Reviews (2)

Sinister Little Horror Story Enlivened By Good Performances
At first glance this minor 1941 Paramount feature looks like it really can't make up its mind if it is a Courtroom drama or a horror feature. The film has two distinct parts to it with an abrupt change in direction a little under half way through, however that doesn't stop it from being a quite enjoyable 70 minutes of viewing. Looking like a Universal feature from the time when that studio was still the leader in the horror field, it is instead a Paramount feature which perhaps explains the attempt at some deeper characterisations and a more polished look to some of the special effects, in particular in the "Monster' of the title which here is a murderous Gorilla that has a wrongly convicted man's brain transplanted into it. The first part of the film contains a well acted murder trial while the second half goes off totally into the realm of horror fantasy as the Gorilla thinking like the convicted man, goes on a murderous rampage against those who falsely framed him for murder.

"The Monster and the Girl", tells the story of brother and sister Scot and Susan Webster (Phillip Terry and Ellen Drew), who live in a small midwestern town. Susan yearns for the bright lights of the city and despite warnings from her protective brother, heads off in search of a more exciting life. What she gets in New York is not exactly what she bargained for as she is romanced by smooth talking Larry Reid (Robert Paige) who's intentions are not as sincere as they first seem. Going through a sham marriage to Larry Susan finds herself at the mercy of a prostitution and white slavery ring headed by ruthless gangster W.S. Bruhl (Paul Lukas),from which there seems no escape for her. Coming to her rescue Scot tries to track Larry down and in the process stumbles onto Bruhl's headquarters just as they are about to "remove", one of their group who is as Bruhl states "My favourite thorn in my side". He is shot just as he opens the door for Scot and when the gun is thrown at him Scot mistakenly picks it up and is then blamed for the murder. Totally framed he goes on trial and at length is found guilty of the crime. In the courtroom there is another individual with an interest in Scot , Dr. Perry (George Zucco) who is an eccentric scientist currently working on certain evolutionary theories and seeing that Scot is to be executed seeks his permission to use his brain in his experiemnts. After Scot's execution he performs the operation and transplants the still living brain into the body of a Gorilla in his lab. However during the observation period the Gorilla now thinking like Scot manages to escape and begins a murderous cycle of revenge against those that wrongly framed him for murder and sentenced him to death starting with the District Attorney. One by one the gang are literally crushed to death by the murderous Gorilla and the police are at a loss to explain the cause of death. Only after the Gorilla succeeds in saving Susan from the clutches of Larry Reed by murdering him before being shot himself in the finale is it worked out that the monster has the mind of Scot and was enacting this revenge just as much for the shame brought on his sister as for his own wrongful execution.

Perhaps "The Monster and the Girl", can be viewed as "B" horror nonsense however the whole story is played in a very serious manner by all cast members and certainly the Gorilla is a vast improvement on other "ape" monsters used in earlier horror efforts. The actor within the ape suit does a wonderful job of copying a Gorilla's movements and visually it has a convincing and at times almost frightening demeanour to it. Performances throughout this little effort are uniformally fine. Phillip Terry despite only appearing in the first half hour of the story does a convincing job as the loyal brother seeking to assist his sister but who gets involved way over his head and winds up executed for a murder he didn't commit. Ellen Drew as Susan has the longest role in the film and is also excellent as the naive girl trapped in the clutches of Bruhl's prostitution ring. Horror veteran George Zucco despite his high billing in the cast list, has a relatively small role in the middle of the film as the scientist who transplants Scot's brain into the Gorilla. An actor always so much better than most of the material he had to work with ,here he plays the "mad scientist" role capably once again and his knowledge is vital in the conclusion in working out why this Gorilla has human thoughts. What perhaps is most interesting in "The Monster and the Girl", is the surprisingly modern openess it has when dealing with such issues as prostitution and white slavery that were largely unheard of in the more major releases in the early 1940's. This gives the film , certainly in the first half, less of a horror film mood and more of the feel of a 1930's Warner Brothers gangster drama. The film is beautifully shot for a "B" effort with great emphasis placed on the power of shadows to achieve the desired dramatic effect. Directed with a sure hand by Stuart Heisler the film despite its dramatic change in direction never lets up on the action and its short 70 minute running time ensures that the story doesn't drag in the least.

While certainly not the greatest horror effort from the 1940s, "The Monster and the Girl", makes worthwhile viewing. The Gorilla is one of the more memorable "killers" that movies produced in this decade and depite the obviously outlandish storyline the sincere performances and overall good quality production make up for viewers having to totally suspend belief to get involved in the proceedings. Watch out for the Gorilla with a man's mind bent on revenge in Paramount's curiosity "The Monster and the Girl".

Bizarre, interesting B horror film
2 1/2 stars. Film starts as melodrama with a girl getting involved with a white slavery ring then veers into horror when her avenging brother has his brain transplanted into a gorilla who then goes after the villains. Wild stuff with an interesting cast: Paul Lukas, George Zucco, Joseph Calleia, Rod Cameron, et al. ... Read more

Amazon.com

It's a flimsy excuse to romp through more than two dozen Irving Berlin songs, but Blue Skies is good fun nonetheless (and one of the top-grossing films of 1946). Bing Crosby is a restless nightclub entrepreneur, Fred Astaire his Broadway buddy, Joan Caulfield the woman they both want. Ignore the plot and enjoy the numbers, especially Astaire's marvelous "Puttin' on the Ritz," which is breathtaking even before multiple images of Fred are introduced dancing in a row (who needs CGI, anyway?). Bing and Fred flash great showbiz chutzpah in "A Couple of Song and Dance Men," which wonderfully captures the appeal of both stars:Fred's heavenly precision, and Bing's "can-you-believe-they're-payin'-me-for-this?" sense of play. --Robert Horton ... Read more

Reviews (10)

Wonderful movie--See it for Astaire!
Okay, so we all know 'Blue Skies' had a simple, thin plot designed around a bunch of Irving Berlin songs instead of vice versa, but it really works and it's a good movie.

Fun, memorable songs are all over the place. Bing's simple reading of the title song is beautiful. His Oscar-winning "You Keep Coming Back Like a Song" is a treat, and "I've Got My Captain Working for Me Now" is a hoot. Bing and Fred team up for "A Couple of Song and Dance Men" in a particularly fun number.

But, Astaire's dancing steals the show, with big sequences like "Heat Wave" and what is certainly one of his greatest moments, the mind-blowing "Puttin' on the Ritz." It was originally designed as his final screen dance (he had said he was quitting the business) and just the type of flashy number that Astaire didn't like to do, but ya gotta admit, it's amazing. The high-voltage big band arrangement crackles, and Astaire's moves are flawless--you can really see that he gives this piece his all.

Classic tunes, great leads, and beautiful production conquer a weak story to make a nonetheless wonderful movie worth three stars. The fourth is for Astaire's phenomenal would-be swan song. All in all, a light, fun way to pass an lazy afternoon at home.

Bing Crosby and Fred Astaire SHINE!
As an editor to Club Crosby, I may be a bit biased, but I think "Blue Skies" is one of the best musicals. I can point out countless great musical numbers like:Fred Astaire's "Puttin On The Ritz, which was supposed to his swan song from musicals,Bing Crosby's "You Keep Coming Back Like A Song", and countless others. Bing,Fred Astaire, and the Irivng Berlin score make this film one of the best post war movies. Don't miss it if you like great movies,smart lyrics, and romance as it used to be in movies.

Fred and Bing, and I thought it would be good. Wrong.
"Blue Skies", while being the second screen pairing of Fred Astaire and Bing Crosby, fails to entertain. Fails with me, atleast.

