Amazon.com essential video

This silky smooth film noir pits gruff police detective Dana Andrews, stiff and blunt in his street-bred manners, against a cultured columnist and acidic wit (Clifton Webb at his prissiest) in a battle of wits during a murder investigation. The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment, when one lonely night he turns from the picture to see Laura walk through the door. It's not a ghost: both the cops and the killer mistook the mutilated corpse for the lady of the house. Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as Laura, the object of every man's gaze and the target of a killer that missed once but is bound to try again. Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries. In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder. Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard. --Sean Axmaker ... Read more

Reviews (59)

COOL, ELEGANT FILM NOIR....
Although toned down from Vera Caspary's novel, "Laura" is a classic example of sexual obssession in 40's film noir. Otto Preminger (with help from Rouben Mamoulian) created a masterpiece of a mystery film loaded with decadence and sexual tension. Tough streetwise police detective Mark McPherson (Dana Andrews) investigates the violent society murder of beautiful, enigmatic ad exec Laura Hunt (Gene Tierney) and enters the cold, calculating world of high society where everyone has dark secrets. He encounters a list of suspects including ascerbic Waldo Lydecker (superb Clifton Webb) as Laura's "benefactor" and companion who introduced her to the high end of advertising and her gigolo fiance' Shelby (Vincent Price) who is more or less kept by Laura's aunt (Judith Anderson). It is Lydecker who matches wits with Mark every step of the way. Mark has become obssessed with Laura's portrait, her perfume and letters and has obviously fallen in love with the "dead" Laura. The sexual obssession theme lies underneath the complicated relationships including Mark's fascination with Laura's relationships and her personal things and in the flashback sequences, it is clear that Lydecker fancied himself more than just Laura's "companion". He sought to possess her. But it gets stickier as it goes along when Laura turns up very much alive. There is so much to savor in this film along with the performances (especially Webb's) like the beautiful b&w photography that gives the film a dream like quality and the lovely "Laura" them by David Raskin that haunts the film and emphasizes the romantic longing Mark has for Laura and Laura's mysterious, paradoxical personality. Any way you slice it, "Laura" is a classic film heads up above the rest and needs to be available on DVD. It is not to be missed.

A MUST SEE
I saw this movie at least ten times. First time was in my early teens, when it was shown on local TV. I never heard of Gene Tierney before, but after seeing this film, I knew I would never forget her. She was the most beautiful actress I ever saw and her mannerisms reveal a classy keen intelligence. Everything about this movie will haunt you--Tierney's beauty, the musical score by David Raksin, the portrait, and the ending.

The film is about a woman who seemed to have everything--a successful career, beauty, brains, wealth--who is discovered murdered in her apartment. A detective, Mark McPherson, played by Dana Andrews investigates the case and starts questioning possible suspects. One is the Svengali-like Waldo Lydecker (Clifton Webb), a syndicated columnist and radio personality. Another is Shelby Carpenter, a smooth Southern gigolo played by Vincent Price (yes Vincent Price!). And there's Laura's middle-aged socialite aunt, Ann Treadwell, who was using Carpenter as her boy-toy until Carpenter meets Laura. Other possible suspect is Laura's maid, a feisty loyal Irishwoman.

The film shows narrated flashbacks by Lydecker. He idolizes her and intercepts Laura's suitors, all of whom he considers beneath her. He couldn't intercept Carpenter who attracts Laura, and who Laura was supposed to marry the week she was found murdered. The first twist of the film is when McPherson falls in love with Laura, who's presumed dead. From reading her diary and letters and continuously seeing her portrait, he discovers she's the woman of his dreams, an unattainable goddess whose physical presence he can only imagine. So when twist number two happens, the murder investigation understandably becomes secondary to this gumshoe detective.

This is the best film directed by Otto Preminger. I believe it's the first American film he directed, and his following films pale by comparison. Ironically, this is a film full of second choices. The lead was written with Jennifer Jones in mind, but she turned it down. It was then offered to Heddy Lamarr who also turned it down. Tierney claimed in her autobiography that she didn't want the role either and thought the film was going to bomb, due to the fact that many aspects of it were not prepared (the final script, the music) and that Dana Andrews (also a second choice) prior to this film never had a role as a leading man. The portrait that was originally intended for the film was painted by the wife of director Rouben Mamoulian, who was initially hired for the film but was fired by Preminger who was producing it. Paintings don't transcribe well to film so a touched-up photograph of Tierney was used as the portrait. Preminger took the directing himself. He wanted to use the song "Sophisticated Lady" by Duke Ellington as the musical score, but David Raksin made a deal with him, in which he would write a score Preminger would approve of in one weekend. Raksin claimed he kept looking at a photo of Tierney during the composition of the score and that she was his inspiration. Thus second choices made this movie a classic.

The dialogue is witty and biting, particularly that of Lydecker. The film was nominated for Best Adapted Screenplay, Best Supporting Actor (Webb), Best Black and White Cinematography and Best Musical Score. It only won for Best Cinematography, and I'd like to learn what films aced it in the other categories. Although awards are not considered important by many film connoisserus, the winners are the ones recognized by the next generation. Thus "Laura" remains one of the most underrated films of all time.

Revised Release Date
Fox now says Laura will be out November 04. We can just hope this is not just another tease after first announcing Sept 03. Are lawyers involved in this delay?

Release date
The review from Utica is correct: Laura was supposed to be out 9/03. It's been on my wish list for almost a year. Maybe Fox should get Eisner to oversee releases (he must be looking for something to do).

Wasn't this supposed to be out on DVD last November?
I ordered this DVD early LAST YEAR, and it is yet to be released. There are so many mediocre if not downright awful films that are always being released onto video and DVD, yet this film, which is truly one of the best classics of all time, is still not available. What is Fox doing? ... Read more

Reviews (108)

An engrossing and as legendary as the real story.
A monumental achivement and a powerful milestone that changed hollywood forever , not only is this film as big and legendary as the true life story , the true life story ended this movie this film the story is endless from the massive production to the sweeping love story that it gave on and off screen with Liz Taylor and Richard Burton is in many cases as legendary as the love affair between Antony and Cleopatra.Huge massive sets and authentic locations and an powerful cast of it's time such as Rex Harrison as Julius Ceaser,Richard Burton as Mark Antony and Roddy Mcdowell as Octavian but at it's heart Liz Taylor in the role that made her the dream of every man Cleopatra who held the power of two nations in the palm of her hand.

This still hold the worlds record as the most expensive film ever made 45 millon at a time when you could spend 2 millon on an epic and still get something grand but many drawbacks and waste and script rewrites , directors getting tired and producers fed up and many times a sick Liz Taylor ,it also holds the record for the largest sets ever built. At the hights of the Roman Empire and the Egyptian Empire, Julius Ceaser a respected Ceaser and general wars to make and expand the greatness of Rome, after the battle little does he know that while he may conquer countrys there is one thing he cannot conquer the love of his neighboring Egyptian Queen and ruler of Egypt Cleopatra who is feirce and ambitious and seducting and uniting Rome and Egypt as one she will do that at all costs even if it means loving a Ceaser and bearing him a son.But when both nations are locked into war and famon , The Roman senate decides that Julius is no longer capable of being a Ceaser so they , assasinate him.Cleopatra alone and not fufilling her dream she meets the beloved Roman General Mark Antony and is immidiately swept into another love affair from a Roman but Antony seemingly betrays Egypt and strikes Cleopatra's anger and frustration now hated and decived by Rome Antony is once again engaged in war with announced Ceaser Octavian as Antony wars at Actium he must endure a terrible defeat.

But as the movie ends in a almost Romeo and Juliet style as Antony dies in the hands of the only thing to him that was worth fighting for Cleopatra , when she realizes how much Antony loves her she causes her death and is bit by a serpent and dies before Octavian can capture her alive.

An amazing film , a legendary film sprawling in intrigue and betrayal and lust the DVD contains a two hour making of the film and a legend that almost bankrupted 20th century fox if Cleopatra was made today it would cost twice as much as TITANIC to make.Cleopatra was a virtual flop and badly tanked at the box office but this movie is good because it manages to bring a legend to life with unserpasssed and powerful brillance few Hollywood films can do today.Not even reacent 2001 Best Picture winner Gladiator is as big in scope and scale everything is just small next to this film the will live in the annels of film as the story will live in egyiptian lore for centurys to come an specticale worthy and awsome film.

