Reviews (6)

Pipe Down, I'm Taking A Nap!
Ladies, Ladies, PLEASE!! Please stop this bickering. My fellow reviewer, "Shadow Lady" (see below), is about ready to explode a gasket with her disdain and contempt for the lovely Miss Garson. "Shadow" paints much too bleek a picture while her lowly peer, Little Miss Proper ("Princess Incognita") has sugar coated Greer's character into a sticky little marshmellow of misinformation. The definitive opinion (my own, of course) is the important one, and is somewhere in between.

First of all, this movie has a disturbing pagan slant that could be quite offensive to devout religious types like myself. Surprisingly frequent references to "witchhunting" and the Dark Ages. Basic storyline: A steel tycoon's son (Gregory the "impeccable peckerhead" Peck) loves the family maid who just happens to be an Irish steelworker's daughter! And WOW, the setting is even "Victorian" Pittsburgh, PA in the late 1800's!

Ranting and raving is the predominant rule of thumb as Greer's Daddy (a crusty old codger clucking away in his wheel chair) throws one hissy fit after another. "I'm reachin' into high heaven to put the curse on this marriage" (it's a bit complicated, but he's madder than a hornet's nest that the steel workers' demand of a 5 cent per hour raise has fallen upon deaf ears)! Peck's rich and reasonable father seems hellbent on resolving the conflict until one day (in a peculiar and nutty twist) he is gunned down in broad daylight. All he said was, "We Scotts cannot live without belching chimney's anymore than you can." For crying out loud. His subsequent and imminent demise was quite unexpected, I must say.

The film alternates between a hopelessly naive romance and nasty hillbilly feuding. An occasional dose of sharp dialogue is overshadowed by the cantankerous. Or as one hapless victim proclaimed, "For once in your life, will you just keep your mouth shut!" Oh shucks, another predictable cliche! Why, there's even the occasional "shuffling Negro" ("That's right, Sir!") which may be a bit perturbing to some. Fortunately, the first half of this film has its moments of brilliance but it flickers, and then eventually fades.

From book to movie.... Garson portrayal is perfect!
Contrary to what one reviewer thought, Greer Garson played the character to perfection. She was every bit the character that Davenport created in her book, on which this film is based. And "annoying, uppity and full of herself" is exactly the opposite of the role that Garson portrays. See the movie and you'll see. As for chemistry in the film...it's beautiful. I couldn't imagine any other leads other than Peck and Garson. I totally recommend the book too! After you see the movie, you'll want to see what happens next. And so much more happens!

SOMEBODY SLAP THIS GARSON CHICK!
There is no chemistry to speak of between Garson and Peck in this boring, snoozefest of a movie. The idea of them being in love is absurd and they should never have been cast together romantically. What was Hollywood thinking? Every character is a walking cliche and the plot is entirely predictable. Predictability can be good, but in this case it's just another reason to dislike it strongly. Garson's character is annoying, uppity and full of herself (what a stretch *snarkle*). She's just one of those holier-than-thou type of people who think they're better than everyone else and I wanted to slap her around 'til I knocked her delusions of grandeur out of her. I'm sure this is not how her character was supposed to come off, but that was the impression that I got. How could anyone want her to be happy and get her man? No guy as hot as Paul (GP's character) deserves such an awful woman as his wife! The only thing that saved this movie from being a total waste of time was Gregory Peck. Besides being a young, handsome gentleman in this film, he gave a great performance and his effort to save a disaster of a movie deserves two stars, and know that both stars are for him and no other part of the movie. And people actually gave this 5 stars? Oh boy!

I absolutely loved this film!
This was one of those films that I found on TV about midway through, and was instantly hooked. After that, I just HAD to see the whole thing, so I bought the video, a box of kleenex, and then the book.

This film is wonderful...One of my ultimate favorites! This was the first time I had seen Greer Garson and I thought she was wonderful. Gregory Peck was perfect, of course! He a rich steelmill owners' son, she a poor Irish housemaid. They fall in love, but can they ever be together?

I absolutely love the ending to this film. I can't tell you...you have to see it, but that's what prompted me to buy the book. I wanted to see what else happens! I confess that I prefer the movie adaptation over the book, but the movie only covers about a third of what the book has to tell. Go out and get both...you won't be sorry!

Very moving.
We loved this movie. Greer Garson is so perfect and Gregory Peck, as always, is a perfect gentleman. Humorous and also very moving. It keeps you sitting on the edge of your seat right until the end - make sure you have a box of kleenex handy. ... Read more

Reviews (4)

Gable & Harlow Take To The "Seas" With Choppy Outcome
1935 was the year Clark Gable was out to sea. The oscar winning film "Mutiny on the Bounty" was also released and boy does it make this one look pale. Though I suppose it's not fair to compare them, since, they are completely different movies.

"China Seas" was directed by Tay Garnett (director of many TV shows and the 1946 film version of "The Postman Always Rings Twice")and has an incrediable cast consisting of Gable, Jean Harlow, Wallace Berry, Rosalind Russell (at first I didn't even recognize her), and one of my favorites Robert Benchley. But despite the presence of a talented cast "China Seas" never quite takes sail. The movie has Gable playing Capt. Alan Gaskell and a voyage being made from Hong Kong to Singapore, aboard the ship is 100 pounds of bullion, but, unknown to Gable, someone on the ship plans to steal it. Wallace Berry plans a friend Jamesy MacRdie who has a crush on Gable's girl (?) Dolly Portland (AKA "China Doll) played by Jean Harlow. To further complicate things we have an old flame of Gable's, Sybill Barclay (Rosalind Russell) and a writer looking for material for his new book, but never has time to write a word, since he's constantly seeking inspiration from the old bottle (Robert Benchley).

On paper "China Seas" seems like a good movie. And if your a fan of classic films from Hollywood's "Golden Era" you would think the cast might pull it off, but, the screenplay has too many problems, which was based on a novel written by Crosbie Garstin. The movie never clearly identifies the relationship between Gable and Harlow or the past relationship between Gable and Russell. We are never quite sure where everyone stands. Also, as much as I enjoy watching Benchley, to be honest he serve no purpose in this movie. His scenes make a few comedis attempts but seem out of place in this movie. His character was just not needed. And if it appears in the novel, I'm guessing it was written differently.

Despite the all-star cast, it's Lewis Stone (probably best known for appearing in the Andy Hardy series and films such as "Grand Hotel") who comes out looking best. He just seems to blend in with the scenery. Granted most people will keep their eyes on Gable and Harlow, but Stone's performance is far more subtle. It's a co-starring role but there were times I had sympathy for his character and other times I hated him. It was a very good role for him.

Most people who watch this movie will enjoy it. Since it's not exactly a popular film, only those who appreciate older films will be watching. Fun light movie, but not what it could have been.

Bottom-line: Entertaining adventure on the high seas with some good performances, Stone's being the best. Has a weak script but older fans will look past it and have fun watching it.

