Reviews (26)

Greatest golden age fantasy still well worth owning
This masterpiece, often referred to as the greatest fantasy movie ever, still holds up well over 60 years later. The Thief of Bagad has a terrific story with enchanting magic, enticing romance and terrific suspense. The acting is absolutely superb with fine performances turned in by Sabu the little thief, Rex Ingram as the powerful and scary genie, and Conrad Veidt who as the evil Vizier Jaffar is one of the best villians ever. John Justin, the blinded Caliph and his beloved princess (June Deprez) provide an engaging and often tragic romance that lends terrific depth to this story.

Best yet is the awesome imagination brought to life in this masterpiece epic. While some of the effects show their age (The spider, for instance), others, such as the flying mechanical horse and the magical carpet are still captivating. The immense attention to detail is evident in the palaces, the ships and the sultan's toy collection. Miklos Rosza's musical score along with this movie's wonderful cinematography recreates the legendary time of the Arabian Nights.

For my one complaint, while this movie clearly rates 5 stars, I'm knocking my review down to 4 stars due to the lack of DVD extras. When compared to spectacular golden age DVDs like Robin Hood, one begins wish all were made this way. Children from 8-13 (as well as adults) will still find joy in this delightful picture.

Brilliant Fantasy Adventure!!!
A blinded beggar, Ahmad, with his wise dog, is begging for food and coins in the harbor of a distant city. The Grand Vizier Jaffar requests that the beggar should be brought to the palace to help his beloved Princess wake up from a deep trance like sleep, since legends tell him that only a blind man can awaken the princess. During the blind man's visit, he tells the story of his life and how he once was the King of Bagdad and his dog was a thief named Abu. The story also reveals that he was blinded by the evil Vizier Jaffar and how he fell in love with the Princess. Thief of Bagdad is a captivating fantasy tale with magical items, dubious creatures, and enchanting adventures of a long lost king. The wide variety of creatures, items, and adventures is delicately balanced with a well written story, precise cinematography, and special effects that do not ruin the story despite the age of the film. The experience that is provided through this cinematic event is a magical story that offers both entertainment as well as contemplation, which is useful for young and old.

A masterpiece to been seen by all generations
"The Thief of Baghdad" is a masterpiece and should be seen by the present and future generations. It is a movie complete and all its aspects. I was 10 when I first saw "The Thief of Baghdad" and since then I could never forget the moments of enchantment it brought to me everytime (more than 10 times)I went to the movies to see it on the big screen. It was and still is my fantasy favorite movie. In the Middle 60's I finally found a copy in 16mm at a distributor and had to rent a projector to show the film at home. Although the copy was in very bad conditions I could even so, be able to go back to the days of my childhood while enjoying this wondereful film.
Recently I púrchased a VHS copy at Amazon[.com] and virtually "obliged" my 18 year-old daughter to watch it. It was a prize to have the film with me at all times. The new edition in DVD is perfect and reveals all the splendor the film brings.

A Fairy Tale concealing the Prennial Wisdom
I first saw this movie as a child in the 1940's. The effects were the best ever for the time, and even look really good today. This is another hero tale complete with a lowly but likable thief who undergoes the classic perils all heros face, but the placement is beaufifully fantasic with the mystery of sultans, evil vizer, genii, minerets, blue rosess of forgetfulness, and magical toys that come to life in Baghdad and Basra. It became my family's all time favorite, along with another Sabu movie, Jungle Book. If this is the type of fantasy and truth you like, go for it.

A Dream
Superb remake of Douglas Fairbanks silent classic; with Sabu as the charming little thief, helping a blinded caliph (John Justin), victim of evil Jaffar (Conrad Veidt), to recover her position and her sweetheart (June Duprez), setting for just amazing adventures.

Filled with wild ideas (the menacing shadow of Jaffar, the blue rose, the horse-toy, the sculpture of many hands, the giant spider, the laughing Genius), and a very, very beautiful color photography (June Duprez is beautiful and John Justin's eyes sparkle with intensity), this film is a certainly unspeakable dazzle for me. ... Read more

Reviews (14)

LORD AND LADY OLIVIER.
Vivien Leigh and Laurence Olivier make a beautiful pair as they portray Lady Emma Hamilton and Lord Horatio Nelson in THAT HAMILTON WOMAN! Trivia buffs should know that this was Winston Churchill's favourite film; he had it screened many times. Only part of the astonishing life of Emma, Lady Hamilton is told in this big, sprawling Alexander Korda movie, which makes of Napoleon an earlier Hitler and of Naples an 18th Century warning to America. Her real name was Amy Lyon. Before she married aging Sir William Hamilton, British Prime Minister to the Kingdom of Naples, she had lived in the London slums, passed from hand to hand, bore several illegitimate children and posed as Circe, Cassandra, Nature, Joan of Arc and Mary Magdalene for George Romney, the great English portrait painter. At Naples, she created endless scandal, became the crony of Queen Maria Carolina and met young English Naval Captain Horatio Nelson. From then on, their lives were constantly intertwined, making choice chatter for London gossips. Meanwhile, the young captain chased Napoleon's fleet around the Mediterranean, lost an eye and an arm, became the idolised "Victor of the Nile", the immortal Lord Nelson who died of a sharpshooter's ball at the Battle of Trafalgar (1805). Producer Korda makes of his heroism an epic of British defiance to dictators, of Emma's sordid life - a romance in the lush PRISONER OF ZENDA style.