Hey 20th Century FOX: RESTORE CLEOPATRA!
I think Cleopatra is the best movie ever made, it is also the most expensive movie ever made costing twice more than Titanic in today's money, but it just didn't make it to the screen. Intended to be two movies, Caesar and Cleopatra & Antony and Cleopatra, three hours each. But partly because of the attention of the famous Taylor-Burton affair, Darryl F. Zanuck shamelessly ruined Cleopatra from its 6-hour two movies into ONE 3 hour 14 minute movie, which is the TV version, which is Horrible! But luckily, the 4-hour version, this DVD version, survived the brutal cutting of the film. This movie is the most beautiful movie I have ever seen. The sets, clothes, props, and music... they are just FLAWLESS! As many people know, Rex Harrison as Caesar and Richard Burton as Antony both got nominated for Best Actor at the Oscars, but because the movie was cut to one, they were nominated against each other in the same movie, and more importantly, their best scenes were cut because of the length, so none of them won (but they deserve to), and Roddy McDowell got nominated in the wrong section and his votes were canceled. Martin Landau was going to be nominated as Best Supporting Actor, but after the film was ruined, the Academy Awards dropped him. Elizabeth Taylor's best scenes were cut off that she was so angry she puked at the Premiere.

The Music of the film is the BEST. Till this Day, I don't know why the Oscars didn't give Cleopatra the award. Of course, Oscars didn't give Gone with the Wind, Gladiator, and lots of other film's beautiful scores the Oscar, it's weird.

How do I know about all about Cleopatra? I have ALL the books, interviews, and even the full movie shooting script of this movie, I am the biggest fan! If you have seen the movie, you'll realize that Cleopatra was usually unhappy and tense. But there is a happy side of her, for example, there was a scene where Cleopatra, Antony and her son with Caesar were in the garden, Cleopatra watching them play swords. Then Caesarian, the son, stubbed Antony with his wooden sword and Antony cried out in "pain", and Caesarian suddenly went crying, saying "don't die, don't die!" Antony suddenly comes back to life and tickles Caesarian, then drags Cleopatra into them and they were all laughing and rolling on the floor... it was so happy, and that's one of the many sides of Cleopatra that's been cut off.

In the four-hour version, we first see Cleopatra dumped out of a carpet. That was NEVER intended to be the first scene we see Cleopatra. From the script I learned that there was a whole story of Cleopatra outside Alexandria, and she and the others planned to meet Caesar and how to sneak her in. Just after they got to the Palace, some soldiers almost caught them and the maid had to lure the guards away... it was thrilling to read the pages of the script! There are sooo much to saying about what Cleopatra should have been, but sadly, no one expect FOX has the missing footage, and they are the best scenes of the movie (some scenes were so humorous that I laughed out loud!).

In the late 70's, 20th Century FOX called a recording session to record the lines of the movie so they can restore it, since the sound elements were missing. But it was called off at the last minute. But the three-and-half hours of missing film footage was NEVER lost! With today's technology, they can totally restore the film back, including the sound. They also have the missing part of the unused scores, but why doesn't FOX, after making a two hour documentary about the film, restore it? No one knows! Movies like "A Star is Born", "Lawrence of Arabia", "Sparticus", and many other classic movies has been successfully restored and loved by many. Why not Cleopatra? I am writing just to let you know the truth about the movie, and hopefully, if more people know maybe FOX will restore the film to the intended way. In a Late interview with four-time Oscar winner Joseph L Mankiewicz, the director and screenwriter of the movie, when the subject Cleopatra went up, he literately cried (on TV!). He said he wanted the film to be perfect that he bit his nails until they were bleeding that he had to wear gloves when he was writing the script... He called Cleopatra his "butchered masterpiece". But however, it's still one of the best movies out there! Totally worth buying!!

FOX: PLEASE RESTORE CLEOPATRA BEFORE IT'S TOO LATE, BEFORE THE FILM ROTS OR A STUDIO FIRE AND BURNS THEM TO DUST, LIKE FOX'S 1917 VERSION OF CLEOPATRA!

THE BEST FROM OLD HOLLYWOOD
Although Miss Taylor is no match compared to Vivien Leigh in CAESAR AND CLEOPATRA; this i s by far the best epic from old Hollywood - and the most entertaining..... Enough said. Ok, I can`t shut up; the arrival of Cleopatra into Rome is a masterpiece in itself... and the choreography is by the renowned Hermes Pan:-)

Spectacular Film About a Powerful Woman
"Cleopatra" is a great film released in 1963 about rise and relationships of the woman herself played by Elizabeth Taylor. This five-time Oscar winning spectacular film gives a rise to audiences of all kinds. Its beauty is never to be forgotten. The hard work and dedication placed onto this film shows greatly. Such film quality answers why it's since become a highly remembered classic. Its brilliant plot follows the emotional path of Cleopatra through her rise in power and her life turbulances. The emotional value stands greatly beyond the spectacular surroundings. This doesn't distract from the many history details expressed. The love themes are romantic as any great love classic. The sense of loss and struggle, namely losing those closest to her and trying to stop the wars from erupting, are greatly present.

All five Oscar wins were won for the spectacular surroundings that continue to amaze audiences after forty-one years: costume design, art direction, special effects, sets, cinematography. Few other films from the classic days was as elaborate as "Cleopatra". The multi-million dollars spent was worth it. The backgrounds are accurate desplictions of the actual Ancient Egypt and Ancient Rome. The buildings and the structure styles are amazing. The wardrobes are accurate to the actual styles worn by the characters. The elaborate costumes, namely the ones worn by Cleopatra, are unforgettable. This set a record for most costume changes by an actress for one film, 32, which would take 33 years to break ("Evita", 68). The make-up work blends perfectly with every costume.

Elizabeth Taylor's role as Cleopatra is unforgettable. Her previous research of the subject is present. More perfect is the Oscar nominated role (Best Supporting Actor) of Caeser played by Rex Harrison. His expressions of love and life turbulances greatly improve the movie's theme. All other actors also play their roles wonderfully: Richard Burton, Martin Landau, Carroll O'Connor, and others.

"Cleopatra" is a great classic film that will continue amazing audiences for many more years. This will leave them with an unforgettable experience. After viewing, those looking for more should also watch the bonus features, which have a lot of interesting details behind the film.

One of the best epics ever made!
I can't really add much to some of the wonderful reviews I have read about this DVD set (the 5 Star Collection). But I do want to say that if you love this movie or even just like this movie, the documentary that is included with this 3-disc set is worth buying this DVD set just by itself. It's one of the most entertaining and interesting documentaries I've ever seen on the making of a movie and all the interesting and strange events that happened while making the movie and after the movie. The movie is absolutely beautiful - the sets and costumes are magnificent - the money spent on this film is so obvious. I wish they would restore this movie to the director's original plan and put back the other half of the movie that was cut out! I would pay lots of money to buy a director's cut of this movie. But until that day comes, if ever, I highly recommend this DVD set. It's still one of my favorite movies of all time. ... Read more

Amazon.com

Fred Astaire took one of his final musical turns in this delightful 1957 comedy, a cold war update of the classic Ninotchka. Cyd Charisse, having previously wrapped her endless legs around Fred in The Band Wagon, plays the Greta Garbo role: a humorless Soviet functionary who sternly refuses the allure of Paris… for a while, anyway. Like some of the first widescreen musicals, Silk Stockings feels a little slowed down by the horizontal format, but nothing can dim the sparkle of Astaire and Charisse, nor quench the razzmatazz of Janis Paige. Paige and Astaire assess the current state of movies by singing that films today need "glorious Technicolor, breathtaking CinemaScope, and Stereophonic sound!" In the hands of Cole Porter, that phrase becomes wonderfully musical--and by the way, it's nice to see the composer identified with so many breezy 1930s songs staying au courant in the age of Sputnik and television. --Robert Horton ... Read more

Reviews (13)

A delightful musical
Cyd Charisse, Fred Astaire and Janis Paige star in the film version of the Broadway musical SILK STOCKINGS, based on the comedy NINOTCHKA.

Cyd is captivating as Ninotchka, a Russian Communist who is sent to Paris to retrieve three wayward Communists (Peter Lorre, Jules Munshin and Joseph Buloff) from a capatalist fate.

She meets the 'decadent' American producer (Fred Astaire) and the beautiful movie actress Peggy Dainton (Janis Paige).

Soon, however, she warms to capatalist ideas and dresses in silks and satins, and falls in love.............

A beautiful musical that will delight and amaze you.

Featuring the songs 'Fated To Be Mated', 'All Of You', 'Satin And Silk', 'Josephine', 'So Good To Be Bad', 'Stereophonic Sound', 'Red Blues' and 'The Ritz Rock And Roll'.

