet somehow the movie holds one's attention. It is interesting to see how Hollywood ran a proganda machine during WWII. If you are a diehard Joan Crawford fan, as I am, you will want to see this movie, but don't expect too much. This is not nearly in the league of Mildred Pierce or Sudden Fear.

JOAN CRAWFORD TAKES ON THE NAZI OCCUPATION OF FRANCE...
Entertaining, though slightly absurd, World War II story. Rich French woman (Joan Crawford) is madly in love with and engaged to rich French industrialist (Philip Dorn). She is a self indulgent society woman, until the war ravages the France she knew. Now, with France under Nazi occupation, her magnificent mansion in Paris in the hands of the German comquerors, her fiancee seemingly in the thrall of the Nazis, she sees the light and undergoes a change. A fervent patriot, she rejects the Nazis and, in doing so, rejects her fiancee.

An injured American RAF pilot (John Wayne) accosts her on the streets of Paris one night and induces a surprised Joan Crawford to help him escape those whom he believes are following him. She does so, but it soon becomes paramount that he leave France. She turns for help to her by now estranged fiancee, whom she has spurned, because she perceived him as having collaborated with the enemy. To her surprise, he agrees to help her.

The pilot's departure does not go according to plan, however, and Joan discovers that things are not always what they seem. Though the viewer will probably realize what is going on before Joan does, this does not take away from the enjoyment of what is clearly a war propaganda film.

Philip Dorn is wonderful in the part of the rich French industrialist and Joan's fiancee. Joan is, as always, beautifully garbed in exquisite outfits and give an excellent performance. John Wayne is overshadowed by his co-stars and seems somewhat awkward in the part of the American RAF pilot. While the screenplay is somewhat unbelievable, it is an entertaining film, nonetheless. Joan Crawford fans and those who love classic films will surely enjoy it.

Joan Crawford in a WW2 love triangle with John Wayne (?)
"Reunion in France" is one of those films where Hollywood made an inane attempt to glamorize World War II, specifically in this case looking at the Fall of France. Joan Crawford stars as Michelle de la Becque, a model in love with Robert Cortot (Philip Dorn), who acts like he is working for the Nazis but is really sabotaging the war effort by producing defective weapons for the Germans. Then John Wayne shows up as RAF pilot Pat Talbot, shot down over France and thereby putting poor Michelle in an awkward love triangle. The main point of this film is not so much to celebrate the French Resistance movement as it is to give Joan the opportunity to wear a whole bunch of beautiful gowns. The original story is attributed to Ladislas Bus-Fekete, whose next film was "Heaven Can Wait," but this film with its insistance that it was the French elite who were behind the Resistance is pretty absurd, especially given the brutal reality of the Nazi occupation when "Reunion in France" was released. Crawford is fine, given the problems with the script, but pairing her with Wayne strikes pretty much everyone as very odd. This 1943 film was directed by Jules Dassin and produced by Joseph Mankiewicz, who should have known better.

Wayne and Crawford in wartorn France
Glossy, entertaining WWII era propaganda and the only time John Wayne and Joan Crawford appeared together in the same film. Not as good as CASABLANCA or MRS. MINIVER but still a must see for fans of films made about the war between the years 1939 and 1945. Keep an eye out for Natalie Schafer ("Mrs. Howell" from GILLIGAN'S ISLAND) as a pushy Nazi officer's wife and Ava Gardner as a salesgirl who says "Gutentag". ... Read more

Reviews (27)

MASTERPIECE
Jules Dassin does have a seat of choice in the gallery of Movie History. The movies he directed in Hollywood in the late forties are now classics and his courage under the Mc Carthy era demands our utmost respect. Exiled in France, he directed RIFIFI aka " Du Rififi Chez Les Hommes " in 1954 based on a Série Noire novel of Auguste le Breton. And it's simply one of the best films noirs ever made.

Jean Servais is perfect as a french Bogart marked by tuberculosis, Robert Hossein, in his first role, terrifying as a drug addict tougher than George Raft and Jules Dassin himself, in the role of an italian bad guy, very convincing. Add a wonderful singing act of Magali Noël, the french starlet of the sixties, the great Alexandre - The Children of Paradise - Trauner as art director and the 30 minutes anthology scene, without musical score nor dialogs, of the robbery and you have a movie you can't neglect if you are a true movie lover.