A TALE OF STAR CROSSED LOVERS...
This film is based upon the real life love affair between Lord Admiral Horatio Nelson and Lady Emma Hamilton, wife of the British Ambassador to Naples. Real life husband and wife team, Laurence Olivier and Vivien Leigh, as the star crossed lovers, give magnificent performances. Ms. Leigh is absolutely enchanting in the role of Lady Hamilton. Mr. Olivier is likewise effective in his role, though Ms. Leigh is definitely the star of this show. The supporting cast also gives superb performances, particularly Henry Wilcoxon in the role of the cuckolded husband, Lord William Hamilton.

The story tells the viewer of the rise of Emma Hart, a blacksmith's daughter with a scarlet past, who by dint of her beauty and determination rose out of poverty and obscurity to become the wife of Lord William Hamilton, the British Ambassador to Naples. After their marriage, she is known as Lady Hamilton and becomes the toast of Naples. She then meets Admiral Horatio Nelson and her life changes, yet again. Defying social conventions, she and the also married Nelson begin a love affair that was to become public knowledge and lead to great scandal. What happened to them is memorably dramatized.

This is a wonderful film that all who love period pieces and historical dramas will enjoy.

Emma and Vivien much alike
They both died in their early 50s and indeed supported tirelessly their men(Nelson & Olivier). Because of their women; they became Lords... Vivien Leigh is really playing herself in this Korda-production(made as propaganda in order 2 get the States involved here in the Europeen-conflict)... When u read Vivien`s letters(as u can in the biography by Hugo Vickers) you`ll see that Vivien`s Emma is a variation of herself...

Vivien Leigh is the all-time-great-actress from a bygone era - don`t miss this film - her only film as Lady Olivier. Vivien set aside; the film offers a lot in dialogue, photography, performances, set design and music. Winston Churchill(his favorite movie) tortured his visitors who had to sit through it on more than 1 occasion hehehe.

There is that Hamilton Woman
This is my favorite romantic movie. Vivien Leigh is dazzling as Emma, Lady Hamilton the love of Lord Nelson's life and Lawrence Olivier is just so sad and wonderful that half the audience probably falls in love with him before Emma does. In real life Emma and Lord Nelson spent a much longer time togehter than shown in the movie but that's okay. The film does a near perfect job of depicting the out of control passion that flowed between these two people.

that hamilton woman
This movie is without a doubt Vivien Leighs greatest movie. It tells the true story of one of histories best known, albeit, illicit love affairs. Lady Hamilton begins and ends life sad and without means, but oh those years in between! Emma and her co-adulter Lord Nelson share a wonderful yet tragic love, unfortunately a child was born of this union and shuffled off to a boarding home,evidently without sharing in the love the parents nurtured for many years, actually until death took Lord Nelson. What a shame that many of Viviens roles paralleled her own sometimes tragic life. Mores the pity she didn't make many, many movies in her younger years when she showed such beauty and vitality, before her mental illness robbed her of much happiness and success and tuberculosis robbed her of her life. ... Read more

Amazon.com

"There comes a time in a man's life when he needs rest, and I'm going to have it!" So says the aging Don Juan (Douglas Fairbanks), badly needing a vacation from his status as the world's greatest lover. And so it was with Fairbanks himself in this, his final film after decades of swashbuckling stardom. It was 1934--the Great Depression was in full swing, and Fairbanks wasn't faring much better; audiences grew weary of the adventures that made him a superstar throughout the 1920s. Here, Fairbanks's farewell takes the form of self-deprecating satire, showing Don Juan on a diet, getting a massage after a night of leaping from the balconies of bored wives and swooning maidens.

It's fun to a point, and although Fairbanks seems as tired as his character, he gamely pokes fun at his image while upholding its screen traditions. The film itself is '30s comedy at its stodgiest; veteran British producer-director Alexander Korda has all of England's filmmaking resources at his disposal, including sets and costumes as lavish as they come, and yet he seems to have no affinity for the humor. It's hit-and-miss, with Don Juan faking his own death to earn his much-needed rest. The plan backfires, naturally, forcing the still-vital lover to convince his true beloved (played by Merle Oberon) that he'll be faithful to the end. Clearly, the best way to appreciate The Private Life of Don Juan is to view it in the context of Fairbanks's stellar career; isolated from that legacy of screen charm and physicality, this movie badly needs Viagra. --Jeff Shannon ... Read more

Reviews (3)