A nice romance-adventure flick
MY RATING- 7.1

A fairly entertaining romantic adventure with Gable having to deal with the dumb blonde Jean Harlow. She's very sexy here, and this mov helped to create the myth. Also starring Wallace Beery as the bad guy, Rosalind Russel as the old Gable's sweetheart, and a nice little performance by Lewis Stone.
The mov contains some crude and unecessary violence like in the scene some colossal machines crush poor chinese fellows.

Clark Gable sails the "China Seas" and fights Malay Pirates
Clark Gable turns in a solid performance as Captain Alan Gaskell, an English skipper bound for Hong Kong with a valuable cargo in "China Seas," a 1935 M-G-M film directed by Tay Garnett ("The Postman Always Rings Twice." Gaskell is a bit peeved because he finds his mistress, China Doll (Jean Harlow) on board, especially since his fiance Sybil Barclay (Rosalind Russell) is also on the ship. A heartbroken China Doll becomes involved with shifty trader James MacArdle (Wallace Beery) and thinks he is going to try to steal the gold the Kin Lung is carrying. But when Gaskell spurns her, China Doll throws in her lot with MacArdle and his Malay pirate friends. Suddenly "China Seas" is a pirate story, and a pretty good one at that. Gable might be just the captain of a tramp steamer, but you know full well he is not going to let a bunch of scurvy pirates steal his cargo, even when he is tortured with the fiendish "Malay Boot." Lewis Stone and C. Aubrey Smith stand out in the supporting cast, which also features Robert Benchley, Donald Meek and Akim Tamiroff. "China Seas" is an above average action flick, even with the rather standard romantic triangle thrown into the mix. I have a bit of trouble thinking of platinum blonde Jean Harlow as someone named "China Doll," but this is Gable's film and he delivers.

A dream cast in a film paced like a rocket.
One of the most entertaining films ever made, with MGM throwing in everything but the kitchen sink and all the elements working beautifully. God Almighty couldn't have concocted a more exquisitely perfect cast. Wallace Beery, the most forceful and fascinating actor of his day, plays a villain who covets Jean Harlow and tortures hero Clark Gable, who is at his absolute peak as a roguish sea captain and even more fun to watch than he was later in "Gone With the Wind," if that's possible. Sensational humorist Robert Benchley, grandfather of the author of "Jaws," is present for comic relief and his character is reeling drunk throughout the movie, which is refreshing to see when viewed from the standpoint of today's comparatively repressive attitude toward alcohol. Rosalind Russell and Hattie McDaniel are also aboard the storm-tossed ship. This one gallops, with a literate and amusing script and lustrous, shimmering photography, and performances to savor from the strongest screen actors ever. A severely underrated classic and not to be missed. Be sure to watch it only in its original glowing black-and-white and avoid the aesthetically inferior colorized version. For whatever reasons, we no longer have actors as entertaining as Beery and Gable. This movie is a phenomenal treat. ... Read more

Reviews (4)

Classy And Spirited
This Film Wasn't As Bad AS I Thought It Would BE, Greer Garson Is Good, Walter Pidgeon Is Somewhat Boring, Edward Arnold Is Not As Good As I Thought He Would Be, Gladys Cooper Is Mediocre, Agnes Moorehead Is Great, Frances Rafferty Was So Good In This Film, And Tom Drake Had Such A Short Role Though I Love Him And His Acting. Perfect Film For Anybody Whom Is Interested With Any Of These People!

Greer Garson and Walter Pidgeon together again
"Mrs. Parkington" was MGM's most expensive film produced in 1944 and indeed at this time Greer Garson and Walter Pidgeon warranted the lavish expenditure as they were the most popular couple in films after their smashing sucesses in "Blossoms In The Dust", "Madame Curie", and of course the unforgettable "Mrs Miniver". Here we see Greer Garson playing another "Mrs" however Susie Parkington is very different to the stoic Mrs Miniver of the 1942 film.

Greer Garson was at first very reluctant to take on such an ambitious period piece again so soon after her involvement in the above mentioned films. She was desperate to try a comic role where she could show off her comedy timing learnt in her years of theatre work in London. Louis B. Mayer however saw her as the refined ladylike character of period dramas or sentimental contemporary pieces like "Mrs. Miniver". Indeed his judgement was spot on here as these roles suited Greer Garson to a tee despite her relutance to play them. "Mrs. Parkington" adapted from the novel by Louis Bromfeld of the previous year, contains a sprawling story set over a long period of time and sees Garson age from a young girl who helps her mother run a boarding house in a mining town to being a Grand Dowager of over eighty presiding over the financial and moral decay of her sprawling offspring. The story begins on Christmas Eve where the eighty seven year old widowed Susie Parkington is confronted by a family crisis when her grandson Amory Stilham (Edward Arnold) is in danger of being convicted for using funds illegally and is threatened with a jail sentence. During this evening Susie reflects on her whole life and we are taken back to the time when she first met her husband Maj. Gus Parkington and how her life took its upwardly mobile direction to the heights of New York wealth and success. Along the way we are treated to another beautiful acting experience courtesy of Greer Garson and Walter Pidgeon. The screen chemistry here is wonderful to behold but the characters they are playing here are very different to their work as the Minivers. Walter Pidgeon's character in particular is out of a much harder mould than his normally reserved Gentlemenly persona. Not the devoted husband here he is a bit of a scoundrel with a roving eye and a temper. The scene where the Parkington's invite all of New York society to a lavish dinner party and no one turns up is quite disturbing with Maj. Parkington getting all of the staff to join in on the feast in his fury. Greer Garson had never had to age so much in any of her previous films and while the makeup is commendable she really is more convincing as the younger Susie who is in awe of Gus's lifestyle and sophisticated friends. Nevertheless in the scenes of the present on Christmas Eve she lends a commanding presence in the family scenes.

"Mrs. Parkington" supplies a wonderful supporting cast, first and foremost the gifted Agnes Moorehead plays Susie's best friend and support Baroness Aspasia Conti who also happens to be an old beau of Gus. Moorehead is superb as the world weary but kind hearted support for Susie and she received an Academy Award nomination for his role. Edward Arnold shines in the role of the good for nothing Amory and Gladys Cooper and Frances Rafferty round out the family cast as the vicious and selfishly decadent members of Susie's clan. Veteran character actor Cecil Kellaway has a small but memorable role as the Prince of Wales who Susie meets but fails to recognise in a very comic scene at a country hunt when she has come to England to "reclaim" her straying husband.

Being MGM's biggest production that year inevitably the film boasts superb production values. Cedric Gibbons excels yet again in his interior design with the Parkington mansion being like something out of this world. The film displays beautiful black and white photography, costumes that are lavish but also historically accurate and an overall polish to be expected from MGM in its prime. Considering the wartime restrictions during this it is amazing how lavish this film was however costs were cut in nonobvious ways one instance being at the famous dinner party where all the displayed food on the tables was in actual fact cardboard cutouts!!

"Mrs Parkington" is yet another in the long line of Garson/Pidgeon accomplishments that never fail to entertain audiences. Like the Powell/Loy, Gable/Crawford teamings there is a special magic between them that made their work together in whatever roles so special. Here is no exception and for a story dealing with family turmoil, greed and regret it cannot be bettered. Highly recommended viewing.