RITZY LOOKING TRANSFER OF A GREAT MOVIE MUSICAL
In hindsight "Silk Stockings" proved to be one of MGM's last great musical acheivements and Fred Astaire's final appearance in a musical worthy of his inimitable talents. Astaire plays, Steven Canfield, a rotten capitalist and movie producer who butts heads with communist, special envoy, Nina Yoshenko, who has been sent from Moscow to Paris to apprehend a wayward Russian composer. The cast also includes Janis Paige in a hilarious and campy lampoon of an 'Esther Williams-type' actress attempting to play Napoleon's Josephine in a musical remake of "War and Peace". Peter Lorre and Jules Munshin are at their comedy best as two communist sympathizers wooed by the pleasures of Paris.
AT LAST - a transfer worthy of the elegant Mr. Cole Porter. Warner Home Video gives us a rich looking, robust sounding DVD that really celebrates the performances in this memorable musical. Colors are deep, rich, gorgeous and consistant throughout. Contrast and shadow levels are outstanding. Fine details are amazingly sharp. Edge enhancement, shimmering and aliasing are practically non-existant. There is no pixelization or film or digital grain to speak of, for a thoroughly smooth but sharp visual presentation that will surely please. The audio has been remixed to 5.1 and is marvelous, rich sounding and fully realized within the confines of its dated characteristic.
Extras: Another Cole Porter/making-of featurette that is really a throw away, save the few glimpses of Cyd Charisse and Janis Paige that we get. Theatrical trailer and cast bios and a couple of short subjects - not anamorphically enhanced, even though the film (thank heaven) is!
Bottom Line: This disc is a must have and the only DVD of the Cole Porter bunch worthy of your hard earned money. BUY IT TODAY!

Unersappreciated
Yes, this is one of the last of the MGM musicals. Tis a pity. Now that CHICAGO is such a hit, they must release other MGM musicals just as good as this. THE BAND WAGON...THREE LITTLE WORDS...EASTER PARADE and SUMMER STOCK, just to name a few. SILK STOCKINGS is a remarkablly good film for it's genre. Nothing could beat CYD and FRED dancing, even if the plot isn't strong. Too bad there wasn't more of JANIS PAGE as one of her numbers seems to have been given the short shift. Otherwise, the film is a standout and a must for musical lovers. Any left? I think so. Give this one a try as well as the other Cole Porter releases. Thanks for these, but we want more!!!

"I Like the Looks of You..."
I love this movie. It is absolutely hilarious. Though I know the tradgedy and horror that existed in Communist Russia, this film still made me burst out laughing. The songs are beautiful and alluring. However, the dancing steals the show. Cyd and Fred look swell together. Fred and Janice Paige's number about modern films is hilarious. I also like "We Can't Go Back to Moscow." I find myself singing it every day.
The plot is relatively good and has a cute love story. As always, love conquers all, even the iron curtain.

Great Film - Poor Quality Master!
Received this great musical on DVD the other day to enhance my collection and was disappointed to find the picture quality substantially inferior to my identical television recording and only a slight improvement upon an old video tape of the same film. Digital enhancement would appear to be needed in this particular case. ... Read more

Amazon.com

When they say they don't make 'em like they used to, they're talkingabout 20th Century Fox's exhilarating The Mark of Zorro, starring Tyrone Power as the caped one, Linda Darnell as his love interest, and Basil Rathbone at his scurrilous best as Zorro's nemesis. More textured than the 1920 original with Douglas Fairbanks, this 1940 version has Don Diego/Zorro (Powers) returning from Madrid to defend his father and rally the caballeros (noblemen) against Los Angeles's corrupt new governor (J. Edward Bromberg), intent on taxing the peons to death.

If this all sounds like an Old California redo of the classic Adventures of Robin Hood, that's because it is. Powers has a field day as Don Diego, the "fancy clown" betrothed to the governor's niece, Lolita (Darnell). Don Diego the effete snob performs silly parlor tricks, peers through pince-nez, and yawns disdainfully at one and all. Power's cowardly alter ego is so believable, his transformation to masked superhero becomes all the more thrilling. Imagine Captain Pasquale's (Rathbone) shock when, in the film's brilliantly choreographed showdown, this annoying fop turns out to be a world-class swordsman.

Director Rouben Mamoulian, known for great period melodramas, does a skillful job of alternating garrison intrigue with big action scenes, including a nighttime ride that climaxes with Zorro on horseback leaping off a bridge. In the romantic highlight, Lolita confides her innermost desires to a suspiciously worldly friar. The first-rate supporting cast includes Gale Sondergaard as the governor's treacherous wife and the frog-voiced Eugene Pallette (Friar Tuck in The Adventures of Robin Hood) as a padre in cahoots with the masked one. Technically, this retelling rates an unqualified "Wow!" The cinematography, obviously influenced by Goya, makes full use of chiaroscuro shadows, and Alfred Newman's Latin-flavored score is irresistibly rousing and romantic. --Glenn Lovell ... Read more

Reviews (41)

Tyrone Power at his best!
During the age when swashbuckling action films were the most popular form of entertainment, there arose from Twentieth Century Fox an adventure film that topped all others. This film was "The Mark of Zorro" starring Tyrone Power and Basil Rathbone. The daring masked avenger cloaked in black has been an American legend for 80 years, and many films have been produced starring the masked fox. However, I believe that this film is the best Zorro production ever made.

The setting is Spanish California in 1820. Don Diego Vega (Tyrone Power), an expert fencer of Madrid an in the elite training corps, is summoned back to Los Angeles by his fahter, Don Alejandro (Montagu Love), the alcalde. Upon arriving home, Diego learns his father has been run out of office by Capitan Esteban Pasquale (Basil Rathbone). Esteban holds in his hand the perfect puppet, a superstitious, greedy alcalde, Luis Quintero (J. Edward Bromberg). However, Diego pretends to be a fop, unmotivated to fight the capitan, befriending the alcalde and his wife Inez (Gale Sondergaard). However, Diego soon dons the mask of a daring hero, identifying himself as Zorro. Zorro terrorizes the alcalde and robs Esteban of the money he has robbed from the peons. Zorro and a local padre (Eugene Pallete) work to return the money to the citizens of Los Angeles. Diego/Zorro also falls in love with the beautiful Lolita Quintero (Linda Darnell), the niece of the alcalde. She cares nothing for her father's plans, her full support to Zorro. However, when the padre is arrested, Diego abandons his mask and leads the caballeros on a revolt.

This film added into the Zorro figure a new trait. In most Zorro stories, Zorro forces his enemies to return stolen money themselves. This Zorro, more serious, delivers the gold himself. This is a definate classic.

Of course, the film has it's problems. Power spends less time as Zorro and more time as Diego. Zorro only battles one soldier, the main battle occuring between Esteban and Diego. However, dispite minor errors, this film is an undisputed classic, and cannot not be missed by Zorro fans.

The supreme Zorro film
After the success of Warner Brothers "The Adventures of Robin Hood," starring Errol Flynn, Twentieth Century Fox released a film of their namesake, "The Mark of Zorro," starring Tyrone Power. It was a box office hit, and is a classic of it's time. While not in color, and wary of action, this film holds up as, in my opinion, the best of the Zorro films.

In the 1800's, the Spanish Empire rules California. Don Diego Vega (Tyrone Power), is "the best fencer of Madrid." He is ordered home by his father, Don Alejandro. Upon arrival, he hears that the alcalde is an evil tyrant. But Diego's fahter is the alcalde!
Diego learns from Capitan Esteban Pasquale (Basil Rathbone) that his father resigned, and that Luis B. Quintero (J. Edward Bromberg). Both Esteban and Quintero are worthless land theives, taxing the peons into pverty to fill their own pockets. However, Diego suddenly appears to have lost his swordsman skills, now acting foppish and peaceful, much to Alejandro's dissapointment. However, Deigo soon becomes the black-clad Zorro, a daring freedom fighter rescuing both the rich and poor from the tyrants. To disguise himself, he must remain foppish. Only the padre Felipe (Eugene Pallette) knows his true identity, along with Diego's fiance Lolita Quintero (Linda Darnell), a kind girl against her uncle and his henchman. However, when Fray Felipe is arrested as Zorro for trying to defend the mission taxes, Diego abandons both disguises and leads the caballeros and peons to battle, personally taking on Esteban in a spectacular showdown.

"The Mark of Zorro" was bassed on three stories. One was Johnston McCulley's original Zorro story. Unlike the Fairbanks film, the theme here focuses on saving the people from corruption, rather than defending Lolita. Another was Douglas Faribanks's "The Mark of Zorro" (1920). The other was "The Adventures of Robin Hood." Basil Rathbone and Eugene Pallette had roles in the Robin Hood film before starring in "The Mark of Zorro." Zorro here as a Robin Hood characteristic: he steals tax money and returns it to the people. Most Zorros force their enemies to give the money back themselves.