Very watchable and entertaining!
My first impressions of this 1934 comedy were all positive so I was surprised to read many negative comments in the reviews, but after watching it again in case I missed something, I still give it the same high rating I had originally intended. It seems to me that far too much emphasis has been put on Douglas Fairbanks, and that viewers who have enjoyed his 1920s swashbuckling silent films were disappointed to see him in quite a different role. I will bet that anyone who doesn't even know who Fairbanks was would enjoy "The Private Life of Don Juan" without giving the lead part a second thought because they have no preconceived ideas or expectations. Unfortunately, this is what happens to many actors who become well-known for a certain kind of role of film, and in many people's minds this image becomes synonymous with the actor. Perhaps we need to step back and view things more objectively and neutrally, seeing each performer only in context of the film in question.Ironically, the main theme of this film shows exactly this, namely the stereotyping of Don Juan who caused all the ladies of Seville to swoon and jealous husbands to challenge him to a duel, then returns after a 20-year absence only to find that the legend of the young Casanova has grown far bigger than he ever was. Even a book entitled "the Private Life of Don Juan" is published and read by swooning women who fantasize about this romantic ideal, and it all reminds me of real-life legends like Elvis, Marilyn Monroe, Kennedys, Princess Diana, etc who have been immortalized in the public's mind as far greater than any mere mortal could ever be! Apparently, the same fate has befallen Douglas Fairbanks, and maybe this was part of the reason he retired from acting after this film, realizing that the public wanted and expected the silent swashbuckler, not Fairbanks the actor.I simply could not find any fault in either Fairbanks's acting nor in any other aspect of this film. I've heard that silent screen stars often did not have the same appeal to the public in 'talkies', but in the case of Douglas Fairbanks, I can only assume it has to do with this phenomenon of stereotyping and unrealistic expectations. Every peformer in this film acted well, and Fairbanks suited the role of Don Juan perfectly, adding as much expression in his speech as he did non-verbally in earlier silent films. Although Don Juan is supposed to be getting fat and unappealing, I saw no such signs on Douglas Fairbanks himself, who appeared as slim and spritely as ever, so once again I have to wonder how much preconceived ideas can affect our judgement and perception if some viewers saw a tired, sluggish old man instead! Finally, this is not a Douglas Fairbanks film after all, rather a clever and well-presented film making light of some real and serious issues (the age-old problems between men and women concerning love and marriage, as well as stereotyping and making legends out of practically nothing!) and every performer and creative person behind the scenes deserves equal credit for this entertaining film.

Sir Alexander Korda in Seville
Even by the often unstable conditions of the movie industry, Sir Alexander Korda (1893-1956)had quite a varied career. He started out in 1916 as pioneer director in his native Hungary, then emigrated to Austria in 1919, where he made the epic Samson and Dalila (1922), before ending up in Hollywood like so many talented figures from Central Europe. Although he was quite successful here--one of his hits was The Private Life of Helen of Troy (1927)--he was, I believe, ruined in the Market Crash of 1929 and returned to Europe. After a brief sojourn in France, he went to England and founded London Films in 1932.

Korda's London Films productions were the absolute antithesis of run-of-the-mill British movies at that time: cosmopolitan rather than provincial; literate rather than stagy; and often distinguished by an unusual visual flair. Nevertheless, precisely the things that made Korda's movies attractive to educated moviegoers in the 1930s are exactly the things that are likely to make them a deadly bore to present day viewers. The Private Life of Don Juan well illustrates the strengths and weaknesses of Korda's work as producer, especially in the casting. As one of the ladies of Seville, Merle Oberon looks photogenic enough and performs well, but as the aging Don Juan, the aging Douglas Fairbanks doesn't cut a happy figure, and his rather prosaic American enunciation clashes with the sculpted tones of British thespians. Moreover, the movie's coy attempts at risque humor, in contrast to the gutsy ribaldry of contemporary American pictures, come across today as the kind of stuff primarily intended to titillate someone's maiden aunt.

But Korda as a director is a rather different story--he may be the unique example in movie history of a producer whose best director was himself. Sadly, many of Korda's silent films have vanished, but the extant evidence from the 1930s suggests that Sir Alexander was on occasion capable of rivalling such masters of staging and composition of the 1920s as Lubitsch and Lang. Although The Private Life of Don Juan is not as effectively filmed as The Private Life of Henry VIII nor Rembrandt--his real masterpiece--it is still a stylish piece which exploits the scenic possibilities of 18th century Spanish architecture such as imposing facades, latticework, jalousies, wrought iron gates, and various structural decorations for all they are worth. One particularly impressive example of Korda's eye for composition is the scene of Don Juan's supposed funeral, with masses of black-garbed mourners juxtaposed against the neutral tones of the set, a scene that quite transcends the rest of this etiolated farce.

As might be expected in a Korda picture, the production values are first-rate. The delicious sets were designed by Korda's brother Vincent and the costumes by Oliver Messel; the great French cinematographer Georges Perinal did the photography; and the movies features quite a good score by Ernst Toch. As an added bonus, The Private Life of Don Juan includes one of the few screen appearances by Natalie Paley, a luminary of cafe society and Romanov princess who tried unsuccessfully to break into the movies.