You gotta give this 5 stars!
This lengthy and not overlong? You'll find this epic entertaining throughout. My favorite moment is when Walter Pidgen shows Garson that fabulous mansion telling her it belongs to a friend of his, when in reality It was a gift for her! In my opinion, the best "married" couple in the movies. Don't miss this.

THE ORIGINAL "MISS ELLIE"?
"MRS. PARKINGTON," the MGM film adaptation of the 1943 Louis Bromfeld novel of the same name is one of Greer Garson's better films. The story unfolds, in flashback, as the elderly Mrs. Parkington reminisces on Christmas Eve, about her life, love, family, and future. It's amazing how MGM could edit a multi-generational epic into 2 hours without diminishing the plot to a synopsis. Imagine squeezing the entire 14 seasons of the TV series "DALLAS" into a 2-hour film, as recalled by Miss Ellie on a Christmas Eve, and you pretty much have MGM's "Mrs. Parkington." Of course, with Greer Garson being the biggest box office draw of the 1940's, and Louis B. Mayer's prize star, you can expect the grand MGM treatment (exquisite black and white cinematography, period costume design, exterior and interior set design, makeup, crystal chandeliers, statuary, antiques, French-stripe wallpaper, "the whole nine yards," as it were...). But the plot, starting in 19th-century Nevada, ending in 20th-century Manhattan, is the core of the film. The storyline runs the epic trail of hardship, pain, struggle, success, reflection, dilemma, and ultimate grand choice which will determine the future. It's all there. It's just more fun to watch when glossed over in the signature MGM manner. Greer Garson and Walter Pidgeon once again make for one of the better leading screen "couples" of film's "golden era," right up there with couples like "Crawford and Gable," or "Tracy and Hepburn." In the end, Mrs. Parkington proves to be the "iron fist in the velvet glove." Watching her life will show the audience how life experience evolved her to such inner strength and wisdom, as it does with (hopefully) most people. Due to the story, "MRS. PARKINGTON" is a great film for Christmas Eve....or any eve, for that matter.... ... Read more

Reviews (12)

CLASSIC FILM NOIR
Taken from the once-popular novel by James M. Cain, this story is steeped in repressed sexuality, involving a bizarre love triangle among two young lovers and an elderly husband played by Kellaway. Essentially, this film is more interesting for the visual and physical tension between Turner and Garfield than for any other single element. Scenes which stand out both visually and dramatically include the murder sequence in which the young lovers try to electrocute the old man and, of course, the famed scene in the car where Garfield strikes Kellaway with a whiskey bottle. Lana is cool and calculating as the frustrated young wife of the old coot and she made quite a sensation looking ravishing in her all-white wardrobe (notice how she contrasts with Garfield's dark, brooding look). This film was an important step in Turner's film career and one can see what all the fuss was about when seeing her in this. Garfield is natural and excellent as the young tough drifter. Hume Cronyn and Leon Ames score as the mercenary lawyers, however the script could have been a bit sharper at times (it should have been more similar to that of THE BIG SLEEP or THE MALTESE FALCON.

Super Sizzle
John Garfield and Lana Turner truly sizzle in this super-tough, ultra-dark film noir of a faithless wife who coaxes a lover into a murderous plot against her likable husband. Garfield offers a typically expert performance, while Turner--who is not usually noted for her dramatic talents--literally explodes in the sex-bomb role of the sultry but cold-hearted Cora. One of Hollywood's finest (if often overlooked) films of the 1940s, adapted in full-force from the James M. Cain novel. Hot!

LUVLUVLUVLUV this movie!!!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

LUVLUVLUVLUV this movie!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

Talky version of Cain's first novel
The best thing about this rather vapid 1946 production of the James M. Cain pulp novel/turned literature is Lana Turner as Cora, but not for her acting, which was ordinary, but because she looked so good. Director Tay Garnett had her in stunning, shapely white dresses, pants and uni's that showed off her figure, complemented by a platinum hairdo that in glorious black and white was so intense it was almost colorful. (People on the set may have needed to wear shades.) After she returns from her mother's funeral, Garnett has her in the blackest black from a black hat to her black shoes--heels, I should emphasize, since she was almost always in heels in the movie, even returning from the beach or crawling up a canyon in the Santa Monica Mountains, she was in heels.

John Garfield, who plays Frank Chambers as though wandering through the role (which is not entirely inappropriate), is sympathetic and has the kind of raw animal appeal that we would expect to see in Cain's depression-era antihero. But he too was not out to win any acting awards. Cecil Kellaway, who plays Nick (in this case a "Nick Smith," not the Greek immigrant Nick Papadakis from the novel) does the best acting job as he brings a bit of the delusive psychology of an older man with a beautiful young wife to life when he announces that he selling the café and moving to the backwoods of Canada so Cora can take care of him and his invalid sister! This bit of senile daydreaming was not in the novel; indeed a lot of what transpired in this self-conscious, misconstructed flick was not in the novel, including a sappy post-ending in which the title is "explained." I won't go into the explanation except to say it wasn't convincing, but I can understand why they tacked it on since nowhere else (that I know of) is the title explained. Cain's original, and appropriate title was, "Bar-B-Que." See my review of the novel at Amazon.com for some speculation on how they came up with the rather magical title.

A better rendition of the Postman is the 1981 production starring Jack Nicholson and Jessica Lange. It too is no masterpiece, but it is both truer to the novel and less talky. A true to the spirit of the novel adaptation would require a terse, stream-lined directorial style with an emphasis on blind animal passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it. ... Read more

Reviews (5)

South Seas Sinners
Marlene Dietrich stars as Bijou, a South Seas singer who keeps getting deported from different islands because her allure drives men to fight for her attention. As she moves from place to place, she is accompanied by Broderick Crawford and Mischa Auer. On one island, she meets and falls in love with Navy lieutenant John Wayne. He falls for her as well, but her reputation makes her less than desirable company for those around him. In the end, somebody must make a sacrifice. Director Tay Garnett keeps the film moving along with plenty of action, stunning shots of Dietrich, and lots of South Seas atmosphere. The over-the-top brawl at the end is the film's highlight. Wayne, in one of his early major film appearances, does little more than look earnest, while Dietrich is as exotic as usual. It's not a great film, but it is entertaining.

marvelous marlene!
i really didn't expect much when i first watched this movie. As many Dietrich fans will attest, Miss Dietrich is normally by far the best part of many of her movies. This one, however, is an exception. All parts are played by able actors, and the story itself is quite good. John Wayne is good in his role, even if he really doesn't have to stretch much in the role. Miss Dietrich offers one of her best, yet subtle, presentations. Her Bijou is pert, tart, flirty, romantic, and finally resigned to her fate. This movie has developed into one of my favorite oldies. Perhaps it's not Gone With the Wind or Wizard of Oz, but it's still a very good movie, with many fine points to recommend it.