Sword battles in this film occur mainly between Diego and Esteban. The fencing in this movie is excellent. Rathbone is one of the best fencer's of all time, as is Power. The Zorro in this film is the closest thing ever that fits the Zorro legacy. This is a beautiful colassic, one than cannot be missed.

the classic fox period
the films of 20th century fox had a sheen unlike the other studios output.
one of their main stars; tyrone power (an underrated star today)was an embodiment of this sylized sheen.
he was different than errol flynn. while you always sensed flynn's bad boy personality even when he played squaeky clean heroes, power was far more an actor and his performances always seem more professionally toned. he is more 'with the film' than standing out against it and this may be the reason for the lack of appreciation for him.
this film is the shining example to the hollywood of old.
its excellence was predictable when you mix the beauty of power and darenll with the down right fun villany of rathbone, the music of newman, the goya toned cinematography and the virtually flawless direction of mamoulian.
sadly, its the like of which we wont see again for numerous reasons.
NOW, IF FOX WOULD DIG INTO THEIR ARCHIVES AND RELEASE POWER'S BEST ACTING IN FILM; NIGHTMARE ALLEY' a film that has never even seen the light of vhs.

Zorro the fey blade.
Tyrone Power's Zorro is both effeminate and masculine, one moment the picture of delicate and fey passiveness and the next the masculine caballero of legend. The film has held up well, mostly due to the excellent swordplay and Power's magnetic persona. The lack of actual Spanish actors will be noticeable and perhaps offensive to today's audience, although in 1940 it was probably a minor point at best. The DVD transfer could have been better, although it is generally grain-free and vivid. A 60-year old film can only look so good, after all. A fine version of the Zorro legend, lacking somewhat in political correctness but making up for it in sentiment and charm.

Movies - and Ty Power - don't get better than this!
Beautiful faces, gorgeous b&w photography, an array of old Hollywood's best character actors, brawling and tumultous fight scenes, probably the best sword fight ever filmed, and a rousing musical score that must have sent people almost dancing out of theaters with big smiles on their faces in 1940 - and will still make you smile in your living room. And dialogue laced with wit and humor as well as drama. Now THIS is what a Hollywood action movie should be!

This is one of the all-time best. Got the blues? This ought to chase them right away. Really got the blues? Try a double-feature of this with Flynn's The Adventures of Robin Hood. And you can keep all the Wars and Treks in the stars. They are made by mere children as compared to these old pros.

Why doesn't Tyrone Power have a cult of his own today? He was handsome and versatile, and a good actor whose performances hold up better than many of his competitors'. Ty Power's the Man! ... Read more

Reviews (10)

One of Tyrone Power's best --- needs to be on DVD
This 1941 masterpiece, a remake of the 1922 Valentino classic, starring the legendary Tyrone Power in the Valentino role, with Linda Darnell and, in one of her first big roles, Rita Hayworth. The Technicolor cinematography of this masterpiece is absolutely stunning, the colors practically leap off the screen. You can't get that look in modern movies anymore; all movies today are too bright or too dull.

Anyway, its time for Fox to release this title on DVD, along with The Black Swan, Captain from Castile and others. Tyrone Power is a trully excellent and underrated actor, and his movies must be released on DVD.

Death In The Afternoon
"Blood and Sand" based on the novel by Ibanez and presented by 20th Century-Fox is a masterpiece of old style Hollywood filmmaking. Director Rouben Mamoulian pulls out all the stops to present this Technicolor flushed romantic story of Juan Gallardo who is portrayed by the impossibly beautiful Tyrone Power. Juan grows from a poor boy dreaming of glory in the bullrings of Spain to the epitome of arrogance and ignorant of the cost to his soul of his fame.
The three principals of the story are, Tyrone Power, Linda Darnell as his childhood sweetheart Carmen, and Rita Hayworth as the seductive and hollow Dona Sol.
Tyrone Power presents us with a marvelous, energetic portrait of a young, brash and over confident Juan. His first close-up bursts the edges of the screen and burns in the colors of Goya. Tyrone Power was made for the movies and cinematographers Ernest Palmer and Ray Rennahan film him with as much care as they do the two female leads. Thus this overpoweringly beautiful close-up sucks the viewer into the world of Juan and one is swept away by his charm and bravado. Mr. Powers's performance is almost overshadowed at first by his physical presence but as the story progresses his talent as a film actor takes over and sustains the viewer to the end.
Linda Darnell, a great beauty of the movies and by her own admission, not much of an actress, turns in a very good performance as Juan's discarded wife Carmen. I do not agree with Miss Darnell's opinion of her talents. One only has to look at "Letter to Three Wives" to see what an accomplished screen actress she was. And here too she takes the thankless role of Carmen and makes one care about the poor girl.
Then we have Rita Hayworth who here in "Blood and Sand" sets the standard for the great-lost beauties of the silver screen. Her Dona Sol is everything we hope for in the empty shell of a femme fatale.
It is said of her, at one point in the film by a newspaper critic of bullfighting, as he points to the ring: "Gentleman, if this is death in the afternoon, then she is death in the evening." And Miss Hayworth lives up to every inch of his description in this her breakout performance.
In the garden scene where she performs the "Toro!" seduction and sings to her victim Juan, she is utterly captivating and irresistible in her Travis Banton gown and cascading titian hair. Here we see the birth of Rita Hayworth and the demise of Rita Cansino.
Also worth mentioning are Anthony Quinn as one of Juan's boyhood friends, Manola De Palma and the wonderful silent star Alla Nazemova who is heart breaking as Juan's mother.
The music by the masterful Alfred Newman sets the tone and emotion of the film. Lush and full of the sounds of Spain it is one of his best.
Darryl Zanuck believed that story was everything in film. Without a good story you had nothing to build a film on. In "Blood and Sand" the head of Fox proves his point and gives us a great movie presented in the grand style of Hollywood's golden age.

Certainly not a masterpiece.
I'm not a Tyrone Power fan but I don't denigrate him either.
It is just that Blood & Sand is one of his lesser movies. For one thing he is just to damn pretty. The techicolor is marvelous & gets a star.
There are several actual bull-fighting scenes in the movie. When they go into the studio to do Power's close up it is obviously fake. the whole effect is rather cheesy.
The good news is that this is the break-out film for Rita Hayworth. Linda Darnell is beautiful as she always is. It was fun to see a young Anthony Quinn in a supporting role

Great
I bought this for my mother in law. She loved it. I was very pleased with the quality of the tape and price bought from a merchant. We are very satisfied.

+1/2 Old-fashioned Hollywood drama
An early Technicolor melodrama, featuring Tyrone Power as Juan Gallardo, a boyish, beaming matator who starts life as a brash country bumpkin and rises to the top of his profession, then loses it all when he falls for the wrong woman. Linda Darnell co-stars as his faithful, good-girl wife, and Rita Hayworth is the wicked Other Woman. With clenched jaw and rigid posture, Hayworth is mysteriously unappealling and surprisingly unsexy in her role as a high-society vamp, while Power is entirely believable as a good-natured but uneducated jock who doesn't think with his head. The script is slow-moving and obvious, but does give a glimpse into Spain's toreador culture, and features one nice bullfighting sequence which gives a good sense of the balletic excitement -- and brutish cruelty -- of the sport. Quite enjoyable if you're in the right mood. ... Read more

Amazon.com essential video

Arguably Greta Garbo's best MGM movie--depending how you feel about Camille and Ninotchka--this tale of the 17th-century Swedish monarch who preferred men's togs to gowns plays the most provocative games with the great star's ambisexual personality. At her request, Rouben Mamoulian directed (all three Garbo's-best-movie candidates were done by the best directors she worked with: Mamoulian, George Cukor, and Ernst Lubitsch). Two sequences are legendary: Christina memorizing the room at a snowbound inn where she has first experienced love; and the long, concluding closeup of a queen become ship's-figurehead--as blank as a tabula rasa, and filled with all the meaning and emotion seven decades of audiences have chosen to see there. Those scenes are anthology pieces, but unlike most Garbo pictures, the whole movie is intelligently scripted and sustained. With Lewis Stone, C. Aubrey Smith, and John Gilbert--Garbo's premier silent-era costar--making a tentative comeback as her love interest.--Richard T. Jameson ... Read more

Reviews (12)

Garbo in the greatest final close-up in cinema history
"Queen Christina" is famous for its final shot, a slow close up on Greta Garbo as she follows director Rouben Mamoulian's suggestion that she think of "nothing." Garbo plays the queen of Sweden in this 1933 film, who is supposed to marry Prince Charles Gustavus (Reginald Owen), the military hero. Even her former lover, Count Magnus (Ian Keith), approves of the wedding, knowing the Queen does not love Charles. However, Christina declines, insisting she is not ready for marriage. When she learns that a new ambassador from Spain, Don Antonio de la Prada (John Gilbert) is arriving, she dons men's clothing and goes to the inn where he is to stop. Learning there is not enough room at the inn, the two spend the night, but it is not until the next morning that the Don discovers his companion is a woman. They fall in love over the next few days and she wants to marry him and run away to Spain. But then he discovers she is the Queen and he reveals his mission: to arrange a marriage between Christina and the King of Spain. The film then deals with the conflict between the Queen's heart and the demands upon her as a ruler, leading to a tragic conclusion and the famous final close-up.