A Dull Farewell From Douglas Fairbanks
"The Private Life of Don Juan" emerged as a disappointing swansong for Douglas Fairbanks, even though he was appropriately cast in the title role. Directed by Alexander Korda, this 1934 production was a lackluster attempt to duplicate the success of Charles Laughton's "The Private Life of Henry VIII." To make matters worse, the aging Fairbanks had little enthusiasm for his sound films, with the exception of the light-hearted "Mr. Robinson Crusoe" (1932) -- which would have been a more appropriate farewell. Despite Korda's fine production values, "The Private Life of Don Juan" remains a flat and somewhat depressing "romantic satire." One wishes that Fairbanks had not made this film. ... Read more

Reviews (9)

good old movie
This is a really old movie but if you are a King Henry Vlll bluff you will like it. Charles Laughton makes a wonderful King Henry Vlll. I love all of the Charles Laughton King Henry movie and this one is great. For all King Henry Vlll fans. Worth buying.

A charming, clever British comedy
Charles Laughton is typically wonderful in his broadly-played role as England's King, Henry the Eigth, who infamously married six different queens, divorcing or executing them as circumstances warranted. The script to this magnificent Alexander Korda production is a witty jab at English history buffs, touching only briefly on the supposed treachery of Ann Boleyn, concentrating instead on the preposterous emotional life of the lusty, capacious King. Laughton, as ever, is a marvel, skillfully presenting Henry at first as a thinly-cariacatured lout, and gracefully embuing him with gradual shades of pathos and humanity. Viewers who look to this film as historical drama are clearly missing the point: this is all about the cleverly-rendered script, which turns British schoolboy lessons on their heads, and on the classy ensemble acting, which admittedly may be hard to focus on with the lamentable quality of the current print (I'm writing in the year 2003; perhaps Criterion or some other class-act movie restoration company can correct this problem soon). Still, fans of early British cinema will enjoy this film a lot.

Better if done in series like the 1970's version
This version was enrtaining and interesting, but it had flaws. If Katherine of Aragon was the first wife, why didn't they show her. The opening details said she was insignificant. That's unacceptable to me! The director needed a lot of fixing to do. I did like Binnie Barnel as Katherine Howard; she was adorable. Henry's grief on her death inspired a poem from me. If each wife was done in a series with each being at least 45 minutes, this movie would have rocked. But the sixth wife was done way out of character; Katherine Parr was a better woman in the 1970's series. This one was a nagging dog. Listen Katherine Parr (Everly Gregg), I don't know what I'm going to do with you!! *Points a finger at her* And as for the tall wife who said "I haven't had a new gown in a year I say to her. "You will be executed!" *Slaps her face. She holds her face in shock* And as for you, nurse! *Grabs the son out of her arms and gives it back to Henry. Then I punch the nurse in the nose* It doesn't matter if it was your charm, it's Henry's child none the less!!!

LOVERS OF HISTORICAL DRAMAS SHOULD LOOK ELSEWHERE...
This is a somewhat disappointing historical drama, directed by Alexander Korda. While Charles Laughton does, indeed, give an excellent performance as Henry VIII, the film suffers from its screenplay, which chooses to focus on Henry's last five marriages, with emphasis on his fourth and probably least important marriage, that to Anne of Cleves. One has to wonder if her prominence in the film was due to the role being played by Elsa Lancaster, Laughton's wife at the time. The most important marriage, that to Katherine of Aragon, is dismissed as being of no interest. This is an amazing and absurd statement, given the fact that it was this marriage that ultimately set England on the path to Protestantism and the establishment of the Church of England. As a historical drama, the film leaves a lot to be desired, as it suffers from superficial treatment.

The film begins with the execution of Ann Boleyn, played by the lovely Merle Oberon, who, despite star billing, is only in the film for several minutes. The film then goes to the marriage to Jane Seymour, played by an actress with a thirties style hair bob. It is Jane who gives the King his heart's desire, a son and heir, before succumbing to death shortly after childbirth.

The film then segues into the marriage to Anne of Cleves, which role is played with comedic abandon by Ms. Manchester. This is followed by Henry's marriage to Katherine Howard, a young wanton who cuckolds the king with Thomas Culpepper, one of the King's Gentlemen of the Privy Chamber. The role of the hapless Thomas Culpepper is played by screen great, Robert Donat. Katherine Howard, as did Anne Boleyn, ends up losing her head on the chopping block for her treasonous transgression. Henry's last wife, Katherine Parr, is merely depicted as a loving and caring woman, watching out for Henry in his dotage.

The video itself is of very poor quality, with a lot of static which renders portions of the film's dialogue inaudible. It is also disconcerting to have many of the female cast wandering about the set with nineteen thirties style hair bobs, as this serves to have a jarring effect. For a better and historically more accurate picture of the wives of King Henry VIII, one would do well to view the BBC production, "The Six Wives of Henry VIII", which is available on DVD and as a set of six video cassettes.