DIETRICH AND THE DUKE
In this first of three movies Marlene made with Wayne, we find the setting being the Seven Sinners caberet in the South Seas. Wayne's part was originally meant for Tyrone Power, but it was discovered that Wayne and Dietrich had a certain (if a little eclectic) chemistry together and this made their love scenes believably passionate. Marlene is marvelous in her role as Bijou as she parodies every South Seas island siren ever known to the hilt for the screen, and John is a fine rugged counterpart to Dietrich's sultry image. Dietrich sings three songs and her throaty voice caresses her numbers with her own brand on smoldering sensuality. The supporting cast is generally good: Broderick Crawford, Oscar Homolka, Albert Dekker, Billy Gilbert and Anna Lee.

A very good film
Marlene Dietrich plays the sexy saloon girl Bijou Blanche in SEVEN SINNERS, which, in my opinion, is one of her finest films.

She plays opposite John Wayne and Anna Lee, in a story of love, revenge and retribution, and she sizzles with the songs 'I've Been In Love Before' and 'The Man's In The Navy', co-written by Frederick Hollander, who also co-wrote songs for her in THE BLUE ANGEL and A FOREIGN AFFAIR.

Bijou gets deported off more islands than she can get on, mainly through the way she inflames men to start riots, and she breaks more hearts than she does her nails.

She soon falls in love with Lt. Brent (John Wayne) and begins a torrid love affair, and when they are torn apart by a former lover of Bijou, she discovers that she will do anything for the man she loves.

Available seperately or in a box set with PITTSBURGH and GOLDEN EARRINGS.

Entertaining.
I enjoyed this film, especially when Marlene gets to really act. That part comes near the end, when she gets a bit shook up. John Wayne seems rather awed in Marlene's presence (affair, maybe?), but is perfect as a Navy man. My favorite parts are Marlene's song "The Man's in the Navy", which she sings dressed in a Navy uniform, and the part where her character (Bijou. What a name.) is embarrassing the Navy guys with their stolen property. Broderick Crawford and Mischa Auer are in their element, also. The fight near the end is worth the price of the video. ... Read more

Amazon.com essential video

A half-century later, Mark Twain's yarn still doesn't seem like an ideal vehicle for Bing Crosby, and Jimmy Van Heusen and Johnny Burke certainly wrote better songs than those offered up here. Still, this droll 1949 musical, like its star, has an easygoing charm and affability that'll win over young and old alike. Der Bingle plays Hank, who wakes up in A.D. 528, rousted by palooka-like Sir Sagramore (William Bendix).

At Camelot, not even Hank's impending doom--not to mention the temporal disconnect--can stop him from making eyes at Alisande (Rhonda Fleming). Codgerly, chronically allergic Arthur (Cedric Hardwicke) is impressed with Hank's hubris and dubs him Sir Boss. Problems arise when Hank woos Alisande to Sir Lancelot's ire, while Merlin (Murvyn Vye) has it in for virtually everyone.

A too-convenient deus ex machina and truncated finale mute the happy ending. The story and the performances are understated amid the pomp of the lavish production values (Ray Rennahan's vivid camerawork handily takes it all in), but in these days of virulently overheated storytelling (even in family films), the casual nature of the work here seems a distinct virtue. --David Kronke ... Read more

Reviews (5)

a great and enchanting film
This film, "A Connecticut Yankee in King Arthur's Court, is so very romantic and charming. It is a great escape movie into a wonderful land of Camelot, that makes oyu bleieve it could really be. Rhonda Fleming and BIng Crosby are both wonderful in it and a very romantic and beautiful couple. The song "Once and for Always," is one of th elovliest an dmost heartfelt songs ever. It's a must see film for the entire family, an done never tires of watching it. Each time of viewing it is like the first time. Bing has some catchy tunes and is great as Hank the machanic. It has a charm and old fashion romance that is so often lacking in today's films.

A great Movie adaptation
The adaptation of Mark Twain's book "A Connecticut Yankee in King Arthur's Court" to the screen left in the fun parts of the story and took out all the point of the book. The book contains many lessons and thoughts that did not make it into the movie. However the movie is fun to watch and can be quite funny.

An auto mechanic and inventor Hank (Bing Crosby) is transported back to A.D. 528 with his almanac. After realizing where he is, he uses his wits and knowledge of the future to survive. He has many adventures. He helps a King (Cedric Hardwicke) to understand his people, overcomes a tyrant and finds a loyal friend (William Bendix). Naturally being Bing there is music and incantations to blot out the sun. Eventually there is true love Alisande (Rhonda Fleming). The movie leaves the questions: Will Hank settle down with his love or will he be dispatched with one of his own inventions?

Yankee Stay Here
Amidst the current state of world affairs, which usually concern the Mideast, this is a couple hours of light entertainment. Bing Crosby provides romance, song, and humor. William Bendix in a support role adds some charm and humor as well. This film has done well over the years because of the good mix of characters and the excellent sets and costumes. It is well worth a look. I pre-ordered it on DVD to be delivered 3/4/03.

MARK TWAIN'S CLASSIC IN TECHNICOLOR
Twain's grand fantasy is pleasing from every angle in this lavishly mounted production rich in color and songs. Crosby, at the height of his immense popularity is the Connecticut blacksmith knocked unconscious in a wild rainstrorm and sent into another world, waking up in King Arthur's Camelot.The quality of this Crosby version far outstrips previous ones with it's gorgeous color and imaginitive sets. Rhonda Fleming is stunning as the titian haired Alisande. The direction by Tay Garnett is excellent and the film was very popular among the public upon it's release in 1949. A highly recommended family film.

If there's one ounce of romance in your soul...
...you should see this movie. In today's "all too real world", this movie provides a welcome break...a return to "the way things used to be"...or the way you'de like them to be. It's a fairy tale (unfortunately!), so you'll have to "put your mind on hold"...but do it. Think back to lost love, future love...current love. And wish that life was "simple" again. This is a movie for lovers and romantics...or folks that want to be. You'll hum Bing's main theme song to yourself for days...and never forget it. ... Read more

Reviews (3)

"A Toast to Martha Scott"
I have seen this movie only once, as a young child.I have much respect for a movie that touched my heart. If I can remember a movie;such as this one for many years and haven't seen it again. You know somehow through my life growing up, now as an adult, I feel somehow through the years the memories of Cheers for Miss Bishop , will never go away, I'd love to find this movie again and hopefully have one for myself. Truthfully, Martha Scott did a remarkably superb job in this magnificent film as Miss Ella Bishop. I raise my hat off to her and toast a lady who did very well in her field.

A Great, Heartwarming Story
"Cheers For Miss Bishop" is one of those undiscovered classics that have virtually been ignored. This film has much of the sentimental flavor of Frank Capra's "It's A Wonderful Life"--which was also ignored for decades before another generation came along and "discovered" it.Martha Scott's portrayal of Miss Ella Bishop, the spinster college professor who's eternally unlucky at love, is a thoroughly convincing performance. She is surrounded by a great cast of character actors. The ending is a bit schmaltsy, but satisfying nonetheless. See this film and return back to a time when you could count on having friends for a lifetime.

