Reviews (9)

Want to see the mechanics of the Miller Band?.....
This review applies EQUALLY to Orchestra Wives and Sun Valley Serenade.

Remember the Elvis movies that were basically a thin plot excuse to have the "star" sing? Well these movies are the 1940's equivalent featuring the pre-war (and so definitive) Glenn Miller Band.

Forget about the plots which are almost identical and don't even stand up today. Boy meets Girl, Falls in love, Another girl is jilted or gets in the way, disharmony in the band, all is sorted out. Big set piece number to finish. (Both movies - honest!). In fact unless you are interested in period movie making and Hollywood fashions you can safely fast forward between the tunes. You can figure the plot as it whizzes by - though how Milton Berle (playing the band's "publicity agent" in Sun Valley Serenade) got his wise crack about the size of a girl's chest past the production code is beyond me! Must have been the war.

BUT - the real reason to own these tapes (when are we going to get the DVD versions?) is watching the mechanics of how the Miller Band produced the sound. Sure - it was shot to be showy - and it is - but it is WELL shot and you can see how the components of the sound were built - even if the "recording studios" are the size of movie studios...... Couple this with the restored soundtrack (some tracks are in early stereo!) and you have a reason to own these movies. If you can only afford one - Orchestra Wives - there are more hits on it!

FORTIES FUNFEST.
A small town girl marries the trumpet player of a travelling swing band. A very popular film in its day, this movie is infinitely more enjoyable than the title - which sounds like a statistical classification - would suggest. The cast is fun if eclectic: George Montgomery, Carole Landis, Cesar Romero, Ann Rutherford, Lynn Bari, Jackie Gleason & the Nicholas Brothers! Numbers include the zany I'VE GOT A GAL IN KALAMAZOO. ORCHESTRA WIVES was the second and final film made by the famed band leader Glenn Miller who disbanded his civilian band in September of 1942 and entered the military. Miller's Army Air Force band was astonishingly modern for its day with a much more sophisticated sound with lush arrangements accompanied by strings and superlative solos from the best sidemen in the pop music business. Miller disappeared during his flight over the English Channel on December 15, 1944: the world mourned this most popular of all Big Band leaders of the fabled Swing Era.

3.5, maybe...
Swing king Glenn Miller plays himself (sort of) as a bandleader with woman problems... problems with women married to his musicians!! A mildly interesting attempt to introduce some melodramatic social commentary about the strains that life on the road can impose on even the best marriages... A few campy catfights don't keep the wives' club scenes from dragging down the script, but the music is great. Highlights include the opening number, "People Like Us," which gives us a good look at the whole band, and a typically dazzling tap routine by the Nicholas Brothers, during the "I Got A Gal From Kalamazoo" medley finale. Miller plays his role with a surprisingly hardbitten edge; Cesar Romero, Jackie Gleason beef up the cast, and it's always a hoot to see Harry Morgan in one of his early roles as a teenage geek. Some funny references to the wartime swing scene.

Possibly my favorite Landis role...
A lot of people who commented focused on the musical numbers in the films, but I want to focus more on the cast. There were some great numbers, but my favorite scenes were the scenes that involved the "Orchestra's Wives" (hence the title!), who were really a group of catty, gossipy women--Carole Landis plays one of the these woman, and it's a switch because usually she doesn't play those kinds of roles. However, she does it wonderfully here, and it is a must for any Carole Landis fans!