Not historically accurate, but very funny
This movie pokes fun at all of Henry's wives and his ill temper.There is very little accuracy in the history, but still funny. ... Read more

Reviews (3)

Very watchable and entertaining!
My first impressions of this 1934 comedy were all positive so I was surprised to read many negative comments in the reviews, but after watching it again in case I missed something, I still give it the same high rating I had originally intended. It seems to me that far too much emphasis has been put on Douglas Fairbanks, and that viewers who have enjoyed his 1920s swashbuckling silent films were disappointed to see him in quite a different role. I will bet that anyone who doesn't even know who Fairbanks was would enjoy "The Private Life of Don Juan" without giving the lead part a second thought because they have no preconceived ideas or expectations. Unfortunately, this is what happens to many actors who become well-known for a certain kind of role of film, and in many people's minds this image becomes synonymous with the actor. Perhaps we need to step back and view things more objectively and neutrally, seeing each performer only in context of the film in question.Ironically, the main theme of this film shows exactly this, namely the stereotyping of Don Juan who caused all the ladies of Seville to swoon and jealous husbands to challenge him to a duel, then returns after a 20-year absence only to find that the legend of the young Casanova has grown far bigger than he ever was. Even a book entitled "the Private Life of Don Juan" is published and read by swooning women who fantasize about this romantic ideal, and it all reminds me of real-life legends like Elvis, Marilyn Monroe, Kennedys, Princess Diana, etc who have been immortalized in the public's mind as far greater than any mere mortal could ever be! Apparently, the same fate has befallen Douglas Fairbanks, and maybe this was part of the reason he retired from acting after this film, realizing that the public wanted and expected the silent swashbuckler, not Fairbanks the actor.I simply could not find any fault in either Fairbanks's acting nor in any other aspect of this film. I've heard that silent screen stars often did not have the same appeal to the public in 'talkies', but in the case of Douglas Fairbanks, I can only assume it has to do with this phenomenon of stereotyping and unrealistic expectations. Every peformer in this film acted well, and Fairbanks suited the role of Don Juan perfectly, adding as much expression in his speech as he did non-verbally in earlier silent films. Although Don Juan is supposed to be getting fat and unappealing, I saw no such signs on Douglas Fairbanks himself, who appeared as slim and spritely as ever, so once again I have to wonder how much preconceived ideas can affect our judgement and perception if some viewers saw a tired, sluggish old man instead! Finally, this is not a Douglas Fairbanks film after all, rather a clever and well-presented film making light of some real and serious issues (the age-old problems between men and women concerning love and marriage, as well as stereotyping and making legends out of practically nothing!) and every performer and creative person behind the scenes deserves equal credit for this entertaining film.

Sir Alexander Korda in Seville
Even by the often unstable conditions of the movie industry, Sir Alexander Korda (1893-1956)had quite a varied career. He started out in 1916 as pioneer director in his native Hungary, then emigrated to Austria in 1919, where he made the epic Samson and Dalila (1922), before ending up in Hollywood like so many talented figures from Central Europe. Although he was quite successful here--one of his hits was The Private Life of Helen of Troy (1927)--he was, I believe, ruined in the Market Crash of 1929 and returned to Europe. After a brief sojourn in France, he went to England and founded London Films in 1932.

Korda's London Films productions were the absolute antithesis of run-of-the-mill British movies at that time: cosmopolitan rather than provincial; literate rather than stagy; and often distinguished by an unusual visual flair. Nevertheless, precisely the things that made Korda's movies attractive to educated moviegoers in the 1930s are exactly the things that are likely to make them a deadly bore to present day viewers. The Private Life of Don Juan well illustrates the strengths and weaknesses of Korda's work as producer, especially in the casting. As one of the ladies of Seville, Merle Oberon looks photogenic enough and performs well, but as the aging Don Juan, the aging Douglas Fairbanks doesn't cut a happy figure, and his rather prosaic American enunciation clashes with the sculpted tones of British thespians. Moreover, the movie's coy attempts at risque humor, in contrast to the gutsy ribaldry of contemporary American pictures, come across today as the kind of stuff primarily intended to titillate someone's maiden aunt.

But Korda as a director is a rather different story--he may be the unique example in movie history of a producer whose best director was himself. Sadly, many of Korda's silent films have vanished, but the extant evidence from the 1930s suggests that Sir Alexander was on occasion capable of rivalling such masters of staging and composition of the 1920s as Lubitsch and Lang. Although The Private Life of Don Juan is not as effectively filmed as The Private Life of Henry VIII nor Rembrandt--his real masterpiece--it is still a stylish piece which exploits the scenic possibilities of 18th century Spanish architecture such as imposing facades, latticework, jalousies, wrought iron gates, and various structural decorations for all they are worth. One particularly impressive example of Korda's eye for composition is the scene of Don Juan's supposed funeral, with masses of black-garbed mourners juxtaposed against the neutral tones of the set, a scene that quite transcends the rest of this etiolated farce.

As might be expected in a Korda picture, the production values are first-rate. The delicious sets were designed by Korda's brother Vincent and the costumes by Oliver Messel; the great French cinematographer Georges Perinal did the photography; and the movies features quite a good score by Ernst Toch. As an added bonus, The Private Life of Don Juan includes one of the few screen appearances by Natalie Paley, a luminary of cafe society and Romanov princess who tried unsuccessfully to break into the movies.