Martha Scott's best performance as dedicated teacher.
The film belongs to Martha Scott who gives her best screen performance as Miss Bishop, a dedicated teacher, whose personal life is constantly being put on hold as she ministers to the needs of her pupils. Scott ages from a schoolgirl to an octogenarian and does a lovely, memorable job. The sentimental score is a plus. Oscar nom for Original Score. ... Read more

Reviews (4)

Film noir comes to suburbia in this suspenseful gem
Cause For Alarm (1951) is something of an oddity in the film noir genre, bringing its gritty sense of increasing tension and suspense out of the shadows of the night into the bright, daytime light of suburbia. Only a talented actress could make this story work, and Loretta Young shines in the role of the distraught wife of a paranoid, dying husband. Her character Ellen Jones seems to be quite the devoted wife caring selflessly for her bedridden husband George (Barry Sullivan), and a flashback to the couple's first meeting reveals a husband madly in love with her from the moment he laid eyes on her. This happy-go-lucky fellow is a far cry from the man we meet upstairs suffering from a mysterious heart ailment, for he has come to believe that his wife and best friend/doctor, Ranney Grahame (Bruce Cowling), are plotting to kill him so that they can be together. He is so convinced of this that he sends a thoroughly incriminating letter to the district attorney before confronting Ellen with his charges. He tells Ellen all about the letter that she herself delivered into the hands of the postman but collapses before he is able to exact his mad revenge upon her personally. Ellen's in a real spot; the man she loves has just died trying to kill her, and the terrible letter already on its way to the D.A. will make everyone think she killed him. What she must do, of course, is get that letter back before it reaches its destination. What follows is a frustrating, maddening, increasingly suspenseful paper chase, with all manner of obstacles placed in Ellen's way. Trying to get a letter back from the postman may not sound exciting, but Cause For Alarm delivers an almost frenetically suspenseful plot that leaves one wondering what will happen at the very end. Not only did I wonder if she would get the letter back in time, I wondered if there was more to George's paranoid suspicions than there originally seemed, as Ellen climbs up to the very pinnacle of panic, enmeshing herself in an increasingly entangling web of lies and deceit that stand to bring upon herself the very suspicions that she seeks to avoid. Cause For Alarm really and truly kept me in growing suspense from start to finish, culminating in a perfectly effective and satisfying conclusion.

A very entertaining film.
I really like this film. It's very entertaining, and makes the viewer wonder what will happen next. Loretta Young is great in the role of the young housewife. Her husband kills himself, but writes a suicide note accusing her. A letter that she mailed incriminate sher and she must get it back from the postman before it reaches th epolice. She goes through a frantic and stressful fight to get it back. She ends up finding love and a new life with a doctor who hd een her friend for years. It's a film well worth seeing.

A loco husband and an incriminating letter
Engrossing and taut "suburban noir" about a hapless housewife's formerly happy home life degenerating into a hell on earth. Loretta Young stars as the young wife whose once brash and confident husband has retuned from the war with a heart ailment and a sullen, mean temperament which spirals into all-out paranoia when he believes his wife and doctor friend are in love and planning to kill him. Barry Sullivan plays Young's invalid husband, who is relegated to the sickbed (when he's not sneakily creeping about) and generally makes day-to-day life miserable for her with his constant cutting remarks and her having to wait on him hand-and-foot. The action gets underway when Sullivan boasts to wife Young about a lengthy letter to the district attorney she has just posted for him--which contains detailed "evidence" of how his death has been planned, should it occur. He then intends to shoot her and then claiming self-defense--but just before he can do so the strain of his vituperative tirade and resultant physical exertion causes him to drop dead before her very eyes. Now the heat is on for Young to get that incriminating letter before it reaches the D.A., and the anguish and frustration she experiences at the many obstacles she faces will leave you feeling her pain!

Paranoia
Loretta Young got some of her best roles toward the end of her film career, and this was one of them. She stars as the patient and loving wife of Barry Sullivan, a bedridden man who has become paranoid and who manages to implicate her in his own death. Through a winding series of events, she must race against time to save herself from a murder charge. Young is excellent in the role, being given more opportunity to show her dramatic range than in many of the other films she made. The tension builds well and the story manages to remain credible. Although a small film and hardly a classic, it is quite good. ... Read more

Reviews (3)

CHALLENGE TO BE FREE
THIS WAS MY FAVORITE MOVIE FROM MY CHILDHOOD.I THOUGHT IT WAS TIME FOR MY CHILDREN TO SEE IT,BUT I COULDN'T FIND IT IN ANY OF THE VIDEO STORES.I WAS SURPRISED WHEN IT CAME RIGHT UP WHEN I TYPED IT IN.ALL I CAN SAY IS THAT IT'S BEEN OVER 20 YEARS SINCE I'VE SEEN THIS MOVIE AND I'M VERY EXCITED THAT I HAVEFOUND A COPY TO PURCHASE.I CAN ALMOST FEEL THE MOUNTAINS AND THE STRESS FROM GETTING A SHAVE WITH AN AXE.

An all-time classic
As much hype and hoopla movies like A Bug's Life and Alladin carry with them ... movies like Challenge to be Free tend to fall to the side as unimportant figments of a different decade. This movie is not unimportant by any means ... it takes you on a wonderous journey ... leaving you in the end to realize the importance of trying to respect and understand the ways of not only the people around us, but the people we identify as our foes.

I believe this to be the greatest movie ever made.
There is somthing magical about the grease on Trapper's face. The way he laughfs, and wrestles with bears. This movie is a joke, but it's characters attack you. If you watch closely you'll see what I mean. It was made in 76' but released later due to some problems in post-production. It's sad. It's dirty. A dog was killed in it's production. And it is dedicated to the men and women of the forest. Thank you for reading this, and good day. ... Read more

Reviews (15)

Interesting Portrayal of Men in War
Released in 1943 this is an attempt to show the American public what we were fighting for and what our men were up against during WWII in the Pacific. They not only fought the Japanese but the elements and each other in a hostile environment. From a technical standpoint cinematographer Sidney Wagner and art designer Cedric Gibbons put together a hellish vision of war in the jungle. The cast is first rate with Robert Taylor as Sergeant Bill Dane incharge of the defenders. George Murphy is very good as the pensive Lt. Steve Bentley. Thomas Mitchell, Lloyd Nolan, Robert Walker, Desi Arnaz (in a good performance) and Barry Nelson are among the other defenders left on Bataan. The strangest relationship in this film is between Robert Taylor and Lloyd Nolan. Taylor recognizes Nolan as someone else he once knew. Nolan makes every attempt to undermine Taylor's command. Nolan fights hard but it never seems for any higher aspirations such as duty, honor and country. This was a strange portrayal in a film meant to expound those very qualities.