The copy presented in this Criterion DVD release is definitive and the 25 minutes interview with Jules Dassin a bonus feature very appreciated. There is also the choice between the french subtitled version and a dubbed version for the lazy ones. How can you still hesitate ! Go, buy and be happy.

A DVD zone your library.

Another Great Criterion Release
After something of a dry spell, Criterion has finally released a bunch of great DVDs this month. Their edition of "Rififi" - while probably not as well known as their mammoth "Spartacus" release - deserves a lot of praise. They've included an interview with the director, Jules Dassin (still alive at 90 years) and their remastered print has the stark clarity - and beauty - of the work they did on "The Third Man."

"Rififi" is almost the same caliber of "The Third Man." Its a crime story - its about a quartet of thieves who after pulling off a daring robbery (the robbery itself is an wonderfully extended silent sequence) and it has a lot of the "late-noir" ambience that the "Third Man" and "Touch of Evil" have. Jean Sevrais is fantastic as the ringleader although the film lacks the real dynamic characterizations that make "The Third Man" so compelling. Since "Rififi" has been made in so many incarnations - including "Reservoir Dogs" - its a bit predictable as well.

Still, "Rififi" is a wonderful film - an American noir (directed by an expatriate American living in France) that's been perfectly recast into its French surroundings. Buy, watch, and savour.

Rififi needs editing? Hardly.
Rififi needs editing? Hardly. Rififi needs nothing but bowing down to. Some college Joes from Collegeville need editing. The permanent kind. Can there honestly be a place in the world out there called "Collegeville"?

Needs Editing
I'm sure film school buffs, Tarrentino too, thought this movie great simply becaue it cost so little. Isn't that every film student's dream: make a movie for peanuts and get famous. This movie is the first heist flick and it is influential. The burglery is clever and without special effects, so I applaud the simplicity, but this film needs editing. It is too long. There's a half hour of baloney to remove to tighten this baby up. Jules Dassin should know better and he gets a lot of credit because he's on the Black List? You see, the Black List is the lightning rod for the Left, very emotional. Hey, if you're trying to destroy democracy and capitalism in the richest, most succesful country ever, am I supposed to send you roses? My favorite scene -- the kid crawling all over the convertable 54 Oldsmobile laughing his head off while Tony is bleeding to death. It makes no sense, but its so French New Wave.

Instead of
reading the re-hashes of the plot below (so many people still don't understand what "review" means), and the one person who dubbed it "Boring" (find another past time, OK?), check out the reviews that really talk about this film, and then treat yurself and buy it. YOu won't be disappointed. It's a true classic. ... Read more

Reviews (3)

Powerful, Professional, & Intelligent.
I saw "Dream of Passion" on its original release and have never forgotten the riveting and disturbing impressions it made upon me, nor the memorable performances of both Ellen Burstyn and Melina Mercouri as the murderess and the actress. The theme of appalling revenge for a husband's betrayal is as timeless as the beautiful Greek settings in which it is photographed, and creates a gripping tension. An unusual and powerfully acted film, which unfortunately I have never been able to watch again as I have not found it re-released and it appears to be unavailable except in US /Canadian format. I would be delighted if anyone has any ideas on how I could watch it here in Australia! Are there any gizmos which could make it work on my Aussie video player & telly?

Overwhelmed
I saw this film in a theatrical release and have never forgotten its power. This film is a story within a story, showing the effects of jealousy and rage taken to extremes. Melina Mecuri is an actress preparing a production of Medea and is working with a former lover who rejected her for another woman. As research for her role, she goes to visit in prison a woman (played marvelously by Ellen Bursten) who has actually killed her children in a revengeful, jealous rage against her unfaithful Greek husband. Her ordinariness, complete absence of regret and the power of her rage are a facinating combination. Melina, along with ourselves, becomes a horrified witness (in flashbacks) to the children's murder. The emotions evolked were so powerful that I and my companions were literally stunned speechless by this film.

"CULTURED CLASH"
Jules Dassin's brilliant vision of actress [and spouse] Melina Mercouri's journey to theatrical Hell and Back is a rarely seen masterpiece.