A Dull Farewell From Douglas Fairbanks
"The Private Life of Don Juan" emerged as a disappointing swansong for Douglas Fairbanks, even though he was appropriately cast in the title role. Directed by Alexander Korda, this 1934 production was a lackluster attempt to duplicate the success of Charles Laughton's "The Private Life of Henry VIII." To make matters worse, the aging Fairbanks had little enthusiasm for his sound films, with the exception of the light-hearted "Mr. Robinson Crusoe" (1932) -- which would have been a more appropriate farewell. Despite Korda's fine production values, "The Private Life of Don Juan" remains a flat and somewhat depressing "romantic satire." One wishes that Fairbanks had not made this film. ... Read more

Reviews (9)

good old movie
This is a really old movie but if you are a King Henry Vlll bluff you will like it. Charles Laughton makes a wonderful King Henry Vlll. I love all of the Charles Laughton King Henry movie and this one is great. For all King Henry Vlll fans. Worth buying.

A charming, clever British comedy
Charles Laughton is typically wonderful in his broadly-played role as England's King, Henry the Eigth, who infamously married six different queens, divorcing or executing them as circumstances warranted. The script to this magnificent Alexander Korda production is a witty jab at English history buffs, touching only briefly on the supposed treachery of Ann Boleyn, concentrating instead on the preposterous emotional life of the lusty, capacious King. Laughton, as ever, is a marvel, skillfully presenting Henry at first as a thinly-cariacatured lout, and gracefully embuing him with gradual shades of pathos and humanity. Viewers who look to this film as historical drama are clearly missing the point: this is all about the cleverly-rendered script, which turns British schoolboy lessons on their heads, and on the classy ensemble acting, which admittedly may be hard to focus on with the lamentable quality of the current print (I'm writing in the year 2003; perhaps Criterion or some other class-act movie restoration company can correct this problem soon). Still, fans of early British cinema will enjoy this film a lot.

Better if done in series like the 1970's version
This version was enrtaining and interesting, but it had flaws. If Katherine of Aragon was the first wife, why didn't they show her. The opening details said she was insignificant. That's unacceptable to me! The director needed a lot of fixing to do. I did like Binnie Barnel as Katherine Howard; she was adorable. Henry's grief on her death inspired a poem from me. If each wife was done in a series with each being at least 45 minutes, this movie would have rocked. But the sixth wife was done way out of character; Katherine Parr was a better woman in the 1970's series. This one was a nagging dog. Listen Katherine Parr (Everly Gregg), I don't know what I'm going to do with you!! *Points a finger at her* And as for the tall wife who said "I haven't had a new gown in a year I say to her. "You will be executed!" *Slaps her face. She holds her face in shock* And as for you, nurse! *Grabs the son out of her arms and gives it back to Henry. Then I punch the nurse in the nose* It doesn't matter if it was your charm, it's Henry's child none the less!!!

LOVERS OF HISTORICAL DRAMAS SHOULD LOOK ELSEWHERE...
This is a somewhat disappointing historical drama, directed by Alexander Korda. While Charles Laughton does, indeed, give an excellent performance as Henry VIII, the film suffers from its screenplay, which chooses to focus on Henry's last five marriages, with emphasis on his fourth and probably least important marriage, that to Anne of Cleves. One has to wonder if her prominence in the film was due to the role being played by Elsa Lancaster, Laughton's wife at the time. The most important marriage, that to Katherine of Aragon, is dismissed as being of no interest. This is an amazing and absurd statement, given the fact that it was this marriage that ultimately set England on the path to Protestantism and the establishment of the Church of England. As a historical drama, the film leaves a lot to be desired, as it suffers from superficial treatment.

The film begins with the execution of Ann Boleyn, played by the lovely Merle Oberon, who, despite star billing, is only in the film for several minutes. The film then goes to the marriage to Jane Seymour, played by an actress with a thirties style hair bob. It is Jane who gives the King his heart's desire, a son and heir, before succumbing to death shortly after childbirth.

The film then segues into the marriage to Anne of Cleves, which role is played with comedic abandon by Ms. Manchester. This is followed by Henry's marriage to Katherine Howard, a young wanton who cuckolds the king with Thomas Culpepper, one of the King's Gentlemen of the Privy Chamber. The role of the hapless Thomas Culpepper is played by screen great, Robert Donat. Katherine Howard, as did Anne Boleyn, ends up losing her head on the chopping block for her treasonous transgression. Henry's last wife, Katherine Parr, is merely depicted as a loving and caring woman, watching out for Henry in his dotage.

The video itself is of very poor quality, with a lot of static which renders portions of the film's dialogue inaudible. It is also disconcerting to have many of the female cast wandering about the set with nineteen thirties style hair bobs, as this serves to have a jarring effect. For a better and historically more accurate picture of the wives of King Henry VIII, one would do well to view the BBC production, "The Six Wives of Henry VIII", which is available on DVD and as a set of six video cassettes.