Bataan: The 'Good' War
When the Japanese attacked Pearl Harbor on December 7, 1941, Americans then reacted much the same as they did on September 11, 2001, when Saudi terrorists crashed two jet planes into the WTC. Shock was quickly followed by anger, and then to a call for action. By the start of 1942, Hollywood heard this clarion call, and for the next four years dutifully cranked out one patriotic war movie after another. BATAAN was one of the first and the best. Director Tay Garnett boiled the movie down to an us versus them level. On the us side were a number of well-known American actors led by the then megastar Robert Taylor, and capably backed up by LLoyd Nolan, Thomas Mitchell, Desi Arnaz, and Robert Walker. The Japanese were shown as nameless, faceless, buck-toothed, slanty-eyed devils who refused to attack unless possessing numerical superiority. Much of the film plays out as an updated version of the earlier THE LOST PATROL. In this latter film, the good guys (Brits) are picked off one at a time by nameless, faceless, towel-headed Arab cowards who refused to attack unless possessing numerical superiority. In both films, the heroes are led by crusty yet heroic leaders who command a motley group of assorted ethnic types. One by one,the Americans die. With each death, the audience could feel both sadness and anger. This movie shows the horrors of jungle warfare in a way that Hollywood had never approached. Director Garnett kept the audience involved by switching from scenes of gripping combat to vignettes of personal drama. Desi Arnaz plays the ethnic jitterbug who dreams only of returning to his beloved Brooklyn. Robert Walker is the archetypal kid whose greatest fear is that he won't be able to send a letter home to his parents. Probably the most interesting of these subplots was the one involving LLoyd Nolan and Robert Taylor. Little by little the audience learns that Taylor as a military policeman years earlier was in charge of escorting a criminal to prison for execution. There was a train wreck, and the handcuffed prisoner wriggles free. (Sound like Dr. Richard Kimble?) Taylor spends years tracking him down only to find that this very fugitive is one of the Americans under his command. Taylor slyly lets Nolan know that he knows who Nolan is, but before Taylor can arrest him, Nolan is stabbed in the back by one of the cowardly Japs who had been playing dead. Nolan's last words to Taylor are, "For just one second,I thought it was you who stuck the shiv in my back." Taylor, alone, fights on, blasting his heavy machine gun directly into the camera, shouting, "Here I am! I'll never leave."
BATAAN accomplished its goal of getting Americans involved on many levels, not the least of which was to stir up hatred against a clearly recognizable enemy. With the Japanese now our friends, a contemporary viewing leaves the audience trying to see past the dated enemy while still recognizing that every era has its war and each war its recognizable enemy. This BATAAN manages to do as well as Spielberg did sixty years later with SAVING PRIVATE RYAN.

Average War Film
Pretty good. Fairly forgotten 60 years later. Cliched and macho but interesting as indicative of typical wartime propaganda. A platoon of soldiers must make a last stand to allow others to escape. Almost no effort is made to explain what is actually going on in terms of the larger picture and why they are being called upon to make this sacrifice. These men are just "doing their duty". They are,of course, whittled down to the last man. Worth a viewing.

Gritty, Violent, and Remarkable
As wartime propaganda, "Bataan" is brilliant--watching it, you may be filled with a seething hostility toward the Japanese that hasn't been felt since Reagan's 1980s. But what's more remarkable is that this gritty, often racist Robert Taylor vehicle is pretty solid as a movie, too. Filmed on an atmospheric soundstage that doubles for the jungle, its moody production practically oozes menace and rivals the Universal "monster movies" of the 1930s. (Watch it at night with the lights off for the full effect.) Often dubbed a remake of John Ford's "The Lost Patrol," "Bataan" has as much in common with any number of last-stand movies . . . as well as later slashfests like "Friday, the 13th," where each character's inevitable demise is more gruesome than the last. In that respect, "Bataan" is again remarkable, as the violence is graphic and shocking, particularly for the period in which the film was made. The cast of many familiar faces, including Desi Arnez, Barry Nelson, Lloyd Nolan, and Robert Walker, also deliver the emotional goods, keeping us caring about what happens next to these doomed men, a quality more recent films generally lack. If you're expecting the technoglitz excess of "Black Hawk Down," you'll probably be disappointed by "Bataan." But if you want to see a Hollywood depiction of war as a silvery nightmare, this may well be the one movie to watch.

Hollywood document
Filmed at the time, this is the closest you will get to experiencing World War 2. Watch this film and youll see why Americans fight, and why the U.S. must win every war at all costs. ... Read more

Amazon.com

Tay Garnett was a hard-nosed director who moved from studio to studio and genre to genre throughout the golden age of Hollywood. He never achieved the status, let alone the distinctive signature, of a Howard Hawks or Raoul Walsh; still, with talent, brashness, and cojones to spare, he was responsible for a slew of cheerfully vulgar entertainment, and several genuinely fine films.

Bataan may well be the best. Certainly it's one of the strongest Hollywood salutes to the war effort while World War II was still raging. In his grittiest role to date, Robert Taylor (sans mustache) plays a U.S. Army sergeant fighting a rear-guard action in the Philippine jungle, covering Douglas MacArthur's retreat. His platoon is the usual wartime study in democratic motley: veterans (Lloyd Nolan, Thomas Mitchell, Tom Dugan) thrown together with green recruits (Robert Walker, Barry Nelson), a Latino (Desi Arnaz), a black (Kenneth Spencer), not to mention a couple of stalwart Filipinos (Roque Espiritu, J. Alex Havier), and several officer types (George Murphy, Lee Bowman) with sense enough to defer to the sergeant's judgment. As in John Ford's desert classic The Lost Patrol, the group is whittled down through misadventure, disease, and skirmishes with the ever-advancing Japanese until only a handful remain for a still-shattering last stand.

Bataan was made at MGM, and the principal setting, a jungle clearing overlooking a strategic bridge, stinks of the soundstage. In other respects, however, Garnett manages to introduce shocking, un-Metro-like realism into the proceedings. In an early scene of bombardment, a GI, blinded, crawls out of the wreckage of a field hospital only to have a smoking roof beam crush his bandaged skull. There's nothing cosmetic about the wounds in this movie; they hurt and they bleed, and people get them during the most gruesome hand-to-hand combat in any '40s war movie. --RichardT. Jameson ... Read more

Reviews (15)

Interesting Portrayal of Men in War
Released in 1943 this is an attempt to show the American public what we were fighting for and what our men were up against during WWII in the Pacific. They not only fought the Japanese but the elements and each other in a hostile environment. From a technical standpoint cinematographer Sidney Wagner and art designer Cedric Gibbons put together a hellish vision of war in the jungle. The cast is first rate with Robert Taylor as Sergeant Bill Dane incharge of the defenders. George Murphy is very good as the pensive Lt. Steve Bentley. Thomas Mitchell, Lloyd Nolan, Robert Walker, Desi Arnaz (in a good performance) and Barry Nelson are among the other defenders left on Bataan. The strangest relationship in this film is between Robert Taylor and Lloyd Nolan. Taylor recognizes Nolan as someone else he once knew. Nolan makes every attempt to undermine Taylor's command. Nolan fights hard but it never seems for any higher aspirations such as duty, honor and country. This was a strange portrayal in a film meant to expound those very qualities.