Premise? Mercouri is about to embark on a production of MEDEA and uses incarcerated Burstyn [American wife/Greek Husband] as inspiration. Spontaneous improvised moments - especially the conversation about Brando and the "real" [possibly autobiographical] moments from "Last Tango in Paris".

Memorable moments between the two women!

Recommended? Pasolini's classic version of "MEDEA" with Callas - also a rare find!

[Now, what happened to "PHAEDRA" ? With Melina Mercouri, Anthony Perkins and Raf Vallone - a brilliant modern adaptation, by Jules Dassin]. ... Read more

Amazon.com

Jules Dassin's brooding, brutal drama about a prison wound to thebreaking point by a sadistic captain of the guards is a classic film noir as wellas one of the greatest prison films ever made. Burt Lancaster (in only his third film but already commanding the screen like a pro) is the savvy prison veteran whose clashes with Hume Cronyn (the ambitious guard with a god complex) land him first in solitary then in the claustrophobic drain pipe, a muddy, airless work detail that slowly kills every man assigned to it. With the help of his cellmate buddies and former gangland boss Charles Bickford he hatches a plan to break out, but Cronyn has his own plans for the unbreakable prisoner. Dassin's oppressive prison is thick with atmosphere: cavernous buildings and halls that echo with the footsteps of inmates and the clanking of bars, overcrowded cells that seem to close in on the men, a busy machine shop where the film's most memorable scene takes place--the ruthless assassination of a stoolie in a pounding metal press. Cinematographer William Daniels, a master of Hollywood's soft-focus glamour, creates a harsh, hard-edged look for the film, softened only by looming shadows. A sense of doom hovers over everything, culminating in an explosive finale, but the barbaric, brutish violence hangs in the air long after the film is over. --Sean Axmaker ... Read more

Reviews (6)

Intense and fraught with fear
Burt Lancaster stars in this tough, grim noir-drenched prison flick, in which a sadistic prison guard (a young Hume Cronyn) manipulates tensions and weaknesses to produce an explosive situation. The film's liberal message butts up against its obligatory "crime never pays" ending; the convicts are sympathetic, but doomed from the word "go." A little stagey and lurid, but overall tense and suspenseful -- the ending is a real nail-biter. Recommended.

A Hammer
There's a feverish undercurrent to this prison film that occasionally erupts into outright delirium ( the prison break, the interrogation scene). As delivered by Director Jules Dassin and screenwriter Richard Brooks, the film's anti-fascist message is put in your face, not in your lap. Still it's exciting stuff, except for the draggy domestic scenes that are meant to humanize the cons, but instead disrupt the film's relentless pace and super-charged atmosphere. Burt Lancaster gives a career performance, while Hume Cronyn is surprisingly effective as the sly Nazi-like warden. There are many notables in the supporting cast, especially Art Smith as the humane but feckless doctor and Sir Lancelot as his calypso assistant. I suspect there's a provocative parable lurking somewhere in the subtext, something about the inability of liberals (the old warden and the doc) to contain the brute impulse it takes to keep people in prison. This is revealed at film's end when the camera dollys back to reveal the doc behind office bars and speaking toward the camera, then we know the movie is about more than a bunch of desperate convicts breaking through prison walls. Despite its many flaws, this stark melodrama keeps coming at you with the mesmerizing force of an uplifted hammer and should not be missed.

What happened with the closed caption subtitles?
Love this movie. A brilliant film by master Dassin! But this DVD was a gift for a deaf friend! Yeah... I know... I didn't read the cover guidelines. Anyway, I think one of the best things of DVD are the multiple languages or caption subtitles. Image must do something.

A Dark Look At Prison Life
Brute Force is a surprisingly tough look at life in a prison, given the time when it was made. Burt Lancaster stars as an inmate who plans his escape to be with his critically ill girlfriend, Ann Blyth. He enlists the help of his cellmates and an older, experienced inmate, Charles Bickford. Standing in their way is a brutal, ambitious guard played very well by Hume Cronyn. There are a number of great scenes in the movie, including Cronyn's beating of an inmate to the sound of classical music, and the death in a giant press of an inmate that informed. The performances are good, the film moves at an excellent pace, and the ending surprised me somewhat, again given the time that it was made. Brute Force is a very good movie.