"Queen Christina" was Garbo's fourth and final film with John Gilbert, and the only one with sound and the only serious flaw with this film is his performance, which is almost laughable at times. Garbo is regal, in her own exotic sort of way, and one of the treats of the film is the opening scene where Cora Sue Collins impersonates Garbo as the young Christina. Standing out in the supporting cast are Lewis Stone as Lord Chancellor Axel Oxenstierna (his 7th film with Garbo), Elizabeth Young as Countess Ebba, and C. Aubrey Smith as Aage, the simple countryman who loves his queen. Although I think of "Queen Christina" as being a shade short of a classic because of Gilbert, it does have that unforgettable final shot, so I will round up the 4.5 for this one.

WHAT I DID FOR LOVE...
This is a vastly entertaining film about the enigmatic, cross dressing, 17th Century Queen of Sweden, who abdicated her throne for love of a Spaniard, the Spanish Envoy to the Swedish Court, Don Antonio De La Prada. The film follows their romance from their first chance meeting through their full blown love affair to its final tragic conclusion. Real life is often stranger than fiction.

Greta Garbo, a native of Sweden, is positively glorious as this most unusual of Queens, giving a performance that is intelligent, complex, and passionate, with a touch of whimsy interjected. John Gilbert, Garbo's real life, handsome ex-lover, is excellent in the part of Don Antonio, a man conflicted by his mission on behalf of his king and his passion for Christina.

Queen Christina, too, is conflicted, as she does not wish to enter into a political marriage of convenience with Swedish war hero, Prince Charles Gustavus (Reginald Owen). This is the marriage that the people of Sweden seem to want and one that is being fostered by both her Chancellor, Axel Oxenstierna (Lewis Stone), and her former lover, Count Magnus (Ian Keith). Nor does she wish to marry the Spanish King. Instead, she wishes to marry for love. So, she does the unthinkable. She abdicates for love, creating shock waves that reverberate throughout the courts of Europe, and arranges to leave her native Sweden with Don Antonio and head for Spain.

The best-laid plans, however, often go awry. Jealousy rears its ugly head, when Count Magnus realizes that his affair with Christina is over and that Don Antonio now has her affection. It is he who throws the final monkey wrench into their plans to live happily ever after. Who, having seen this film, can forget Garbo's last scene as Christina, the Queen who lost everything in the final analysis: her throne, her lover, and her future. Her last close-up in this film is unforgettable and one that will long linger in the memory of the viewer. Never was Garbo more luminous or soulful.

This is a movie classic that will be enjoyed and appreciated by those who love vintage films, as well as historical dramas.

Garbo & Gilbert - best team ever - timeless
I loved this film, the only talking picture of the great Gilbert/Garbo team. (You note I put his name first, because it appears like that in their three silent films!)
Contrary to the first review in this section, which states that Mr. Gilbert is almost "laughable" (?) in his role, I think his performance is excellent, like Ms. Garbo's, certainly better than Ian Keith's. You can actually see on screen the great love that once existed between the two during all their classic, great silent films, and the chemistry is still there. Makes one wish she had accepted one of his several (real) marriage proposals!
I am sick and tired of seeing Mr. Gilbert being maligned; he was one of the silent screen's best actors; his teaming with Ms. Garbo is timeless; and due to the machinations of a "person" named Louis B. Mayer, his career was deliberately ruined for several reasons, e.g. personal animosity between the two men (which twice led to blows), highest salaried contract, relationship w/Ms. Garbo, etc. Once and for all, let us finally put an end to the "voice" myth and realize the truth!
In summary, Ms. Garbo is perfect and she is here reunited with her perfect leading man. Just as in the three silent films they made together, this one is a classic which will be remembered forever. Never again did she have a co-star so "perfect" with her.
P.S. To the person who wrote "laughable": Ever hear about "The Big Parade" - maybe you should take a look at it to see how excellent an actor Mr. Gilbert was, and definitely view all of the Gilbert/Garbo silents. You'll learn a lot.

Glorious Garbo
The gloriously beautiful and gifted Greta Garbo gives an alternately commanding and comedic performance as Sweden's cross-dressing monarch, Queen Christina. Christina falls in love with a Spanish ambassador, played by Garbo's real-life ex-beau, John Gilbert, and in doing so, changes the course of history.

This film has a dated artificial look to it. The sets LOOK LIKE SETS, and the action often feels stagy and claustrophobic, as if it were conducted on one of MGM's cumbersome sound stages (which it was).

However, "Queen Christina" is worth seeing because of the sheer pleasure that the ever effervescent Garbo generates through her skillful portrayal of the eccentric monarch. Garbo on screen never fails to captivate. She is often better than the movies she appears in.

See "Queen Christina" for the joy and artistry of Garbo's performance. You won't be disappointed.

a masterpiece
After watching this classic once again last night after several years, I have to say that this is a masterpiece. Rouben Mamoulian was one of the most stylish directors of the classic Hollywood era, and he has imbued this film with many unforgettable moments. Of course, his efforts are greatly complemented by some screen goddess called Greta Garbo! I did not watch any of his famous silent films which actually developed her screen persona, but her famous '30s talkie performances in this film, together with those in Anna Karenina and Camille are more than enough for me to land her in my top 10 favourite performers of all time. Her screen allure is something which cannot be properly described in words. So sensual, touching and strangely contemporary and not a bit dated after all these years. Her famous scenes in this film, all classics in their own rights, shows us an actor in strict command of her art, mastered by effortlessly opening her inner self to the camera and letting her radiant charisma take over the audience. Whether scrolling the inn room she spent her happiest days with her lover to memorize its details, addressing an angry crowd of citizens with a firm stance or in that undescribably moving final shot, staring enigmatically at a future of loneliness and hard-earned freedom, she is pure movie magic destined to enchant many generations long after she has left these mortal shores. Immensely aided by Herbert Stothart's original score and William Daniels's lush photography, Queen Christina is a true delight. Enjoy. ... Read more

Reviews (3)

Interesting movie
"Golden Boy" is an interesting movie. Anything starring Barbara Stanwyck is worth seeing; in this movie, Stanwyck's jaded toughness and intelligence make her likeable, vulnerable (has any other actress ever been able to portray toughness and vulnerability at the same time, the way she did?), and fascinating to watch. William Holden is obviously inexperienced here, but there are moments during this film when you catch a glimpse of his future greatness and his underlying ability...even though Stanwyck was 11 years older than Holden, their love story is always believeable. Stanwyck had an ageless quality about her, and about her appearance...you never counted the years, you were so blown away by her acting brilliance. Adolph Menjou is one of those actors taken for granted, as a rule...but he was a very fine actor and does a great job in his role here. If you haven't seen "Golden Boy," you're missing an interesting experience.

LORNA MOON.
A young man is torn between being a violinist and a prizefighter. Lifelong friends since this 1939 film, Bill Holden always gave credit to Stanwyck for helping him with his rather difficult role of Joe Bonaparte, the Golden Boy of the title. Very green as an actor, Holden had a tough battle to succeed in the role; Stanwyck spent time giving him acting advice(she had acted in films a dozen years already) and her coaching was in no small part of an amazing performance coming from such a novice. Barbara is in typical excellent form; her Lorna Moon is blunt and without illusions (she usually was, wasn't she?) - clearly a woman who "knows the score". Much of the film seems oversimplified today with unneccesary sentiment with Lee J. Cobb in a rather overwrought performance as Joe's "You-a-gooda-boy" Italian pop. However, the picture retains solid virtues in the authentic fight scenes and the "real" performances of three pros: Stanwyck, Menjou and Calleia. In a year too rich with fabulous movies (It's highly doubtful that 1939 will EVER be matched again for the number of superlative movies released in a single year) Golden Boy did mediocre business. Holden sent Stanwyck a single red rose on the anniversary of G.B.'s release date annually for the rest of his life-he felt that indebted to her for her immeasureable help.