Bataan: The 'Good' War
When the Japanese attacked Pearl Harbor on December 7, 1941, Americans then reacted much the same as they did on September 11, 2001, when Saudi terrorists crashed two jet planes into the WTC. Shock was quickly followed by anger, and then to a call for action. By the start of 1942, Hollywood heard this clarion call, and for the next four years dutifully cranked out one patriotic war movie after another. BATAAN was one of the first and the best. Director Tay Garnett boiled the movie down to an us versus them level. On the us side were a number of well-known American actors led by the then megastar Robert Taylor, and capably backed up by LLoyd Nolan, Thomas Mitchell, Desi Arnaz, and Robert Walker. The Japanese were shown as nameless, faceless, buck-toothed, slanty-eyed devils who refused to attack unless possessing numerical superiority. Much of the film plays out as an updated version of the earlier THE LOST PATROL. In this latter film, the good guys (Brits) are picked off one at a time by nameless, faceless, towel-headed Arab cowards who refused to attack unless possessing numerical superiority. In both films, the heroes are led by crusty yet heroic leaders who command a motley group of assorted ethnic types. One by one,the Americans die. With each death, the audience could feel both sadness and anger. This movie shows the horrors of jungle warfare in a way that Hollywood had never approached. Director Garnett kept the audience involved by switching from scenes of gripping combat to vignettes of personal drama. Desi Arnaz plays the ethnic jitterbug who dreams only of returning to his beloved Brooklyn. Robert Walker is the archetypal kid whose greatest fear is that he won't be able to send a letter home to his parents. Probably the most interesting of these subplots was the one involving LLoyd Nolan and Robert Taylor. Little by little the audience learns that Taylor as a military policeman years earlier was in charge of escorting a criminal to prison for execution. There was a train wreck, and the handcuffed prisoner wriggles free. (Sound like Dr. Richard Kimble?) Taylor spends years tracking him down only to find that this very fugitive is one of the Americans under his command. Taylor slyly lets Nolan know that he knows who Nolan is, but before Taylor can arrest him, Nolan is stabbed in the back by one of the cowardly Japs who had been playing dead. Nolan's last words to Taylor are, "For just one second,I thought it was you who stuck the shiv in my back." Taylor, alone, fights on, blasting his heavy machine gun directly into the camera, shouting, "Here I am! I'll never leave."
BATAAN accomplished its goal of getting Americans involved on many levels, not the least of which was to stir up hatred against a clearly recognizable enemy. With the Japanese now our friends, a contemporary viewing leaves the audience trying to see past the dated enemy while still recognizing that every era has its war and each war its recognizable enemy. This BATAAN manages to do as well as Spielberg did sixty years later with SAVING PRIVATE RYAN.

Average War Film
Pretty good. Fairly forgotten 60 years later. Cliched and macho but interesting as indicative of typical wartime propaganda. A platoon of soldiers must make a last stand to allow others to escape. Almost no effort is made to explain what is actually going on in terms of the larger picture and why they are being called upon to make this sacrifice. These men are just "doing their duty". They are,of course, whittled down to the last man. Worth a viewing.

Gritty, Violent, and Remarkable
As wartime propaganda, "Bataan" is brilliant--watching it, you may be filled with a seething hostility toward the Japanese that hasn't been felt since Reagan's 1980s. But what's more remarkable is that this gritty, often racist Robert Taylor vehicle is pretty solid as a movie, too. Filmed on an atmospheric soundstage that doubles for the jungle, its moody production practically oozes menace and rivals the Universal "monster movies" of the 1930s. (Watch it at night with the lights off for the full effect.) Often dubbed a remake of John Ford's "The Lost Patrol," "Bataan" has as much in common with any number of last-stand movies . . . as well as later slashfests like "Friday, the 13th," where each character's inevitable demise is more gruesome than the last. In that respect, "Bataan" is again remarkable, as the violence is graphic and shocking, particularly for the period in which the film was made. The cast of many familiar faces, including Desi Arnez, Barry Nelson, Lloyd Nolan, and Robert Walker, also deliver the emotional goods, keeping us caring about what happens next to these doomed men, a quality more recent films generally lack. If you're expecting the technoglitz excess of "Black Hawk Down," you'll probably be disappointed by "Bataan." But if you want to see a Hollywood depiction of war as a silvery nightmare, this may well be the one movie to watch.

Hollywood document
Filmed at the time, this is the closest you will get to experiencing World War 2. Watch this film and youll see why Americans fight, and why the U.S. must win every war at all costs. ... Read more

Amazon.com essential video

Even under the heavy censorship of 1946 Hollywood, Lana Turner and John Garfield's libidinous desires burn up the screen in Tay Garnett's adaptation of James M. Cain's torrid crime melodrama. Platinum blond Turner is Cora, a restless sexpot stuck in a roadside diner married to mundane middle-aged fry cook Nick Smith (Cecil Kellaway) when handsome drifter Frank (Garfield) blows her way. It's lust at first sight, a rapacious desire that neither can break off, and before long they're plotting his demise--but in the wicked world of Cain nothing is that easy. Garnett's visual approach is subdued compared to the more expressionistic film noir of the period, but he's at no loss when he films the luminous Turner in her milky-white wardrobe. She radiates repressed sexuality and uncontrollable passion while Garfield's smart-talking loner Frank mixes street-smart swagger and scrappy toughness with vulnerability and sincere intensity. Costar Hume Cronyn cuts a cold, calculating figure as their conniving lawyer, a chilly character that only increases our feelings for the murderous couple, victims of an all consuming amour fou that drives their passions to extremes. --Sean Axmaker ... Read more

Reviews (12)

CLASSIC FILM NOIR
Taken from the once-popular novel by James M. Cain, this story is steeped in repressed sexuality, involving a bizarre love triangle among two young lovers and an elderly husband played by Kellaway. Essentially, this film is more interesting for the visual and physical tension between Turner and Garfield than for any other single element. Scenes which stand out both visually and dramatically include the murder sequence in which the young lovers try to electrocute the old man and, of course, the famed scene in the car where Garfield strikes Kellaway with a whiskey bottle. Lana is cool and calculating as the frustrated young wife of the old coot and she made quite a sensation looking ravishing in her all-white wardrobe (notice how she contrasts with Garfield's dark, brooding look). This film was an important step in Turner's film career and one can see what all the fuss was about when seeing her in this. Garfield is natural and excellent as the young tough drifter. Hume Cronyn and Leon Ames score as the mercenary lawyers, however the script could have been a bit sharper at times (it should have been more similar to that of THE BIG SLEEP or THE MALTESE FALCON.

Super Sizzle
John Garfield and Lana Turner truly sizzle in this super-tough, ultra-dark film noir of a faithless wife who coaxes a lover into a murderous plot against her likable husband. Garfield offers a typically expert performance, while Turner--who is not usually noted for her dramatic talents--literally explodes in the sex-bomb role of the sultry but cold-hearted Cora. One of Hollywood's finest (if often overlooked) films of the 1940s, adapted in full-force from the James M. Cain novel. Hot!