Raining Force!
The film opens in the pouring rain at a prison. The proceedings are advanced by an electric cast including Lancaster, Bickford, Cronin, John Hoyt, Whit Bissell, Art Smith and Howard Duff. In the finale, when Lancaster learns who the pidgeon really is...the look on his face will send chills up your spine...No dialogue is needed. Bleak and almost surreal! ... Read more

Reviews (3)

Powerful, Professional, & Intelligent.
I saw "Dream of Passion" on its original release and have never forgotten the riveting and disturbing impressions it made upon me, nor the memorable performances of both Ellen Burstyn and Melina Mercouri as the murderess and the actress. The theme of appalling revenge for a husband's betrayal is as timeless as the beautiful Greek settings in which it is photographed, and creates a gripping tension. An unusual and powerfully acted film, which unfortunately I have never been able to watch again as I have not found it re-released and it appears to be unavailable except in US /Canadian format. I would be delighted if anyone has any ideas on how I could watch it here in Australia! Are there any gizmos which could make it work on my Aussie video player & telly?

Overwhelmed
I saw this film in a theatrical release and have never forgotten its power. This film is a story within a story, showing the effects of jealousy and rage taken to extremes. Melina Mecuri is an actress preparing a production of Medea and is working with a former lover who rejected her for another woman. As research for her role, she goes to visit in prison a woman (played marvelously by Ellen Bursten) who has actually killed her children in a revengeful, jealous rage against her unfaithful Greek husband. Her ordinariness, complete absence of regret and the power of her rage are a facinating combination. Melina, along with ourselves, becomes a horrified witness (in flashbacks) to the children's murder. The emotions evolked were so powerful that I and my companions were literally stunned speechless by this film.

"CULTURED CLASH"
Jules Dassin's brilliant vision of actress [and spouse] Melina Mercouri's journey to theatrical Hell and Back is a rarely seen masterpiece.

Premise? Mercouri is about to embark on a production of MEDEA and uses incarcerated Burstyn [American wife/Greek Husband] as inspiration. Spontaneous improvised moments - especially the conversation about Brando and the "real" [possibly autobiographical] moments from "Last Tango in Paris".

Memorable moments between the two women!

Recommended? Pasolini's classic version of "MEDEA" with Callas - also a rare find!

[Now, what happened to "PHAEDRA" ? With Melina Mercouri, Anthony Perkins and Raf Vallone - a brilliant modern adaptation, by Jules Dassin]. ... Read more

Reviews (2)

Gina Lollobrigida Rules!!
Gina Lollobrigida rules in this movie about life and love in a small italian fishing village.It's a must see classic!!

Strange fish of a movie
What a wonderful cast of actors (good grief: even the son of the director, Joe Dassin , later known as a very popular singer in France, has a small part..)and what strange going-ons in this plot involving the games of power in a (otherwise lovely and peaceful) Italian fisherman's village. It is corny at time , gripping at others,with beautiful camera shots and a never flagging smoldering action, as the heat builds on in the village as well as on the screen.But why did AMAZON list this movie as being Italian spoken, when the version I received is actually in French? ... Read more

Reviews (2)

Gina Lollobrigida Rules!!
Gina Lollobrigida rules in this movie about life and love in a small italian fishing village.It's a must see classic!!

Strange fish of a movie
What a wonderful cast of actors (good grief: even the son of the director, Joe Dassin , later known as a very popular singer in France, has a small part..)and what strange going-ons in this plot involving the games of power in a (otherwise lovely and peaceful) Italian fisherman's village. It is corny at time , gripping at others,with beautiful camera shots and a never flagging smoldering action, as the heat builds on in the village as well as on the screen.But why did AMAZON list this movie as being Italian spoken, when the version I received is actually in French? ... Read more

Reviews (2)

Gina Lollobrigida Rules!!
Gina Lollobrigida rules in this movie about life and love in a small italian fishing village.It's a must see classic!!

Strange fish of a movie
What a wonderful cast of actors (good grief: even the son of the director, Joe Dassin , later known as a very popular singer in France, has a small part..)and what strange going-ons in this plot involving the games of power in a (otherwise lovely and peaceful) Italian fisherman's village. It is corny at time , gripping at others,with beautiful camera shots and a never flagging smoldering action, as the heat builds on in the village as well as on the screen.But why did AMAZON list this movie as being Italian spoken, when the version I received is actually in French? ... Read more