This Black and white movie from 1939 is classy all the way
I've never been a fan of "old" movies, but this one is truly amazing in it's depth and scope of character study. A young man named joe bonaparte has just turned 21 and he has an oppurtunity to box and make real money, but if he boxes he can't play his violon. He may also damage his hands in the boxing ring and forever damaging his ability to play the instrument which has been his love for the better part of his life. Joe must decide what path to follow, the one that his father has encouraged him to go forth all through his childhood or the one that will yield satisfaction for him in the present. END ... Read more

Reviews (2)

Dietrich makes up for films flaws
This was Dietrich's first Hollywood film without Josef Von Sternberg, so for film buffs, that alone is reason enough to buy the tape. Actually, the movie itself is worthy of a closer look, as Dietrich gives a very good performance in a sometimes slow-moving film.
Playing a peasant girl by the name of Lily, we see Dietrich move to the city upon the death of her father, to stay with her aunt in her aunt's bookstore. One day she meets in the store a young handsome artist(Brian Aherne), who is struggling with a sculptor's form of writer's block. She becomes his inspiration, and they soon fall in love. Eventually, Lily talks of marriage, and the young sculptor chooses a life of art over love, and leaves her. Lily then falls into the hands of the artist's benefactor,(lionel Atwill) who sees only a beautiful young woman he can mold like clay.
After Lily is transformed into a lady of class, the old man then brings the two former lovers back together, in order to laugh at them both. Needless to say, the evening is a disaster, and Lily leaves the house broken and shamed.
Later, we see Lily as she has remerged as a lady of the evening, making her way in life using men as they have used her, unable to feel love again. Then, her artist love finds her, takes her back to his studio, where they first fell in love. After a wrenching recitation of some passages from the song of Solomon from the Bible, Lily then destroys the lovely statue she posed for, which to her represents someone who no longer exists. After this emotional upheaval, the film ends with the promise of Lily and her artist finding true love again.
Dietrich played her scenes surprisingly well, with no Sternberg to guide her, and showed that yes she can act on her own. The other leads in the film, however, seem rather dated now, and the film at times moves with a claustrophobic slowness. However, overall the film is enjoyable, and indeed the director, Roubin Mamoulian, was very proud of it. He showed a copy of it to Greta Garbo to get her interested in working with him on Queen Christina. The film looks very good on video, and is worth a look!

Vintage Dietrich
This slightly creaky pre-code film is elevated immeasurably by the directorial touch of the great Rouben Mamoulian and the presence of the incomparable Marlene Dietrich, starring here in her first American film away from Josef von Sternberg. In her portrayal of the country girl Lili, Dietrich, to her considerable credit, manages to convey the progression from sentimental girlhood to jaded womanhood with complete credibility whilst maintaining an ironic knowingness throughout. Following the travails of Lili as she moves from being sculptor's model to the wife of a depraved baron, and finally, to prostitution, director Mamoulian guides the story with the necessary lightness of touch, moving effortlessly between burlesque and melodrama, all the time focusing every scene around his compelling leading lady. Unfortunately, the supporting performances of Brian Aherne and Lionel Atwill, as the men in Lili's life, have not dated as well. However, any flaws are more than compensated for by the sight of Lili sat atop a table in a decadent nightclub, wearing a low cut dress, singing the more than a little risque "Johnny" with eye-rolling glee. Vintage Dietrich. ... Read more

Amazon.com essential video

This 1963 extravaganza, directed by Joseph L. Mankiewicz, is certainly an epic historical drama with all the elements: elaborate sets, intricate costuming, name actors, a factual basis, and an overlong script (just over four hours). But the acting is well performed and the backdrops are lush, making this a film worth seeing. Elizabeth Taylor is Cleopatra, the Egyptian queen who seduces Julius Caesar (Rex Harrison) in a political move to hold onto her empire. When Caesar is killed in the Roman Senate, Cleopatra looks to Marc Antony (Richard Burton) for his support, practically enslaving him with her wiles. Taylor is dramatic in her role, at times overly serious, but stunning nonetheless as the woman described as "well versed in the natural sciences and mathematics. She speaks seven languages proficiently. Were she not a woman one would consider her to be an intellectual." While the film does seem to drag at moments, it deserves the four Oscars it won for cinematography, art direction-set direction, costumes, and special effects. Don't confuse this Cleopatra with the 1934 version directed by Cecil B. DeMille and starring Claudette Colbert. --Jenny Brown ... Read more

Reviews (108)

An engrossing and as legendary as the real story.
A monumental achivement and a powerful milestone that changed hollywood forever , not only is this film as big and legendary as the true life story , the true life story ended this movie this film the story is endless from the massive production to the sweeping love story that it gave on and off screen with Liz Taylor and Richard Burton is in many cases as legendary as the love affair between Antony and Cleopatra.Huge massive sets and authentic locations and an powerful cast of it's time such as Rex Harrison as Julius Ceaser,Richard Burton as Mark Antony and Roddy Mcdowell as Octavian but at it's heart Liz Taylor in the role that made her the dream of every man Cleopatra who held the power of two nations in the palm of her hand.

This still hold the worlds record as the most expensive film ever made 45 millon at a time when you could spend 2 millon on an epic and still get something grand but many drawbacks and waste and script rewrites , directors getting tired and producers fed up and many times a sick Liz Taylor ,it also holds the record for the largest sets ever built. At the hights of the Roman Empire and the Egyptian Empire, Julius Ceaser a respected Ceaser and general wars to make and expand the greatness of Rome, after the battle little does he know that while he may conquer countrys there is one thing he cannot conquer the love of his neighboring Egyptian Queen and ruler of Egypt Cleopatra who is feirce and ambitious and seducting and uniting Rome and Egypt as one she will do that at all costs even if it means loving a Ceaser and bearing him a son.But when both nations are locked into war and famon , The Roman senate decides that Julius is no longer capable of being a Ceaser so they , assasinate him.Cleopatra alone and not fufilling her dream she meets the beloved Roman General Mark Antony and is immidiately swept into another love affair from a Roman but Antony seemingly betrays Egypt and strikes Cleopatra's anger and frustration now hated and decived by Rome Antony is once again engaged in war with announced Ceaser Octavian as Antony wars at Actium he must endure a terrible defeat.

But as the movie ends in a almost Romeo and Juliet style as Antony dies in the hands of the only thing to him that was worth fighting for Cleopatra , when she realizes how much Antony loves her she causes her death and is bit by a serpent and dies before Octavian can capture her alive.

An amazing film , a legendary film sprawling in intrigue and betrayal and lust the DVD contains a two hour making of the film and a legend that almost bankrupted 20th century fox if Cleopatra was made today it would cost twice as much as TITANIC to make.Cleopatra was a virtual flop and badly tanked at the box office but this movie is good because it manages to bring a legend to life with unserpasssed and powerful brillance few Hollywood films can do today.Not even reacent 2001 Best Picture winner Gladiator is as big in scope and scale everything is just small next to this film the will live in the annels of film as the story will live in egyiptian lore for centurys to come an specticale worthy and awsome film.

Hey 20th Century FOX: RESTORE CLEOPATRA!
I think Cleopatra is the best movie ever made, it is also the most expensive movie ever made costing twice more than Titanic in today's money, but it just didn't make it to the screen. Intended to be two movies, Caesar and Cleopatra & Antony and Cleopatra, three hours each. But partly because of the attention of the famous Taylor-Burton affair, Darryl F. Zanuck shamelessly ruined Cleopatra from its 6-hour two movies into ONE 3 hour 14 minute movie, which is the TV version, which is Horrible! But luckily, the 4-hour version, this DVD version, survived the brutal cutting of the film. This movie is the most beautiful movie I have ever seen. The sets, clothes, props, and music... they are just FLAWLESS! As many people know, Rex Harrison as Caesar and Richard Burton as Antony both got nominated for Best Actor at the Oscars, but because the movie was cut to one, they were nominated against each other in the same movie, and more importantly, their best scenes were cut because of the length, so none of them won (but they deserve to), and Roddy McDowell got nominated in the wrong section and his votes were canceled. Martin Landau was going to be nominated as Best Supporting Actor, but after the film was ruined, the Academy Awards dropped him. Elizabeth Taylor's best scenes were cut off that she was so angry she puked at the Premiere.

The Music of the film is the BEST. Till this Day, I don't know why the Oscars didn't give Cleopatra the award. Of course, Oscars didn't give Gone with the Wind, Gladiator, and lots of other film's beautiful scores the Oscar, it's weird.

How do I know about all about Cleopatra? I have ALL the books, interviews, and even the full movie shooting script of this movie, I am the biggest fan! If you have seen the movie, you'll realize that Cleopatra was usually unhappy and tense. But there is a happy side of her, for example, there was a scene where Cleopatra, Antony and her son with Caesar were in the garden, Cleopatra watching them play swords. Then Caesarian, the son, stubbed Antony with his wooden sword and Antony cried out in "pain", and Caesarian suddenly went crying, saying "don't die, don't die!" Antony suddenly comes back to life and tickles Caesarian, then drags Cleopatra into them and they were all laughing and rolling on the floor... it was so happy, and that's one of the many sides of Cleopatra that's been cut off.

In the four-hour version, we first see Cleopatra dumped out of a carpet. That was NEVER intended to be the first scene we see Cleopatra. From the script I learned that there was a whole story of Cleopatra outside Alexandria, and she and the others planned to meet Caesar and how to sneak her in. Just after they got to the Palace, some soldiers almost caught them and the maid had to lure the guards away... it was thrilling to read the pages of the script! There are sooo much to saying about what Cleopatra should have been, but sadly, no one expect FOX has the missing footage, and they are the best scenes of the movie (some scenes were so humorous that I laughed out loud!).