It has one of the most poorest stories of all of the Fred Astaire musicals. One of them, that is. It is so boring, that its somewhat hard to watch. The movie is kept together only by the musicals seens, with the Irving Berlin songs. The best (and maybe only) parts of the movie that are enjoyable, are the "Couple of Song and Dance Men" and "Puttin' on the Ritz" numbers.

The film just drags on, and on, and it seems like it is never going to end, when I really wished it would. Only watch this movie if you must see it because your a fan of Bing and/or Fred. Atleast the musicals numbers are good. This movie is just ok, nothing more.

A great and classic film!
This is a beatifully done film. Fred Astaire and Bing Crosby are reunited in it. The costumes are beautiful. The acting isn't the best, but the songs are very good. It's entertaining and colorful, like every good musical shoud be.

"Puttin On The Ritz" is amazing... but...
Bing sings and Fred treads in this sketchily-plotted musical, which pits Astaire and Crosby against one another, rivals for the hand of the blonde, domestically-minded Joan Caulfield. This frothy postwar frolic has a wild Techncolor exuberance, with crazy explosions all over the pastel-lined spectrum (and an odd tilt towards purple). The sad thing, though, is that this isn't a very good movie -- the plot is razor thin, barely a hint of an excuse to stage a bunch of great (and lesser) Irving Berlin tunes. Some numbers fall flat (and Billy DeWolfe's interminable, painfully unfunny drag routine brings the movie to a screeching halt)... Still, Astaire's killer performance on "Puttin' On The Ritz" is the stuff that legends are made of: as he's angelically hoofing his heart out, a curtain parts behind him, revealing a phalanx of distant, miniature Astaires, keeping time with the big guy. A technical and aesthetic triumph! This flick might be worth it for that routine alone, although Bing gets in some choice vocal performances as well. A dud scriptwise, but it still has two of the greatest performers of the 20th Century, both still at their peak. ... Read more

Amazon.com

Along Came Jones is one of the most oddball artifactsfrom Hollywood's golden age. Gary Cooper (who doubled as producer)plays Melody Jones, a "common ordinary useless bronc-stomper" whomoseys into the town of Payneville--or is it Painful?--just afterlegendary badass Monte Jarrad has held up the stagecoach. The townsfolkeyeball the "MJ" on Melody's stirrup, leap to hysterically wrongconclusions, and start giving him a wide berth--in some cases, thebetter to lie in ambush for Jarrad while planning how to spend thebounty money. Now, as it happens--and as his crusty sidekick George(the insuperably irreverent William Demarest) keeps remindinghim--Melody can barely get his gun out of the holster without blowing hisown kneecap off. All that stands between him and extinction is thequick-thinking intervention of a local maiden, one Cherry de Longpre(Loretta Young). Melody, of course, promptly becomes hogtied with love,little suspecting Cherry's the childhood sweetheart of the real MonteJarrad (Dan Duryea).

Along Came Jones was developed for International Pictures, aquasi-independent outfit better remembered for such noir classics asWoman in the Window and The Stranger--something that mayspring to mind as you contemplate the flagrantly artificial exteriorsettings and the reservoir of duplicity lurking behind the heroine'sdewy sweetness. Stylistically the film is a wild mix, with directorStuart Heisler paying close attention to down-the-gun-barrel point ofview in several scenes, yet also sitting still for floatyback-projection photography so egregious that it may bring on motionsickness. Still, Nunnally Johnson's script is droll, Cooper clearlyrelished the chance to poke fun at his strong-silent stereotype, and heand Preston Sturges stalwart Demarest establish a sardonic comicrapport. --Richard T. Jameson ... Read more

Reviews (1)

Cooper tour-de-force
Whatever ALONG CAME JONES lacks in comic pacing is more than compensated by Gary Cooper's delicious romp of a performance as Melody Jones, a cowboy who can't shoot or fight. Cooper produced this himself -- he was the first star to form his own company -- and clearly knew what he had in the role of Melody Jones. This is also a film far ahead of its time in the role reversal plot, in which Loretta Young can outshoot Cooper. It is Loretta Young, not Coop, who faces down villain Dan Duryea in the climactic gunfight. Highly recommended for Cooper's tour-de-force performance. ... Read more

Reviews (7)

A great film noir
Great performances in the classic thriller from the 40's. There is good chemistry between Lake and Ladd. It is a whodunit that will keep you guessing. A must for any collection of movies from that era.

Strong Supporting Cast
Alan Ladd and Veronica Lake star in this remake by Paramount of the Hammett classic. Brian Donlevy has the role of Paul Madvig, the political boss. The script is not too faithful to Hammett's original work but I still recommend the movie. William Bendix and Joseph Calleia round out a strong supporting cast.

My favorite Ladd/Lake vehicle, good book adaptation
There are many reasons to check out this film. First, it is the second and best on-screen teaming of Alan Ladd and Veronica Lake (they were first paired in This Gun For Hire with Ladd playing the bad guy) Second, it is based on a novel of Dashiell Hammett whose exterior narration style transfers very well to screen. Third, it's just a good 40s whodunit.

The book is toned down but for the most part its satire of politics is allowed to remain intact. Most of what gets eliminated are subplots and partying which, though interesting, do not add to the story much. The movie is much leaner but less complex than the book but it is still faithful to the overall spirit.

Alan Ladd plays a tough guy/toadie to a local politician, Madvig, who has his fingers in a few too many pies. Madvig falls in love with Veronica Lake and burns a few political bridges to win her hand. Lake is the daughter of a senator, one of Madvig's political rivals. All seems to be going well until Lake's no good brother is found dead in a gutter and all fingers point at Madvig. The only person who seems to care about proving him innocent is Ladd. Even Madvig seems determined to get himself convicted. Ladd becomes obsessed with finding out the truth and goes through beaurocratic red tape, underworld sleaze, a torture session and his own feelings for Lake to find out who the real killer was.

Alan Ladd does a great job in the strong-silent role. He is stoic without being cartoonishly so. (The injury makeup is so convincing that you want to flinch for him) Veronica Lake is also good but really isn't given much to do besides show up onscreen in a series of ever more outlandish hats. (I love 40s fashion!) She isn't given any really good scenes until the last third of the movie. The supporting cast is universally good, it includes former Nancy Drew actress Bonita Granville as Madvig's kid sister. (changed from daughter in the book to make up for the relative youth of the actor)

This is a good bit of film history and a very good mystery (you think you have it figured out when it suddenly takes another twist) It is also a chance to see one of the great 40s screen teams in action. A must for classic film noir fans, don't miss it

Fairly good adaption of an excellent book.
I was impressed how this movie stuck very close to the story and dark overtone of the book itself. I highly recommend the book, you will get a sense of Hammett's brilliance as a writer. The movie itself stands fairly well by itself. Alan Ladd plays the dark hero (Ed Beaumont, Ned in the book) and henchman of political magnate Paul Madvig. Madvig is currently busy on promoting his newest senator candidate into power. Madvig's sister however is secretly seeing the candidate's gambling, conniving son behind his back. After an ultimatum by Madvig to his sister, the senator's son is found shortly thereafter dead in the street. Thus the mystery begins. Veronica Lake (who is stunningly beautiful) plays the senator's daughter who Madvig is in love with. Won't go into more detail, but will say that it is well worth your time to both watch the movie and read the book. Crime noir at it's best.