Not historically accurate, but very funny
This movie pokes fun at all of Henry's wives and his ill temper.There is very little accuracy in the history, but still funny. ... Read more

Reviews (1)

Interesting from an historical perspective
An effective and explicitly propagandistic wartime docudrama, co-directed by the ever-quirky Michael Powell, and clearly aimed at a hometown audience seeking reassurance during the ongoing German Blitz. Merle Oberon and Ralph Richardson star as a British couple doing their bit to beat back the Hun, but in truth the acting parts are the least noteworthy aspect of this feature-length film, which is structured more like a newsreel than a drama. The opening sequences, which feature a clever montage that juxtoposes the wholesome, modern look of freedom-loving England with the sinister, humourless world of the Nazis, has some great footage and several interesting aspects. The apparent faith in modernity (as extolled in the newly-built high-rise tenements and lengthy footage of wartime industrial production) and the uniquely Powell-ian sense of humor which frames the narration are equally of note... The second half of the film involves a recreation of an early RAF bombing raid on the mainland, and a lengthy dramatization of how the Brits would fend off German bombers through a combination of ground artillery and plane-to-plane dogfights. The film was probably also meant to act as disinformation: we are shown an elaborate, James Bond-ish, secret control center which coordinates information phoned in by local "plane watchers," when in fact Britain had already developed a radar defense, which proved key to their success in controlling the airspace over the English Channel. Likewise, there is no mention of the controversial "lend-lease" arrangement, set up with the nominally-neutral United States, which had not yet joined the war. Finally, this pro-RAF film proved to be rather prophetic, as it was produced and released just before the airborne Battle of Britain, which was one of the pivotal fights of the War. A fascinating and somewhat quaint bit of wartime propaganda. ... Read more

Reviews (4)

An excellent movie but ...
As some reviewer have stated it has paid "careful attention payed to historical fact" I beg to differ. While the movie is highly entertaining and well acted please keep in mind it is a movie. Some facts are to be found but much license has been taken with the facts for story sake. For one Hendrickje Stoffels, engaged as his housekeeper about 1649 some 7 years after the death of his wife. I.E. they never met and there for Rembrandt could not have been tried for adultry, another error. Those are only two, but as I said IT'S A MOVIE not a history lesson. The DVD shows the age of the movie, some effort has been made to improve inage quality and sound but there still are a few hard cuts and signs of it's age. Well worth watching if you like art or you're just an old movie junkie. I would give it 5 stars but I'm taking one due to the historical errors and no extras on the DVD other than trailers.

"I live in a beautiful, blinding, swirling mist"
Charles Laughton's portrayal of the great Rembrandt is itself a masterpiece, full of sensitivity, pathos, whimsy, a lustful eye for the women who caught his fancy, and the eccentricities of a genius who lived way beyond his means and owed more than he owned to his creditors.
Rembrandt loved much, and suffered many personal losses, but his paintings became more luminous and full of emotional depth as the years went by. Laughton is also made to look much like the master, with his wispy mustache, and the resemblance to the famous self-portraits of the last ten years of his life is remarkable.

The film begins when Rembrandt is 36, in 1642, with the passing of his beloved wife Saskia, the model for so many of his works, and is followed by the controversy over his magnificent and enormous "The Night Watch", which was unveiled the same year. I never imagined this picture to be so huge and powerful.
The details of seventeenth century Amsterdam are marvelous, and I especially enjoyed seeing how the studio of the time was set up, with pigments in bottles, and canvas tied to a stretcher frame.

The film belongs to Laughton, and his magnificent performance, but the supporting cast is great, with Elsa Lanchester as Hendrickje, Gertrude Lawrence as his housekeeper and common law wife, and John Bryning as Titus, the only one of his four children with Saskia that survived.
Remarkably clear for its age, with very few crackles in its lovely cinematography by Geoffrey Toye, its years are more noticeable in the soundtrack (by Georges Perinal) than visually. Meticulously directed by Alexander Korda, this film should be seen by all art aficionados, and those who love Rembrandt's work, as you will love it even more after seeing this film. Total running time is 85 minutes.

A high point in early British cinema
This film is an outstanding item among Alexander Korda's almost single-handed efforts beginning in the 1930s to transform British cinema from an industry dominated by worthless "quota quickies" to a first-class competitor in world cinema. Korda had a prominent hand in such great classics as The Private Life of Henry VIII, The Scarlet Pimpernel, The Four Feathers, The Thief of Baghdad, and many others; this level of greatness is akin, for example, to what a company like Pixar is doing with animation in movies such as Toy Story today. The best of the Korda films are nothing if not imperishable classics. And Rembrandt ranks right at the top among them. The power of the film lies primarily in Mr. Laughton's priceless performance, which is a great waggish role and yet is remarkably subtle in both gently comic and touchingly tragic ways. The exchanges with Roger Livesey as "beggar Saul," with Elsa Lanchester as Hendrickje Stoffels, and with the worthies who stirred up scandal after Rembrandt used a commission to portray them in a less than idealized light, are lively parts of the spirited whole that this film represents. And, though the film has sad elements, the overriding portrayal is of an indomitable spirit who, in his eccentric way, triumphs over adversity and mediocrity to leave a cherished legacy of his artistry for the world. Truly, this is one of the greats among films, and certainly among biographical ones. Viewers will love this film for the depth of its powerful central characterization surrounded by outstanding talents in all departments. Highly recommended.