In the late 70's, 20th Century FOX called a recording session to record the lines of the movie so they can restore it, since the sound elements were missing. But it was called off at the last minute. But the three-and-half hours of missing film footage was NEVER lost! With today's technology, they can totally restore the film back, including the sound. They also have the missing part of the unused scores, but why doesn't FOX, after making a two hour documentary about the film, restore it? No one knows! Movies like "A Star is Born", "Lawrence of Arabia", "Sparticus", and many other classic movies has been successfully restored and loved by many. Why not Cleopatra? I am writing just to let you know the truth about the movie, and hopefully, if more people know maybe FOX will restore the film to the intended way. In a Late interview with four-time Oscar winner Joseph L Mankiewicz, the director and screenwriter of the movie, when the subject Cleopatra went up, he literately cried (on TV!). He said he wanted the film to be perfect that he bit his nails until they were bleeding that he had to wear gloves when he was writing the script... He called Cleopatra his "butchered masterpiece". But however, it's still one of the best movies out there! Totally worth buying!!

FOX: PLEASE RESTORE CLEOPATRA BEFORE IT'S TOO LATE, BEFORE THE FILM ROTS OR A STUDIO FIRE AND BURNS THEM TO DUST, LIKE FOX'S 1917 VERSION OF CLEOPATRA!

THE BEST FROM OLD HOLLYWOOD
Although Miss Taylor is no match compared to Vivien Leigh in CAESAR AND CLEOPATRA; this i s by far the best epic from old Hollywood - and the most entertaining..... Enough said. Ok, I can`t shut up; the arrival of Cleopatra into Rome is a masterpiece in itself... and the choreography is by the renowned Hermes Pan:-)

Spectacular Film About a Powerful Woman
"Cleopatra" is a great film released in 1963 about rise and relationships of the woman herself played by Elizabeth Taylor. This five-time Oscar winning spectacular film gives a rise to audiences of all kinds. Its beauty is never to be forgotten. The hard work and dedication placed onto this film shows greatly. Such film quality answers why it's since become a highly remembered classic. Its brilliant plot follows the emotional path of Cleopatra through her rise in power and her life turbulances. The emotional value stands greatly beyond the spectacular surroundings. This doesn't distract from the many history details expressed. The love themes are romantic as any great love classic. The sense of loss and struggle, namely losing those closest to her and trying to stop the wars from erupting, are greatly present.

All five Oscar wins were won for the spectacular surroundings that continue to amaze audiences after forty-one years: costume design, art direction, special effects, sets, cinematography. Few other films from the classic days was as elaborate as "Cleopatra". The multi-million dollars spent was worth it. The backgrounds are accurate desplictions of the actual Ancient Egypt and Ancient Rome. The buildings and the structure styles are amazing. The wardrobes are accurate to the actual styles worn by the characters. The elaborate costumes, namely the ones worn by Cleopatra, are unforgettable. This set a record for most costume changes by an actress for one film, 32, which would take 33 years to break ("Evita", 68). The make-up work blends perfectly with every costume.

Elizabeth Taylor's role as Cleopatra is unforgettable. Her previous research of the subject is present. More perfect is the Oscar nominated role (Best Supporting Actor) of Caeser played by Rex Harrison. His expressions of love and life turbulances greatly improve the movie's theme. All other actors also play their roles wonderfully: Richard Burton, Martin Landau, Carroll O'Connor, and others.

"Cleopatra" is a great classic film that will continue amazing audiences for many more years. This will leave them with an unforgettable experience. After viewing, those looking for more should also watch the bonus features, which have a lot of interesting details behind the film.

One of the best epics ever made!
I can't really add much to some of the wonderful reviews I have read about this DVD set (the 5 Star Collection). But I do want to say that if you love this movie or even just like this movie, the documentary that is included with this 3-disc set is worth buying this DVD set just by itself. It's one of the most entertaining and interesting documentaries I've ever seen on the making of a movie and all the interesting and strange events that happened while making the movie and after the movie. The movie is absolutely beautiful - the sets and costumes are magnificent - the money spent on this film is so obvious. I wish they would restore this movie to the director's original plan and put back the other half of the movie that was cut out! I would pay lots of money to buy a director's cut of this movie. But until that day comes, if ever, I highly recommend this DVD set. It's still one of my favorite movies of all time. ... Read more

Reviews (10)

Love This Film!
Long absent from home video titles, 1932's LOVE ME TONIGHT has finally been released on dvd in all of its glory - and a wonderfully pristine print it is too! There are enough superlatives already published about this film and its creators, director Rouben Mamoulian and Rogers & Hart, that I don't need to think up new ones - Leonard Maltin calls it simply "one of the best musicals ever made" - but it's worth observing that Hollywood never made another musical even remotely like it until the recent CHICAGO. (OK, let's credit 1933's HALLELUJAH I'M A BUM, a notorious flop.)

Even in some of our most beloved musicals - such as SINGIN' IN THE RAIN - let's admit it, the story stops dead in its tracks to perform a musical number. At best, the number is usually redundant of information already provided to the viewer. Rogers and Hart told LOVE ME TONIGHT's story through its musical numbers, a seemingly obvious approach that films have steadfastly ignored all these decades except for CHICAGO where LMT's approach seems to have been rediscovered. Perhaps the quality that distinguishes LMT from later and better-known musicals is its lack of pretension, indeed, its playfulness. Despite the film's imagination and continual inventiveness, it is never impressed with itself (oh, that the "great" MGM musicals of the 1950s had this quality!).

The only problems I found are minor and not the fault of the film itself. There seems to be a slight rumble on the soundtrack when the scene is in silence, most notably in the famous opening sequence of Paris at dawn. I also wondered why some slight speckling was not removed from the opening titles. These two items aside, Kino Video did a great job and provided some great supplemental material including a thoughtful essay by Miles Kreuger. If you have any interest in movie musicals, LMT is "must" viewing!

Beautiful DVD of a unique masterpiece
Can't add much to what others have said. The classic Rodgers & Hart songs are great. The stars are great. The endlessly inventive stagings of the songs leave most other movie musicals looking stodgy indeed.

A burst of creativity and genius that didn't just expand the ways music could be used on film -- it exploded them. LOVE ME TONIGHT is terrifically funny and entertaining, and even now, it seems ahead of its time.

Like champagne
Like champagne, the musical comedy "Love Me Tonight", is light, bubbly, and improves with age. It's hard to fathom that this delightful movie was made over 70 years ago because it looks and feels fresh and contemporary.

Rouben Mamoulian directs with verve complemented by the vibrant black and white photography of Victor Milner. Master composer Richard Rodgers creates lovely, wistful melodies that stay with you. And the erudite lyricist Lorenz Hart infuses his sophisticated lyrics with wit, charm, and innuendo.

The two leads, Maurice Chevalier as the smitten tailor, and Jeanette MacDonald, as the royal object of Chevalier's affection, have seldom been more appealing.

Here's a toast to the delectable artists who cultivated the sparkling, effervescent classic "Love Me Tonight".

WOW! [X 100!]
JEANETTE [to Myrna]"Do you ever think of ANYTHING but MEN!?"
MYRNA [replies boldly]: " Yes, .....SCHOOLBOYS!"

[As for the line about 'a peach must be eaten .......' WELL!]

THAT's the kind of delightful precode humor in this special, spectacular - and extremely advanced for its period MUSICAL BON-BON by the Great ROUBEN MAMOULIAN.

SIMPLE TALE of tangled identities - a Princess, a Tailor, a few eccentric relatives, and a Stag! [As in Stag Hunt] - 'Auntie Mame's' foxhunt owes quite a lot to this special episode, counterpointing the stag - ala bambi music - versus the thundering hooves of the hunt ..... then there's 'Solitude' - Chevalier's 'not so trusty' steed .... this one laid the foundation - a riot.

ALSO, Miss Jean-ette's [that's correct not je-net - but Jean-ette] unique way of stopping a train ..... and what a babe - err, lady for that period ... so's Miss Loy - exquitely gowned in contemporary costumes for that period.

From the unuslay percussive ala "Triplets of Belleville" opening - through Chevalier's trend setting "American In Paris" flaunt through the neighborhood - We know we're in for something special - zoom shots, slow motion, fast motion - it's all here - even a 'soldier's chorus' similar to the "Evita" group warbelling furiously.

DELIGHTFUL DVD - with LOTS OF EXTRAS - including trailer, gallery shots, two music 'videos' - JUST PERFECT.

NOW, just where is the other MACDONALD/CHEVALIER outing - Merry Widow"? Would be nice.

AND this one - although pre-code - is kidsafe ..... SUCH FUN TO BEHOLD!

Jeanette MacDonald also shows WHAT it meant to be a STAR - prfect teeth, smile, profile, hair - it's all there - just look!