William 'Billy' Benedict a bad guy? Never, well maybe
What ever happened to William Bendix "Boys' Night Out (1962) ASIN: 6302985293" and "Life of Riley Vol 02 (1953) ASIN: 6304212550"? I always thought of him as a good guy. Boy, this shatters my image of him.

They mention "the glass Key" at the beginning of the film as the key to a position. A warning says, "it is a glass key, be sure it does not break off in your hand."

This movie was supposed to be the one that made it for both Veronica Lake and Alan Ladd. I did not read the book but Dash-it-all Hammett is usually a lot darker and his characters are usually a lot sleazier. The only really dark scene was probably the encounter between Ed Beaumont and Jeff. The mystery was good. The who-done-it and why lasted up to the end. ... Read more

Reviews (4)

Actually three and a half stars
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: **1/2 /**** Sound: ** /**** Plot: **1/2 /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

The story is surprising in the fact that it deals with concern for conservation , the environment and treatment of native indians.

Of course, the oil companies paid no attention then nor now.

All the actors do very well - nothing great but very solid. Director Stuart Heisler is a good "B" director but I disagree with the reviewer that stated he "MADE" Susan Hayword a star. If anything Susan Hayword made him look decent just as Humphrey Bogart does with "Tokyo Joe".

The rear-projection scenes of the oil fields on fire are nearly flawless - I mean, I could not note the telltale signs of rear-projection (things appearing out of proportion or hazy etc.).

In my opinion, it's worth the asking price.

Conservation first
One will say one more film about oil in Oklahoma. But this film is different. It brings together several questions that are extremely important. First the alliance between the white entrepreneurs and the Indians. The Indians are divided on the question of the conservation of their land as grazing land, as cattle-raising land due to the easy money oil brings in. We will note that justice does not hear conservationist arguments. Second the position of women in this adventure and women are shown as entrepreneurial just like men, equal to men, though they can use their charms to convince people of the value of their decisions, not force but soft conviction. Third the problem of conservation : how can the land not be ruined and wasted by oil exploitation ? The answer is to do it in a non-intensive way because this intensive method gets a lot of oil in a short period of time, but it also ruins the land through pollution. The answer is in an exploitation that leaves the land clean and usable all the time for cattle or other activities. Then the money brought in is less massive in a short period of time but regular for a long period of time. Such a way is defended by scientists and engineers but opposed by entrepreneurs. It is an accident that will determine the state and various congressional representations to regulate oil exploitation in such a way that nature is not spoiled. Fourth oil culture is not just the exploitation of crude oil, but it creates a whole network of services and roads for the cars that use that oil to run and refill when necessary. It is a structurizing activity whose social consequences are extremely far-reaching. A very well done film on very modern issues. Conservation must be a major objective of man on earth : think of the long-run future instead of the short-term profit.

Dr Jacques COULARDEAU

firewater
Director Stuart Heisler must have liked Susan Hayward because he cast her in 3 films - Among the Living, Smash up - The Story of a Woman, and this one, so in a way he is responsible for elevating her to A level productions. This one hovers in between a B and an A, independently produced, and using a lot of rear projection. The material is interesting in it's view of the American Indian, here presented as land owners and cattle ranchers, with Heisler beginning with a montage of the different kinds of Indians, and Hayward being 3/4 Cherokee. Presumably this is want accounts for her "wildcat" quality.
The screenplay by Frank Nugent and Curtis Kenyon, suggested by a story by Richard Wormser, is a cautionary tale of the emergence of oil drillers in Oklahoma and the effect they had on the environment of the cattle ranchers. We begin with the accidental death of Hayward's father, as the opportunity to hear the anti-oil lobby. However Hayward's form of revenge seems a direct violation of the conservation stance of her descendants, as she enters the oil business to be more successful than her main competitor, the man she blames for her father's death! Robert Preston appears as a "rockhound" engineer who helps Hayward strike oil, and matters reach a climax when she must decide whether to drill the property of her father's Indian friend, Pedro Armendariz.
The notion of Armendariz as a "crazy Indian" is introduced when he refuses to have his land drilled, he is threatened with being declared "mentally incompetent", and Heisler provides an extended and laboured use of montage to suggest his mental breakdown as he drives through fields of oil drilling towers and starts a fire laughing maniacally. Armendariz' view however is seen as a minority as other Indians seem happy to sell as much oil from their property and overlook the "smaller short term profit".
Of course, it is this very issue that produces conflict between Hayward and Preston, with Hayward's ambition seen to be clouding her true nature.
Preston's romantic interest in Hayward is somewhat a surprise considering the way she humiliates him at their first meeting, though I suppose men had to be tougher than usual in the period, but what is more humiliating is the way Preston out-acts her. Here Hayward relies upon big smiles and profile turns for charm, though her yelling at Preston at one point is unexpectedly loud.
Heisler uses horizontal slides, mini-montages, the unbearably bucolic singing of Chill Wills, Freudian symbolism in Hayward drinking from a large glass of brandy in front of Preston, and African-American servants for when Hayward hosts a society party, where Armendariz is a guest in tuxedo. We never actually see a servant serve him, since perhaps the irony would be too much.

Outstanding Performances
This little gem, starring Susan Hayward & Robert Preston is a real bargain at this price! I've seen it a few times & still find Ms. Hayward's performance mesmerizing. Robert Preston, who is usually known for his musical roles(especially The Music Man)is superb as the oilman she becomes involved with. Very highly recommended, especially for Hayward fans. ... Read more

Reviews (2)

A fascinating, historically significant documentary
Produced by the War Department in 1944, The Negro Soldier is a very interesting documentary honoring African-American soldiers. World War II was ongoing at the time, and the film may well have served to some degree as a recruitment vehicle for young black men, but it stands most clearly today as an historical piece and an inspiring, patriotic celebration of the American spirit and the critical importance of African-Americans in establishing and preserving the American way of life. I was expecting to see some kind of visual record of African-American soldiers involved in fighting World War II, but the video actually serves as a primer of sorts for African-American soldiering throughout the entire history of the United States. Using official War Department films, newsreels, and captured enemy material in conjunction with footage from historical movies and recreations of actual incidents and events, The Negro Soldier is an impressive albeit rose-colored presentation of an oftentimes neglected subject.

The content of the film, which runs for forty minutes, is presented in a most interesting way, as it is narrated by a minister in an African-American church. Seeing several soldiers among the congregation, the minister decides to forego his planned sermon and speak to the importance of the war effort. Strangely enough, he has a copy of Mein Kampf with him and reads several pertinent passages as part of his introduction to the subject at hand. He first points to a number of important African-Americans in each of America's wars, starting with the Revolutionary War and working his way up to World War II, while we are treated to a montage of videos illustrating the stories of such men as he describes. The minister then takes time to praise the role of African-Americans in the building and continuing prosperity of the country and its infrastructure. At one point, a woman in the congregation gets up and reads a letter from her son, who has just been made a lieutenant; to the backdrop of this letter, we are taken through the boot camp experience to see the making of a soldier. In closing, the minister speaks to the current war effort itself, and the film closes with a medley of patriotic songs. The Negro Soldier portrays military service as a challenge but one that offers nothing but benefit and reward to those who don the uniform. While it foregoes any mention of hardship for African-Americans in "this man's army," it does offer an inspiring and historically significant look at a somewhat neglected aspect of American military history.

Well Researched Look at a Neglected Part of American History
The late African American filmmaker and educator Carlton Moss wrote the script and plays one of the roles in this film used to promote nationalism among new soldiers. It provides a rare glimpse of the middle class African American experience of the time.