Brilliant
This oldie-but-goodie succeeds where so many others have failed miserably. The careful attention payed to historical fact as well as Charles Laughton's breathtaking performance all compile to form a thouroughly enjoyable biographical feature. The manner in which Laughton's performance matches wit with integrity makes this masterpiece a true prize of the silver screen. ... Read more

Reviews (9)

good old movie
This is a really old movie but if you are a King Henry Vlll bluff you will like it. Charles Laughton makes a wonderful King Henry Vlll. I love all of the Charles Laughton King Henry movie and this one is great. For all King Henry Vlll fans. Worth buying.

A charming, clever British comedy
Charles Laughton is typically wonderful in his broadly-played role as England's King, Henry the Eigth, who infamously married six different queens, divorcing or executing them as circumstances warranted. The script to this magnificent Alexander Korda production is a witty jab at English history buffs, touching only briefly on the supposed treachery of Ann Boleyn, concentrating instead on the preposterous emotional life of the lusty, capacious King. Laughton, as ever, is a marvel, skillfully presenting Henry at first as a thinly-cariacatured lout, and gracefully embuing him with gradual shades of pathos and humanity. Viewers who look to this film as historical drama are clearly missing the point: this is all about the cleverly-rendered script, which turns British schoolboy lessons on their heads, and on the classy ensemble acting, which admittedly may be hard to focus on with the lamentable quality of the current print (I'm writing in the year 2003; perhaps Criterion or some other class-act movie restoration company can correct this problem soon). Still, fans of early British cinema will enjoy this film a lot.

Better if done in series like the 1970's version
This version was enrtaining and interesting, but it had flaws. If Katherine of Aragon was the first wife, why didn't they show her. The opening details said she was insignificant. That's unacceptable to me! The director needed a lot of fixing to do. I did like Binnie Barnel as Katherine Howard; she was adorable. Henry's grief on her death inspired a poem from me. If each wife was done in a series with each being at least 45 minutes, this movie would have rocked. But the sixth wife was done way out of character; Katherine Parr was a better woman in the 1970's series. This one was a nagging dog. Listen Katherine Parr (Everly Gregg), I don't know what I'm going to do with you!! *Points a finger at her* And as for the tall wife who said "I haven't had a new gown in a year I say to her. "You will be executed!" *Slaps her face. She holds her face in shock* And as for you, nurse! *Grabs the son out of her arms and gives it back to Henry. Then I punch the nurse in the nose* It doesn't matter if it was your charm, it's Henry's child none the less!!!

LOVERS OF HISTORICAL DRAMAS SHOULD LOOK ELSEWHERE...
This is a somewhat disappointing historical drama, directed by Alexander Korda. While Charles Laughton does, indeed, give an excellent performance as Henry VIII, the film suffers from its screenplay, which chooses to focus on Henry's last five marriages, with emphasis on his fourth and probably least important marriage, that to Anne of Cleves. One has to wonder if her prominence in the film was due to the role being played by Elsa Lancaster, Laughton's wife at the time. The most important marriage, that to Katherine of Aragon, is dismissed as being of no interest. This is an amazing and absurd statement, given the fact that it was this marriage that ultimately set England on the path to Protestantism and the establishment of the Church of England. As a historical drama, the film leaves a lot to be desired, as it suffers from superficial treatment.

The film begins with the execution of Ann Boleyn, played by the lovely Merle Oberon, who, despite star billing, is only in the film for several minutes. The film then goes to the marriage to Jane Seymour, played by an actress with a thirties style hair bob. It is Jane who gives the King his heart's desire, a son and heir, before succumbing to death shortly after childbirth.

The film then segues into the marriage to Anne of Cleves, which role is played with comedic abandon by Ms. Manchester. This is followed by Henry's marriage to Katherine Howard, a young wanton who cuckolds the king with Thomas Culpepper, one of the King's Gentlemen of the Privy Chamber. The role of the hapless Thomas Culpepper is played by screen great, Robert Donat. Katherine Howard, as did Anne Boleyn, ends up losing her head on the chopping block for her treasonous transgression. Henry's last wife, Katherine Parr, is merely depicted as a loving and caring woman, watching out for Henry in his dotage.

The video itself is of very poor quality, with a lot of static which renders portions of the film's dialogue inaudible. It is also disconcerting to have many of the female cast wandering about the set with nineteen thirties style hair bobs, as this serves to have a jarring effect. For a better and historically more accurate picture of the wives of King Henry VIII, one would do well to view the BBC production, "The Six Wives of Henry VIII", which is available on DVD and as a set of six video cassettes.

Not historically accurate, but very funny
This movie pokes fun at all of Henry's wives and his ill temper.There is very little accuracy in the history, but still funny. ... Read more