A masterpiece from the early days of the sound film
Rouben Mamoulian's LOVE ME TONIGHT is the finest impersonation of Ernst Lubitsch in the history of Hollywood. It helped that he borrowed two of Lubitsch's most widely used stars. Jeanette MacDonald had appeared in Lubitsch's MONTE CARLO in 1930 (with the marvelous Jack Buchanan, who is best know for his great role in THE BAND WAGON) and Maurice Chevalier had appeared in 1931's THE SMILING LIEUTENANT, and the appeared together in THE LOVE PARADE of 1929 and ONE HOUR WITH YOU earlier in 1932 (they would appear together again in Lubitsch's superb THE MERRY WIDOW in 1934 in one of the last great comedies before the Code). If Mamoulian doesn't quite match Lubitsch in the latter's unsurpassed magic with the camera, he nonetheless more than equals him in his sense of play, of class conflict, and impish sense of mischief.

But in one regard he completely surpasses Lubitsch: Mamoulian was able to work with songs the likes of which Lubitsch was never able to. The film is filled with great songs by Richard Rogers and Lorenz Hart. The score is so good that songs that would normally be the finest in a musical, like "Mimi" and "Love Me Tonight" are completely overshadowed by two of the greatest songs that the legendary team wrong: the waltz-like "Lover" (sung by Jeanette MacDonald in a carriage) and the almost epic "Isn't It Romantic?" Rogers was one of the greatest composers the American stage or cinema has seen, but as fine as his music is in these two songs, Hart just might be a tad better. The lyrics are simply astonishing. Take these from "Lover," which are closer to poetry than to mere song lyrics: Lover, when I'm near you/ And I hear you speak my name/ Softly, in my ear you/ Breathe a flame. The lyrics, on the other hand, of "Isn't It Romantic?" are cleverly nonchalant, many of the lines mere vowels as the singers hum rather than sing. Later versions "cleaned up" the lyrics, but in the movie the rough, almost unfinished quality of the lyrics enhances their appeal. It begins in Paris with Maurice Chevalier singing in his shop (with marvelous use of mirrors), and the tune leaving the shop on the lips of a customer, only to be passed onto a cab driver, from him to a fare who is a composer, on from him to a troop of soldiers marching in the countryside, and from them to a gypsy violinist who is overheard by Jeanette MacDonald in her chateau, where the song concludes. It is a breathtaking performance.

There is so much nonchalant fun in this film! For instance, a marvelous conversation between C. Aubrey Smith and Charles Butterworth in a stable, with a horse's head firmly wedged between them. Or the remarkably humorous fox hunt.

This is a must-see film for anyone who loves classic cinema or pre-code musical comedies. It is almost impossible to surpass in terms of cast, music, camera work, or humor. Love it tonight. ... Read more

Reviews (59)

COOL, ELEGANT FILM NOIR....
Although toned down from Vera Caspary's novel, "Laura" is a classic example of sexual obssession in 40's film noir. Otto Preminger (with help from Rouben Mamoulian) created a masterpiece of a mystery film loaded with decadence and sexual tension. Tough streetwise police detective Mark McPherson (Dana Andrews) investigates the violent society murder of beautiful, enigmatic ad exec Laura Hunt (Gene Tierney) and enters the cold, calculating world of high society where everyone has dark secrets. He encounters a list of suspects including ascerbic Waldo Lydecker (superb Clifton Webb) as Laura's "benefactor" and companion who introduced her to the high end of advertising and her gigolo fiance' Shelby (Vincent Price) who is more or less kept by Laura's aunt (Judith Anderson). It is Lydecker who matches wits with Mark every step of the way. Mark has become obssessed with Laura's portrait, her perfume and letters and has obviously fallen in love with the "dead" Laura. The sexual obssession theme lies underneath the complicated relationships including Mark's fascination with Laura's relationships and her personal things and in the flashback sequences, it is clear that Lydecker fancied himself more than just Laura's "companion". He sought to possess her. But it gets stickier as it goes along when Laura turns up very much alive. There is so much to savor in this film along with the performances (especially Webb's) like the beautiful b&w photography that gives the film a dream like quality and the lovely "Laura" them by David Raskin that haunts the film and emphasizes the romantic longing Mark has for Laura and Laura's mysterious, paradoxical personality. Any way you slice it, "Laura" is a classic film heads up above the rest and needs to be available on DVD. It is not to be missed.

A MUST SEE
I saw this movie at least ten times. First time was in my early teens, when it was shown on local TV. I never heard of Gene Tierney before, but after seeing this film, I knew I would never forget her. She was the most beautiful actress I ever saw and her mannerisms reveal a classy keen intelligence. Everything about this movie will haunt you--Tierney's beauty, the musical score by David Raksin, the portrait, and the ending.

The film is about a woman who seemed to have everything--a successful career, beauty, brains, wealth--who is discovered murdered in her apartment. A detective, Mark McPherson, played by Dana Andrews investigates the case and starts questioning possible suspects. One is the Svengali-like Waldo Lydecker (Clifton Webb), a syndicated columnist and radio personality. Another is Shelby Carpenter, a smooth Southern gigolo played by Vincent Price (yes Vincent Price!). And there's Laura's middle-aged socialite aunt, Ann Treadwell, who was using Carpenter as her boy-toy until Carpenter meets Laura. Other possible suspect is Laura's maid, a feisty loyal Irishwoman.

The film shows narrated flashbacks by Lydecker. He idolizes her and intercepts Laura's suitors, all of whom he considers beneath her. He couldn't intercept Carpenter who attracts Laura, and who Laura was supposed to marry the week she was found murdered. The first twist of the film is when McPherson falls in love with Laura, who's presumed dead. From reading her diary and letters and continuously seeing her portrait, he discovers she's the woman of his dreams, an unattainable goddess whose physical presence he can only imagine. So when twist number two happens, the murder investigation understandably becomes secondary to this gumshoe detective.

This is the best film directed by Otto Preminger. I believe it's the first American film he directed, and his following films pale by comparison. Ironically, this is a film full of second choices. The lead was written with Jennifer Jones in mind, but she turned it down. It was then offered to Heddy Lamarr who also turned it down. Tierney claimed in her autobiography that she didn't want the role either and thought the film was going to bomb, due to the fact that many aspects of it were not prepared (the final script, the music) and that Dana Andrews (also a second choice) prior to this film never had a role as a leading man. The portrait that was originally intended for the film was painted by the wife of director Rouben Mamoulian, who was initially hired for the film but was fired by Preminger who was producing it. Paintings don't transcribe well to film so a touched-up photograph of Tierney was used as the portrait. Preminger took the directing himself. He wanted to use the song "Sophisticated Lady" by Duke Ellington as the musical score, but David Raksin made a deal with him, in which he would write a score Preminger would approve of in one weekend. Raksin claimed he kept looking at a photo of Tierney during the composition of the score and that she was his inspiration. Thus second choices made this movie a classic.

The dialogue is witty and biting, particularly that of Lydecker. The film was nominated for Best Adapted Screenplay, Best Supporting Actor (Webb), Best Black and White Cinematography and Best Musical Score. It only won for Best Cinematography, and I'd like to learn what films aced it in the other categories. Although awards are not considered important by many film connoisserus, the winners are the ones recognized by the next generation. Thus "Laura" remains one of the most underrated films of all time.

Revised Release Date
Fox now says Laura will be out November 04. We can just hope this is not just another tease after first announcing Sept 03. Are lawyers involved in this delay?

Release date
The review from Utica is correct: Laura was supposed to be out 9/03. It's been on my wish list for almost a year. Maybe Fox should get Eisner to oversee releases (he must be looking for something to do).

Wasn't this supposed to be out on DVD last November?
I ordered this DVD early LAST YEAR, and it is yet to be released. There are so many mediocre if not downright awful films that are always being released onto video and DVD, yet this film, which is truly one of the best classics of all time, is still not available. What is Fox doing? ... Read more

Amazon.com

Fredric March won an Oscar® for playing the protagonist (and antagonist) of Robert Louis Stevenson's story.Dr. Henry Jekyll is an honorable man of science, albeit frustrated at the enforced celibacy of a delayed wedding date. Hyde is the fearsome creature he turns into after drinking a potion, and Hyde's appetites (mostly expressed with Miriam Hopkins's Cockney dance-hall wench) are decidedly unrestrained. March's performance is pretty theatrical, but it's fun to watch; his Hyde twitches and squawks and lopes around like an ape in a tuxedo. Rouben Mamoulian's direction has plenty of the brio of early-thirties Hollywood, and the transformations from Jekyll to Hyde are ingenious for the time. This film followed Dracula and Frankenstein into theaters by a few months, and it stands well with those horror classics--and it's a darn sight more fun (and much more down and dirty) than the 1941 MGM version of Stevenson's tale. --Robert Horton ... Read more

Reviews (27)