Moss plays a minister giving a sermon, which acts as the centerpiece for this film. He speaks about the noble history of African Americans in the United States on and off the battlefield. Intercut with his sermon is footage of a soldier going through basic training along with historical footage highlighting black achievement.

While by no means an exciting film, it is quite honorable and provides a welcome alternative to the often stereotypical and negative portrayals of people of color in Hollywood films of the era. It should be required viewing in schools and a welcome addition to any family's video collection. ... Read more

Description

An Oscar-winning actress with a fading career is given one last chance at the spotlight. ... Read more

Reviews (15)

BETTE DAVIS AS A WASHED UP, HAS BEEN FILM STAR...
Bette Davis plays a washed up Hollywood movie queen with abandon, and her terrific performance earned her a ninth Academy Award nomination for Best Actress. In the role of Margaret Elliot, Bette infuses it with all the angst and self-doubt that a true has been might undergo.

Margaret Elliot, dead broke, down and out, can't get a role in tinseltown. Drowning her sorrows in alcohol and self pity, Margaret is in serious denial about herself. As she spirals downward, both personally and professionally, a handsome man (Sterling Hayden), whom she had given a break to many years before, comes to her rescue.

When her agent manages to get Margaret a test for the part of an older woman, and it looks like she may have a serious shot at it, Margaret, preferring to play the role of the ingenue, lets her ego take over, and she flubs the test. When she realizes what she has done, her world comes crashing down on her, and self realization sets in. She comes to a crossroad in her life. What decision she comes to remains for the viewer to discover.

This is a nineteen fifties style melodrama, stark and grim. Bette has no qualms about appearing as a woman who is aging, as she appears with bags and circles under her eyes and has a somewhat jowly and bitter look. The wardrobe is mostly drab, and the sets are pedestrian. This all works to effect, as these accouterments are symbolic of Margaret Elliot's new reality. Sterling Hayden gives a credible performance as Mr. Nice Guy, though there is a scene in which a moment of politically incorrect domestic violence is interjected. A teenage Natalie Wood appears in the role of Margaret's daughter and is perfectly adorable in the role.

This is a film that Bette Davis fans are sure to enjoy.

No wonder she was nominated! (She should've won!)
"The Star." I guess no two words could describe the actress who portrays Margaret Elliot, the 'heroine' of this tale. She is, of course, Miss Bette Davis, who was nominated for Oscar for this film and undoubtedly should have won. She portrays the character vividly, and Sterling Hayden is just great as the man who "rescue's" her. A star declining in status is forced to sell her belonings to make money, she's evicted from her home and must even get a job in a department store. You pity her, but also relate to her because she's so natural and down-to-earth, but with a bite. Bette gives it her all, and this is a must-see!

Pre-Ab Fab!
Edina would have been proud! I just love when Bette drives drunk with her Oscar! Or how about when she cuts down those 2 women who recognize her working in a shop? "Didn't you used to be...?"

5 "Stars" based on BD performance.
Some of the reviews I've read didn't seem to know that The Star was an Independent film. Of course not like them classy ones we see's now at our cinemas and all. All kidding aside, she took this role because it was a good one and she knew she could relate to it, I think that's why I like her. She was just honest almost to a brutal degree. I just recently watched Now, Voyager for the first time and often forget that she was a very good actress, we often forget that because of the gay camp value that she is assigned with.

GOING, GOING.....GONE.
Supposedly, this film was based on Joan Crawford's career but who knows?. At any rate, it's an absorbing tale of a washed-up drunken movie star who witnesses her own auction then claws tooth and nail for a comeback but finds life is more meaningful when you're Human. Davis is fine as The Star and the supporting cast is good (including child star Natalie Wood as The Star's estranged little girl). The film is b&w giving it that High Drama look and feel. Sterling Hayden is a one-time co-star (now a curiously butch boat builder) who ends up saving Davis from self-destruction. But this is a Davis vehicle and she was Oscar nominated for it and she's always watchable throughout. She has many memorable scenes including one where she puts her Oscar on the dashboard of her car and says, "C,mon, Oscar, let's you and me get drunk." She gets a DUI and ends up in jail. Yet another finds her being rehabilitated selling lingerie behind a counter and insulting the customers who recognize her. So much to enjoy here for Davis fans, it really needs DVD release. 5 stars for "The Star". ... Read more

Reviews (5)

Spanish version
Please, I would like this title in Spanish language if is possible, thank you.

Just enjoy it!
Nothing much needs to be said. It is just like westerns should be. There are real heroes, who work for justice and do not use violence but when absolutely forced. Am I at 57 mentally a child? It must be so and I never want to grow!

VCI deserves a pat on the back!
Without any knowledge of what this DVD 2 pack contained, I bought it based on my love of Clayton Moore and the Lone Ranger! I was completely surprised by the quality of the film print! This film looks better than many of the feature films today. It is prestine. The trailers, interviews with Dawn Moore and Michael Ansara and photo gallery were the iceing on the cake. This was Clayton Moore's favorite LONE RANGER feature film and rightfully so. This film should have been re-released to the theaters instead of making the forgetable film of the late 1970's and Moore never should have been in a legal battle over the mask he, and only he, deserved to wear. Rick Goldschmidt (Author of THE MAKING OF A RANKIN/BASS HOLIDAY CLASSIC: RUDOLPH THE RED-NOSED REINDEER)

Lone Ranger DVD...Spectacular!
This DVD gives you the best of both viewing worlds!! View it in widescreen or standard pan and scan. The Lone Ranger and his faithful companion, Tonto, never looked better. The movie opens in an action packed sequence and continues through confrontations and gunfights without the all the graphic dismemberments. This film will take you back to the times when the whole family sat together and enjoyed true entertainment with a great message. The double dvd set includes a seperate dvd with bonus materials including an interview with Clayton Moore's daughter, Dawn as interviewed by Leonard Maltin. It also contains a recently produced interview with actor Michael Ansara. This DVD is one for the whole family.

The Lone Ranger (1956) (widescreen)
This film is the first featurelength movie featuring the stalwart stars of the TV series, Clayton Moore and Jay Silverheels. It is the Lone Ranger in his best ever screen performance. The movie is thoroughly watchable entertainment especially in the widescreen format with some gorgeous panoramic cinematography from Edwin Dupar. The story is straightforward but with tight competent direction from Stuart Heisler the film has the look and feel of a big screen movie. Some of the stunts are spectacular to watch and the finale battle between the Lone Ranger (Moore) and the villain, Cassidy (Michael Ansara) is excellent. This a must for western fans who want to see the Lone Ranger at his best. ... Read more

Reviews (5)

Intrigue and romance in post WW2 Japan for Bogie
Life in post war Japan is a theme not often explored in Hollywood film making and that alone gives "Tokyo Joe" an extra element of interest. Often referred to as second-string Bogie effort, the film I feel has much to commend it and it weaves an arresting story of intrigue, corruption and lost love against the background of a Japan just coming back to life after the conclusion of the war.

Humphrey Bogart had most of his great roles already behind him by 1949. "Casablanca", "High Sierra", "The Maltese Falcon", "The Treasure Of Sierra Madre" to name a few cemented his name as one of Hollywood's most memorable stars over almost two and half decades of work. This might be a lesser effort than those examples but time had passed and being now a bit older suits Bogie very well in his playing of Joe Barrett, a man returning to Tokyo to reclaim both his pre war saloon/gambling den and to find that his supposedly dead wife is very much alive and holding a couple of dark secrets. Bogie handles both elements of the story, ie the rekindled romance with his wife Trina (Florence Marly), with the exciting second half of the story dealing with high level corruption, kidnapping and people smuggling rings.