LUVLUVLUVLUV this movie!!!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

LUVLUVLUVLUV this movie!
Pay attention while you watch this - and you will catch all the significance, the depth, maybe even figure out the title during your first viewing.

It took me to watch this gem a second time before fully grasping how FIT the title is to this movie. I won't deprive you of the joy of finding out for yourself so I'll stop about that.

This is one of the most romantic, dramatic, and endearing movies of all time. YOU JUST HAVE TO WATCH THIS ORIGINAL VERSION and forget the KNOCK-OFF attempted by Lang/Nicholsen. Flick it away and get the ORIGINAL. I can't imagine anyone else portray the characters so fully, or the message so vividly (as opposed to talking in this modern-day language of today).

This is got to be among my top 10 faves. I just love movies where Every line counts.

Talky version of Cain's first novel
The best thing about this rather vapid 1946 production of the James M. Cain pulp novel/turned literature is Lana Turner as Cora, but not for her acting, which was ordinary, but because she looked so good. Director Tay Garnett had her in stunning, shapely white dresses, pants and uni's that showed off her figure, complemented by a platinum hairdo that in glorious black and white was so intense it was almost colorful. (People on the set may have needed to wear shades.) After she returns from her mother's funeral, Garnett has her in the blackest black from a black hat to her black shoes--heels, I should emphasize, since she was almost always in heels in the movie, even returning from the beach or crawling up a canyon in the Santa Monica Mountains, she was in heels.

John Garfield, who plays Frank Chambers as though wandering through the role (which is not entirely inappropriate), is sympathetic and has the kind of raw animal appeal that we would expect to see in Cain's depression-era antihero. But he too was not out to win any acting awards. Cecil Kellaway, who plays Nick (in this case a "Nick Smith," not the Greek immigrant Nick Papadakis from the novel) does the best acting job as he brings a bit of the delusive psychology of an older man with a beautiful young wife to life when he announces that he selling the café and moving to the backwoods of Canada so Cora can take care of him and his invalid sister! This bit of senile daydreaming was not in the novel; indeed a lot of what transpired in this self-conscious, misconstructed flick was not in the novel, including a sappy post-ending in which the title is "explained." I won't go into the explanation except to say it wasn't convincing, but I can understand why they tacked it on since nowhere else (that I know of) is the title explained. Cain's original, and appropriate title was, "Bar-B-Que." See my review of the novel at Amazon.com for some speculation on how they came up with the rather magical title.

A better rendition of the Postman is the 1981 production starring Jack Nicholson and Jessica Lange. It too is no masterpiece, but it is both truer to the novel and less talky. A true to the spirit of the novel adaptation would require a terse, stream-lined directorial style with an emphasis on blind animal passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it. ... Read more

Amazon.com

No less a Western hero than John Wayne introduced Gunsmoke: ThePremiere Episode to television audiences in 1955, giving the series its auspicious start. James Arness as Marshal Matt Dillon is as tough as Wayne but is also as quick with his wits as with his gun. In "Matt Gets It," the first episode, Dillon is shot down early on and must find other means to defeat a crazed gunslinger. Other characters are also introduced: Miss Kitty, Doc, and Dennis Weaver as Chester Goode. The realism and intelligent writing shine through even in this early work, and carry over into "Hack Prine," the pilot shot to launch the series. Some of the concepts integral to the classic Western, such as even villains refusing to shoot an unarmed man, seem a bit dated now, but that lends a charm to the series that is mighty hard to find these days. --Rob Lightner ... Read more

Reviews (6)

You can see why Gunsmoke ran 20 years
These two episodes deal with the same theme, although their airdates differ by seven months. The first, "Matt Gets It" , is the premiere episode of the series, and James Arness as Matt Dillon is introduced by John Wayne. Early in the episode, Matt is gunned down by a gunslinger that is easy to anger and blames everyone else for the inevitable battle. He is then nursed back to health by Doc and fussed over by Kitty. It introduces the main characters and their relationships are established very quickly. In watching the episode, I was amazed at how quickly the relationships between Matt, Chester, Doc and Kitty are established. The episode ran for twenty years and those relationships did not change much over those years.
One thing that has always puzzled me about the series is that it is established very early that Kitty runs a house of prostitution. We clearly see the dance hall girls walking up and down the steps with the men and no adult could miss the significance of their actions. However, most people thought of Kitty as only a woman who loves a man who cannot return that love. I can remember asking my grandmother what those women were doing, only to be told to ignore it.
Despite all of the violence of the frontier, the men who settled their issues with guns have a strict sense of honor and ethics. This is clearly demonstrated in the second episode, "Hack Prine." Prine is an old friend of Matt's who once saved his life. Now, he has been hired to kill Matt. Prine is very open about that, talking about how it is a job. Matt also understands that and offers to borrow an amount equal to Prine's pay if he will not complete the job. Prine's ethical code is such that he feels obligated to complete the task, even though it means killing a friend. Another man is killed and the killer attempts to frame Prine. Matt immediately understands that Prine could not have done it because the dead man did not carry a gun. Despite being a hired killer, Prine is bound by a very strict code of conduct that means that he can only kill people who try to kill him. Eventually, the circumstances force a showdown between Hack and Matt. It is here where Arness shows his acting ability. Without being tearful, he is able to show extreme anguish at the death of his friend.
These two episodes have a common theme and demonstrate all of the traits that kept the series going for twenty years. It was more adult than most, the writing was excellent and the characters were well developed from the beginning. Many other shows with a western theme came and went during the Gunsmoke run, but this a show where the actors wore out before the public interest did.

Gunsmoke;The premier episode
Being a true Gunsmoke fan I have seen this video and can't say enough about it. John Waynes intro for James Arness is absolutly the truth,Jim is an excellent talent.The rest of the cast is so fantastic that you fall in love with each one of them,and wow what a living doll that Amanda Blake! If you don't have this one in your collection you should!

GUNSMOKE VOL 1
WHAT A DARN SHAME NOTHINGCAN COMPARE WITH THIS GREATTELEVISION SERIES. THE ACTORS, DRAMA AND THE GENERAL THEME ARE UNMATCHEDIN THIS VIDEO. I WAS BORNIN 1950 AND NOTHING WILLEVER DUPLICATE GUNSMOKE ANDTHE OTHER WESTERN SERIES.

Excellent, very entertaning
This is one of those old shows of the fifties, that everyone that might watch it again or for the first time will never forget it. James Arness was a great actor in the series and still is a great actor until now. The rest of the crew like Festus,Kitty and the doctor are great.

3 stars when compared to later color program w/Festus Hagen.
It was really cool to find that this was the very first Gun Smoke ever and even cooler to see John Wayne introduce and endorse the then new program. The vidio contains 2 epasodes in the first its easy to identify with the feelings of the gunslinger who killed a man who cheated him at cards, but he was unaware that the man was unarmed .The killer was a likable man who only wanted to be left alone and come and go as he pleased. The second epasode was about a old freind of matts who was hired to kill him. I hope more of the later series w/Festus will become avalable soon! ... Read more