Upon arriving in Tokyo Bogie finds things have changed greatly since the period prior to WW2. Not only does he discover his wife is still alive and remarried to an Americam Official Mark Landis (Alexander Knox) but that she has a young child who is actually his. His thriving pre war business is impossible to reestablish and he finds himself involved in some shady transportation activities with a prominent Japanese businessman, Baron Kimura (played by the excellent Sessue Hayakawa) who actually is bringing back to life the mysterious fanatical society of the Black Dragon which is intent on smuggling back into Japan convicted war criminials. What develops is Bogie finding himself playing two sides in helping the Americans flush out the terrorists and having to deal with their kidnapping of his daughter as a guarantee that he will cooperate with them. The second half of the film weaves a fairly exciting tale of adventure and suspense which sees Bogie undertake to rescue his daughter from the kidnappers and fight off the Baron where he is shot. The conclusion of the story leaves up in the air Bogie's fate, whether he survives the gunshot wound during his brave rescue bid and reclaims his wife , or whether he dies a hero and allows Trina to continue her affluent life as the wife of an American Official. This ending is quite different to what one can normally expect and it allows us as the audience to make our own conclusion , in a way similiar to th efamous ending of "Gone With The Wind".

"Tokyo Joe" which for interest sake was the pre war name of Bogie's establishment, benefits greatly from some interesting on-location photography in Tokyo. While it is obvious that the principal cast never left Columbia Studios in Hollywood the meshing of location footage with the actors scenes is very well done. The major Japanese actors used in the film also bring a very welcome look of authenticity to the story. Veteran actor Sessue Hayakawa is really excellent as the villian of the piece and Teru Shimada who appeared in just about every movie or television show requiring Japanese actors over a 30 year period creates a real impression as Ito, Bogie's best friend and pre-war partner in the running of Tokyo Joe's who pays the ultimate price for getting involved with Bogie in Baron Kimura's schemes. It is good to see at this time in Hollywood that talented Japanese actors were able to get prominent roles in major Hollywood productions such as this.

Humphrey Bogart always managed to hold the interest in no matter what movie he was appearing in and while "Tokyo Joe" is certainly not his best remembered film it is a very entertaining film with a good story that serves up equal parts romance, adventure, and suspense. The story is at all times believably played and that's what keeps your interest as the characters are those that are not just Hollywood fiction. Films in general were changing by the beginning of the 1950's and "Tokyo Joe" in a way was one of the first to show the after effects of the war on defeated countries like Japan. Enjoy this exciting tale with the always trenchcoated Bogie in a good performance.

A nest of snakes
Humphrey Bogart is equal to himself in this tightly devised plot. First a clear situation : Japan after the war under occupation by the Americans who are trying to chase the remnants of a militaristic and fanatical recent past. The Americans come back to Japan too to start some joint ventures with some Japanese. Then a personal situation : Joe had a joint business before the war and he tries to recuperate it and finds out it is impossible though he goes along with his ex-partner in another business that is a lot more shady than it should be. Then a sentimental situation : his ex-girlfriend and wife is married to a big shot in the American embassy or something. She has a daughter and this daughter is Joe's though she had her adopted by her second husband. This daughter was the backmailing tool of the Japanese during the war to force this woman to broadcast propaganda aimed at American forces in the Pacific during the war. But Joe and his new business is used to bring some old militaristic fanatics back to Japan to stir some trouble for the Americans. Joe, as an ex-colonel, has to go along with the allied forces, but his « business associates » kidnap his daughter to force him to do what they want. Then the rest is resistance and heroism, courage and back-fighting. Humphrey Bogart cuts the character quite convincingly and gives us an interesting thriller.

Dr Jacques COULARDEAU

The Other "Casablanca"
America's involvement in World War two was bookended by two Humphrey Bogart movies. Going into the War, there's Rick in the classic Casablanca; coming out of the War, there's Joe Barret in Tokyo Joe, but basically they are both the same hard-boiled-with-a-heart-of-gold guy. As if to emphasize this there's a nightclub in each, the Tokyo joint eponymously named "Tokyo Joe's."

The movie kicks off in 1948, as Joe Barret comes back after 7 years away to occupied Tokyo to take care of some unfinished business, soon getting into a playful Judo bout with his old friend and nightclub partner, Itoh (Teru Shimada). There's more unfinished business than he reckoned on, however, as he finds out that the beautiful wife he thought was dead is still alive. But this is no Madame Butterfly in reverse. The lady in question is Trina, a White Russian played by an actress with great cheekbones but with none of the smouldering quality of Ingrid Bergman. The writers lay on the twists thick and fast as we discover that Trina is now married to an Occupation bigwig, Mark Landis (Alexander Knox), and she has a kid which is Bogey's.

In order to protect Trina from a blackmail scam, Bogey gets sucked into a plot led by the evil Baron Kimura (Sessue Hayakawa) who bears an uncanny resemblance to former Japanese Prime Minister Nakasone. This scheme to revive the Black Dragon organization by smuggling Imperialist leaders back into Japan, is implausibly attributed to the Communists. The climax comes when Bogey's chubby little daughter gets kidnapped and Bogey's Japanese nightclub partner blames himself and commits hari-kiri.

"Still covering up for Kimura," Bogey admonishes him as he realises his old buddy won't be helping him with his judo practice anymore. "Don't you understand what guys like that have done for you? For a thousand years they've made suckers out of you. All they've wanted was the gravy and guys like you down on their hands and knees to hand it up to them. You think we're the real enemy because we're occupying Japan. You know why we're doing it? To help the Japanese people stand up on their hind legs, like men and women and have a right to in this world."

Anyway, Bogey manages to rescue his daughter taking a bullet in the process. This leads into a noticeably fudged ending. There are two possible ways to look at it. Either Humphrey dies as he is carried away out on the stretcher or he doesn't. The way the camera fades on Trina in the last scene, suggests that Joe has in fact passed on, but this is so vague that it's left open for those people who prefer a happier ending to imagine that he gets better in some unfilmed future after the movie.

The first possibility naturally packs more emotional punch - Bogey sacrificing himself once again and conveniently getting out of the way so that Trina can continue her glamorous life with Landis who turns out to be a thoroughly decent chap. But I've seen Bogey take too many knocks in too many movies not to try and imagine the second possibility.

Bogie meets Sessue Hayakawa.
This second string Humphrey Bogart flick has its moments. The "Casablanca" wannabe story of love, intrigue, and suspense in post-war Japan starts well with Bogie returning to Tokyo to reclaim the woman he loves. To his dismay, she is married to another man, and has a daughter. As in "Casablanca," Bogie owns a cabaret that is operating under wartime difficulty. He has to sort this all out and deal with his emotions, especially after he discovers the little girl is his own daughter. After the first 30 minutes or so, the plot shifts gears to a crime drama of gangsters, smuggling, and Communist activity. One definite strength of the film is Japanese actor Sessue Hayakawa as a gangster. Hayakawa's aristocratic demeanor and distinct accent as he speaks English is almost an oriental version of Bela Lugosi. At least some of the exteriors were filmed on location in Japan. Bogie dons the familiar hat and trenchcoat that were his trademark look in many films. There is an amusing segment early in the story where two stunt guys, pretending to be Bogie and his Japanese buddy, throw each other around the room in an impromptu judo match. This movie may not be top quality, but it's okay as an entertaining time-waster. ;-)

TOKYO JOE
Bogie is GREAT,as always. Not in the same caliber as Casablanca, and at times tries to be. The Judo scene between Ito and Bogie is a RIOT! ... Read more

Description

Matt Brennan knows how to open eyes to the potential of the experimental jet, the JA-3. He'll pilot it from Nome over the North Pole to Washington DC and land it on the Pentagon's lap. The distance is beyond the JA-3's tested range. Nor can the craft provide the pressurization needed for flight at 80,000 feet. But Brennan has some modifications in mind. And the courage to put them to the test.

Humphrey Bogart plays Brennan in Chain Lightning's lofth mix of adventure and romance. Eleanor Parker, as a World War II flame who reenters Brennan's life, helps fuel the romance. And the adventure takes wing with a story that, like Breaking the Sound Barrier, The McConnell Story and other postawr films, taps into the era'sfascination with jet aviation. Cleared for takeoff. Year: 1950Director: Stuart Heisler Starring:Humphrey Bogart, Eleanor Parker Special Feature: Original Theatrical TrailerB&W/94 Mins. ... Read more

Reviews (1)

It'll do!
Not-so-bad western with the teen-age idols of the time Tab Hunter and pretty Nathalie Wood. Not better or worse than many of the other B-westerns of the 50's. Tab Hunter is no John Wayne and director Stuart Heisler is certainly no John Ford or Howard Hawks - but on its own terms, it works OK. ... Read more

Description

A film remake of Humphrey Bogart's "High Sierra" involving a mad killer who takes pity on a disabled girl. ... Read more

Reviews (2)

Pretty good flick
Great camera work always featuring subtle shots of the snow capped mountains that play a part in this good ole flick with Jack Palance.It's definetly worth poppin some popcorn and watching.

A good 1950's gangster movie
Jack Palance plays one of his typecast movie roles as the quiet loner. The only difference here is that instead of being a cowboy he plays a gangster who despite being a stone cold killer has a soft spot for a naive disabled girl. Shelly Winters plays a trampy gangster chick who falls for Jack and despite his rejections manages to change his heart and feelings for her. A great movie for the gangster movie buff with all the old style clothes and cars this movie is one of my favorites. A modern ganster movie with a similar theme is Harvey Kietel's role in Industry City. ... Read more

Reviews (4)

Actually three and a half stars
This review refers to the Alpha Video (Gotham) DVD.

Overall Quality of DVD: **1/2 /**** Sound: ** /**** Plot: **1/2 /**** Acting: ***/**** Cinematography: ***/**** Direction: **1/2 /****

The story is surprising in the fact that it deals with concern for conservation , the environment and treatment of native indians.

Of course, the oil companies paid no attention then nor now.

All the actors do very well - nothing great but very solid. Director Stuart Heisler is a good "B" director but I disagree with the reviewer that stated he "MADE" Susan Hayword a star. If anything Susan Hayword made him look decent just as Humphrey Bogart does with "Tokyo Joe".

The rear-projection scenes of the oil fields on fire are nearly flawless - I mean, I could not note the telltale signs of rear-projection (things appearing out of proportion or hazy etc.).

In my opinion, it's worth the asking price.

Conservation first
One will say one more film about oil in Oklahoma. But this film is different. It brings together several questions that are extremely important. First the alliance between the white entrepreneurs and the Indians. The Indians are divided on the question of the conservation of their land as grazing land, as cattle-raising land due to the easy money oil brings in. We will note that justice does not hear conservationist arguments. Second the position of women in this adventure and women are shown as entrepreneurial just like men, equal to men, though they can use their charms to convince people of the value of their decisions, not force but soft conviction. Third the problem of conservation : how can the land not be ruined and wasted by oil exploitation ? The answer is to do it in a non-intensive way because this intensive method gets a lot of oil in a short period of time, but it also ruins the land through pollution. The answer is in an exploitation that leaves the land clean and usable all the time for cattle or other activities. Then the money brought in is less massive in a short period of time but regular for a long period of time. Such a way is defended by scientists and engineers but opposed by entrepreneurs. It is an accident that will determine the state and various congressional representations to regulate oil exploitation in such a way that nature is not spoiled. Fourth oil culture is not just the exploitation of crude oil, but it creates a whole network of services and roads for the cars that use that oil to run and refill when necessary. It is a structurizing activity whose social consequences are extremely far-reaching. A very well done film on very modern issues. Conservation must be a major objective of man on earth : think of the long-run future instead of the short-term profit.

Dr Jacques COULARDEAU

firewater
Director Stuart Heisler must have liked Susan Hayward because he cast her in 3 films - Among the Living, Smash up - The Story of a Woman, and this one, so in a way he is responsible for elevating her to A level productions. This one hovers in between a B and an A, independently produced, and using a lot of rear projection. The material is interesting in it's view of the American Indian, here presented as land owners and cattle ranchers, with Heisler beginning with a montage of the different kinds of Indians, and Hayward being 3/4 Cherokee. Presumably this is want accounts for her "wildcat" quality.
The screenplay by Frank Nugent and Curtis Kenyon, suggested by a story by Richard Wormser, is a cautionary tale of the emergence of oil drillers in Oklahoma and the effect they had on the environment of the cattle ranchers. We begin with the accidental death of Hayward's father, as the opportunity to hear the anti-oil lobby. However Hayward's form of revenge seems a direct violation of the conservation stance of her descendants, as she enters the oil business to be more successful than her main competitor, the man she blames for her father's death! Robert Preston appears as a "rockhound" engineer who helps Hayward strike oil, and matters reach a climax when she must decide whether to drill the property of her father's Indian friend, Pedro Armendariz.
The notion of Armendariz as a "crazy Indian" is introduced when he refuses to have his land drilled, he is threatened with being declared "mentally incompetent", and Heisler provides an extended and laboured use of montage to suggest his mental breakdown as he drives through fields of oil drilling towers and starts a fire laughing maniacally. Armendariz' view however is seen as a minority as other Indians seem happy to sell as much oil from their property and overlook the "smaller short term profit".
Of course, it is this very issue that produces conflict between Hayward and Preston, with Hayward's ambition seen to be clouding her true nature.
Preston's romantic interest in Hayward is somewhat a surprise considering the way she humiliates him at their first meeting, though I suppose men had to be tougher than usual in the period, but what is more humiliating is the way Preston out-acts her. Here Hayward relies upon big smiles and profile turns for charm, though her yelling at Preston at one point is unexpectedly loud.
Heisler uses horizontal slides, mini-montages, the unbearably bucolic singing of Chill Wills, Freudian symbolism in Hayward drinking from a large glass of brandy in front of Preston, and African-American servants for when Hayward hosts a society party, where Armendariz is a guest in tuxedo. We never actually see a servant serve him, since perhaps the irony would be too much.

Outstanding Performances
This little gem, starring Susan Hayward & Robert Preston is a real bargain at this price! I've seen it a few times & still find Ms. Hayward's performance mesmerizing. Robert Preston, who is usually known for his musical roles(especially The Music Man)is superb as the oilman she becomes involved with. Very highly recommended, especially for Hayward fans. ... Read more

Reviews (5)

Susan Hayward Rules!!
Susan Hayward rules in her portrayal of an alcoholic.It's a great movie!!

A Worthy Film
First, nowhere in IMDB.com's biographies of Susan Hayword and Rita Hayworth do they note ANYTHING even remotely linking these two women ESPECIALLY as "sisters"?

I have not seen Susan Hayword probably since the TV program "Bill Kennedys Showtime" screened them in the early-mid sixties.
She is quite excellent in this film although she is, at times, emotionally all over the place.

I don't believe this was done intentionally to further the alcohol plot device, I believe it is a technique unique to Susan Hayword's acting style.
For example, she will go from a scene of ravishing the screen with natural beauty and then, they make her up to look beautiful (according to Hollywood studio standards) and she looks plastic and trampy. She seems to excel at emotional extremes and she takes advantage of sometimes weak dialog and, via performace strategy, has the ability to raise the scene from "C" to "A" level.
She DEFINITELY "carries" a film! She eats the screen alive.

Now, the songwriting... it is very quaint but if you enjoy a decent melody, you'll find yourself walking about the house humming it (almost to the consternation of any musical preferences!). For all of Susan Hayword's ferociousness Marsha Hunt stands up to her admirably (and rivals her beauty and class). All supporting roles are done quite well, Lee Bowman (as Susan's husband), Eddie Albert (as his songwriter collaborator), and you will enjoy Janet Murdoch as Miss Kirk (Baby Angelica's Nanny) and her wonderful Scots brogue.

I don't expect the greatest from Alpha-Video (Gotham) because they transfer, as is, whatever they can get their hands on from Public Domain. But, at least, we get to see this film!

Overall Quality of DVD: **1/2 /**** Sound: ** /**** Plot: **1/2 /**** Acting: ***/**** Cinematography: ***/**** Direction: ***/****
If you enjoy Susan Hayword, I would recommend: "I Want To Live" & "Tulsa"

Hayward at her best rises about soapish material
This is the film that made Susan Hayward a star. It is one of her top performances. Miss Hayward had been in Hollywood since 1938 or so and had really only done a slew of supporting performances. Then she got the lead in this and it was one of the biggest hits of 1947. She received the first of her five Academy Award nominations. And rightfully so, this film could have easily dissolved into typical 40's melodrama and tears, but Miss Hayward really manages to keep it a cut about all of that. She plays an up-and-comer singer who falls for another up-and-comer singer. They get married and she gives up her career to be a full-time wife and later mother. As her husband's star rises dramatically, she is often left at home while he's on the road, and of course taken for granted. Her husband's young woman business manager who travels with him and pines for him does not help matters. This leads to a severe drinking problem on Miss Hayward's part. As a result, her husband leaves her and keeps their child. Despite trying to sober up to make a professional comeback and to regain custody of the child, Miss Hayward suffers a relapse and both her life and the child's life are in danger. Not to spoil the ending, but it ends as any other 1940's film of this ilk ends.

Yet, Miss Hawyard really keeps this from slipping into silly melodrama. She plays the ignored wife/drunk really well. She creates a tremendous amount of sympathy for the character, and the subtle slide into alcoholism is well-handled. There are some really nice musical numbers in this as well. The rest of the cast is good, and the movie is a little daring in parts. She socializes with her husband's male friends, her husband has a woman business manager, and (gasp) Miss Hawyward lives with her husband briefly before they are married. Racy stuff for 1947! Overall, this is a joy to watch. It is Susan Hayward at her best.

The DVD is nice. The film is visually dark and this was actually distracting in parts, I'm not sure that this was some noir attempt or a bad transfer, but the sound is fine, particularly the songs. There are chapter selections that aren't much, and no extras. It's nice, however, that one of Susan Hayward's best roles is now available on DVD.

Alcohol Makes You Do Crazy Things.
SMASH-UP: THE STORY OF A WOMAN stars Susan Hayward (sister of Rita Hayworth) as Angie Evans, a young singer who ends up destroying part of her life through drinking. Angie is an up-and-coming nightclub and radio sensation. However, one night she meets a man with a voice of gold and they fall in love. Angie gives up her career to be a wife and later a mother. However, her husband hits the big time and she soon finds herself alone with the baby and a bottle of licquer. She slowly declines in alcoholism until she causes a tragic accident which almost costs her life and that of her child.

SMASH-UP is a movie with a lesson. It would seem almost like an after school special, except the movie is made so well it doesn't come off that way. Instead, what is captured on film is a fairly accurate portrayal of what can happen to a person when they become addicted to alcohol. The acting is good and the movie has a very beautiful score. Not too shabby for a preachy, anti-drinking movie.

Susan smashed
Touted as a female version of The Lost Weekend, this was Susan Hayward's breakthrough role for which she was nominated for an Academy Award. (She wouldn't win until 10 years later with I Want to Live). As a nightclub singer who marries and exchanges her career for the bottle, Hayward prefigures her alcoholic Lillian Roth in I'll Cry Tomorrow, with the same physicality and her being a "charming" drunk (as opposed to a nasty one). In her drunk scenes she even uses the facial grimaces that she would go further with in Tomorrow, and she's willing to make herself look silly, with messy hair. Unfortunately an air of B-movie hangs over this production, and Hayward is yet to have the bullish bravado that would make her such an entertaining actress in the 1950's. Things aren't helped by her doing her own singing since it is as ill-advised as in I'll Cry Tomorrow. The B mentailty extends to the character of her also singing husband played by Lee Bowman. Bowman sounds as if his singing his dubbed, his acting is stiff, and when his wife starts drinking he never thinks to ask her why. His only reaction is stern disapproval. His pianist, Eddie Albert is far more sympathetic and "modern" in attitude towards Susan. It's nice to see too that she kept him around for Tomorrow, though I could have done without his habit of chewing gum. The psychology of why Hayward drinks is based on her feelings of low self-esteem. When she marries, she abandons her career to play housewife and mother for Bowman but once he hits it big, and employs household staff and a nanny, Hayward becomes idle. She had drunk before she went on stage to sing but one glass at the most. Here her insecurities about her worth, including a fear that Bowman is being chased by his assistant Marsha Hunt, lead her to drink more. The word "blame" is thrown around a lot yet it seems Susan must be threatend by the death of her child in a fire before she is willing to face her problem, with an odd back to the camera admission, that seems to suggest that a sequel may have been contemplated! In spite of this film running overtime, director Stuart Heisler provides some redemptive touches. A shot of Hayward and Bowman in shadow profile in their first embrace, some sadistic close-ups of the child in pneumatic pain, and a tart conversation between Hayward and Hunt which leads to a much talked of but disappointing catfight that is over before it has begun. Heisler also doesn't manage to avoid the cliche of an unseen orchestra supporting a lone singer, particularly noticeable in a radio spot with Bowman and Albert. ... Read more

Description

A former Confederate guerrilla officer arrives in Dallas, Texas, seeking revenge on the three brothers who ravaged his home and lands. ... Read more

Reviews (5)

OUTDATED LOOKING EVEN IN ITs DAY
Warner's idea of continuing to produce large budget town taming Westerns was something of a myth by the time this film was released in 1950. The idea was old and the film even looks older than it is because of it save for the John Twist's script and Stuat Heisler's direction. The film's opening shootout was a clever piece of scripting and the idea of Gary Cooper and Leif Erickson switching identities is well executed. These are good techniques that enhance the characters but not the plot. The basic premise of cleaning up a Western town is still filmed with very little innovation in standard pre-1950 Hollywood style.

Yagggh!
Completely stupid and boring so-called western. A real let-down. To be avoided by all costs!

Routine, But Never Boring
DALLAS is a routine action/western, the sort of thing John Wayne did in his sleep for Republic throughout the forties. And why shouldn't Coop be permitted to amble through this sort of stuff? And amble he does, looking terrific in his tan buckskin shirt, every inch the hero. The movie is never boring and it zips merrily along, from one action sequence to the next, pausing for an occasional breath so that Cooper and Ruth Roman can set up their eventual kiss at the end. I agree with the previous two reviews that Max Steiner's score is fabulous (far better than the film deserves, truth be told). I also agree that Steiner's score for THE HANGING TREE is "utterly sublime". Not only isn't the score out on CD, but Warner Home Video has taken THE HANGING TREE out of distribution here in the U.S. Not overseas, just here! What idiocy! Furthermore, why?

Tired Cooper/Tired Film
DALLAS is another example of how Warner Bros. had no idea how to use Gary Cooper during his six picture stint with them from 1948 to 1953. Though DALLAS is a servicable western, it plays more like something Randolph Scott or Joel McCrae should have done. There's nothing particularly terrible -- a nice professional cast, an underrated Max Steiner score, even the script at times provides punch (in fact, in the early going, it shows promise of being a light-hearted comedy western, like ALONG CAME JONES, also directed by Stuart Heisler), but the whole exercise seems tired. And Cooper looked just as tired in some scenes. Of the westerns he did for Warners in this period, only SPRINGFIELD RIFLE (with an especially resonant and evocative Max Steiner score; question: why isn't this soundtrack out on CD?) clearly stands out. And yet, Cooper went on to star in four of the finest westerns ever made after this: HIGH NOON, MAN OF THE WEST, THE HANGING TREE (another question: why isn't Steiner's utterly sublime score for THE HANGING TREE out on CD!), and VERA CRUZ. So it is obvious that the problem wasn't Cooper, it was the powers-that-be at Warner Bros. They wasted a very good actor!

A Step Down For Cooper But Fascinating
It must have come as quite a shock when Gary Cooper received the script for his fourth starring vehicle under the Warner's contract he'd signed in 1948.After three classy features("The Fountainhead","Task Force",and "Bright Leaf")with first-rate directors(King Vidor,Delmer Daves,and Michael Curtiz),"Dallas" was a distinct comedown.It had been announced for Errol Flynn(also on the wane by this time),but Cooper was assigned at the eleventh hour.The studio's choice of journeyman Stuart Heisler to direct was hardly a vote of confidance either.If you look at Cooper's gag cameo in the previous year's "It's A Great Feeling",you can get a pretty good idea of how the star was regarded by his new employers.The appearance is brief---Cooper is carelessy photographed(at a time when his age was starting to betray him),and the exchange with Dennis Morgan trades on the old "yup" and "nope" routine that had dogged him since the beginning of his career----two decades of fine performances had taken him way beyond that insulting cliche,yet here he was,engaging in a self-parody that had to hurt.Unfortunatly for Cooper,"Dallas" is more of the same.There is Technicolor,though it doesn't flatter him(his hair looks almost orange at times,even in original dye-transfer prints),and the whole thing has a slapdash,backlot feel about it.So my recommendation?You must get this movie! It's practically a textbook on the declining careers of the pre-war generation of great leading men---a fallow period in the late forties when youngsters like Gregory Peck,Burt Lancaster,and Robert Mitchum were getting the really intresting parts,while the veteran stars---Gable,Flynn,Cooper---were having to make do in studio product that made no allowance for changing times,or the leading man's advancing age(s).Gary Cooper is fabulous in "Dallas"---you can tell he's making the best of a bad job.He's winging dialogue,peppering dull scenes with quirky mannerisms----in short,making plenty out of nothing---getting a lemon,and giving us lemonade.Watch for his introductary scene---it's a classic---and only Cooper could make it look so good----burning that wanted poster and lighting his cigar---yeah! His leading lady is Ruth Roman---oh well,I guess that's where Warner's saved some money---after all,Coop didn't come cheap.For the record,"Dallas" had a negative cost of 1.390 million,and final worldwide rentals were 4.490 million,so Cooper in a western was still boxoffice----it's just a shame WB didn't think enough of him to put a little more effort into the piece.I still love it though---and what a kick to see Raymond Massey in a seedy land-grabber villain role(and Steve Cochran's his brother!)---bet Massey loved telling that one to his lunch companions at the Player's Club.Barbara Payton's there too---read her sleazy auto-bio,watch this movie---and think about it.There's lots to like in "Dallas"---a great(and I mean GREAT)Max Steiner score---a priceless scene where Cooper masquerades as a "dude"---and a sock finish when he finally corners Massey."High Noon" was a year away,but if you wanna know the truth,this one's actually more fun. ... Read more

Reviews (5)

Susan Hayward Rules!!
Susan Hayward rules in her portrayal of an alcoholic.It's a great movie!!

A Worthy Film
First, nowhere in IMDB.com's biographies of Susan Hayword and Rita Hayworth do they note ANYTHING even remotely linking these two women ESPECIALLY as "sisters"?

I have not seen Susan Hayword probably since the TV program "Bill Kennedys Showtime" screened them in the early-mid sixties.
She is quite excellent in this film although she is, at times, emotionally all over the place.

I don't believe this was done intentionally to further the alcohol plot device, I believe it is a technique unique to Susan Hayword's acting style.
For example, she will go from a scene of ravishing the screen with natural beauty and then, they make her up to look beautiful (according to Hollywood studio standards) and she looks plastic and trampy. She seems to excel at emotional extremes and she takes advantage of sometimes weak dialog and, via performace strategy, has the ability to raise the scene from "C" to "A" level.
She DEFINITELY "carries" a film! She eats the screen alive.

Now, the songwriting... it is very quaint but if you enjoy a decent melody, you'll find yourself walking about the house humming it (almost to the consternation of any musical preferences!). For all of Susan Hayword's ferociousness Marsha Hunt stands up to her admirably (and rivals her beauty and class). All supporting roles are done quite well, Lee Bowman (as Susan's husband), Eddie Albert (as his songwriter collaborator), and you will enjoy Janet Murdoch as Miss Kirk (Baby Angelica's Nanny) and her wonderful Scots brogue.

I don't expect the greatest from Alpha-Video (Gotham) because they transfer, as is, whatever they can get their hands on from Public Domain. But, at least, we get to see this film!

Overall Quality of DVD: **1/2 /**** Sound: ** /**** Plot: **1/2 /**** Acting: ***/**** Cinematography: ***/**** Direction: ***/****
If you enjoy Susan Hayword, I would recommend: "I Want To Live" & "Tulsa"

Hayward at her best rises about soapish material
This is the film that made Susan Hayward a star. It is one of her top performances. Miss Hayward had been in Hollywood since 1938 or so and had really only done a slew of supporting performances. Then she got the lead in this and it was one of the biggest hits of 1947. She received the first of her five Academy Award nominations. And rightfully so, this film could have easily dissolved into typical 40's melodrama and tears, but Miss Hayward really manages to keep it a cut about all of that. She plays an up-and-comer singer who falls for another up-and-comer singer. They get married and she gives up her career to be a full-time wife and later mother. As her husband's star rises dramatically, she is often left at home while he's on the road, and of course taken for granted. Her husband's young woman business manager who travels with him and pines for him does not help matters. This leads to a severe drinking problem on Miss Hayward's part. As a result, her husband leaves her and keeps their child. Despite trying to sober up to make a professional comeback and to regain custody of the child, Miss Hayward suffers a relapse and both her life and the child's life are in danger. Not to spoil the ending, but it ends as any other 1940's film of this ilk ends.

Yet, Miss Hawyard really keeps this from slipping into silly melodrama. She plays the ignored wife/drunk really well. She creates a tremendous amount of sympathy for the character, and the subtle slide into alcoholism is well-handled. There are some really nice musical numbers in this as well. The rest of the cast is good, and the movie is a little daring in parts. She socializes with her husband's male friends, her husband has a woman business manager, and (gasp) Miss Hawyward lives with her husband briefly before they a