Orchestra Wives
This is one of my all-time favorite movies! I was raised on Rock & Roll and became a musician during the sixties, a part time occupation that I enjoy to this day. My favorite influences were Jimi Hendrix, Led Zeppelin, Jefferson Airplane and Joni Mitchell. When I began, I knew nothing of the music that is featured in Orchestra Wives nor was I interested much. I've been a working musician for 35 years and have seen all the hardship that the business offers. This movie is THE MOST believable record of the highs and lows of playing music for a living that I've seen next to its closest runner up: Prince's 'Purple Rain'. The best line in the movie is when the horn player's girlfriend complains: 'Breakfast? Now? it's almost 2:00 pm!' The world of music performance has not changed AT ALL since this movie was made and I defy any young person to prove me wrong! It's the musicians' wives and girlfriends that put up with the trials of the biz just as much as the players do. The musicians cannot sustain themselves with their support. It's a very hard road if one chooses to perform music for a living. Also, you HAVE NOT LIVED until you've checked out the trumpet solo in 'At Last'! ... Read more

Amazon.com

One of Humphrey Bogart's earliest starring vehicles, this 1936 melodrama typifies the Warner Bros. touch in its modest but potent production values and Depression-era social acumen. Prompted by contemporary news reports of new neofascist groups targeting political and religious minorities, the script conjures up a shadowy, Klan-like organization preying on factory workers to set them against blue-collar immigrants. Bogart is Frank Taylor, a hard-working drill-press operator hoping for a promotion that can help him better provide for his adoring wife and cherubic young son. Frank's coworkers reassure him he'll snag the foreman's post, but when a studious young Polish American gets the nod, Frank's bitter disappointment sets the stage for the tragedy that follows.

What proceeds in this 83-minute feature is a pointed morality play about tolerance and democracy. The legion's rank and file invoke a "free, white, and 100 percent American" future in justifying their scare tactics, which hound Frank's rival out of town, briefly gaining him the coveted job. But his deepening involvement in the mob soon drives wife and son away, costs him his job, and ultimately spurs him to murder his best friend, Ed (Dick Foran). Indicted for the murder, Frank is nearly acquitted by a crooked defense team funded by the corrupt businessmen who are bankrolling the legion (more to profit off the sale of robes and revolvers than to incite any real political change), but his climactic, cathartic pang of conscience brings the tale to its moralistic end.

Bogart, who dutifully marched through dozens of features before graduating to true stardom, gives the simplistic story its modest power through a credible performance that traces Frank's descent from streetwise but principled worker to angry, disillusioned thug. The supporting cast also includes Ann Sheridan, likewise fine in an otherwise two-dimensional role as Foran's wife. --Sam Sutherland ... Read more

Reviews (4)

Still relevant
"Black Legion" is a startlingly relevant and compelling drama about a factory worker (played by Humphrey Bogart) who is pursuaded into joining a bigoted, violent secret society when he loses a job promotion to an immigrant's son.

This secret society is called the Black Legion. They operate much like the Ku Klux Klan did in the 1930's. The Black Legion members wear hooded costumes (similar to the KKK's). Its members also claim to be "patriots" who want to rid America of "foreigners" who are successful in their community and who they perceive as a threat to their livelihood. (Again similar to the KKK.)

"Black Legion" unflinchingly examines the brutality, ignorance, and prejudice of these self-appointed "patriots" who use hardworking immigrants as scapegoats for their own lack of ambition and success.

This movie also exposes the greed which was a motivating factor in recruiting new members into the Black Legion. With more members, the Black Legion could prosper financially since all who joined were required to pay dues and to provide other services for this violent group.

It is truly disturbing that the same kind of hatred which infected groups such as the Black Legion still exists today in the form of a revived Ku Klux Klan and the emergence of various white supremacist groups. Although such fringe elements are small in number, their message of hate and intolerance can still hurt people.

The "Black Legion", made in 1937, is a brave movie which pre-dates the civil rights movement. It vividly illustrates the cowardice and hypocrisy which drives groups such as the Black Legion. And its story gives us hope that hatred and violence can be conquered when decent people summon the courage to confront and punish evil-doers.

A Brutal Film For The Thirties
Humphrey Bogart stars as Frank Taylor, a factory worker who wants to be the next foreman. When he is passed over for the promotion he was counting on by a young, eager Polish American, his frustration and anger leads him to join the Black Legion, a group of racists out to punish anyone who isn't "100% American". He keeps this activity a secret from his wife Erin O'Brien Moore and his best friend Dick Foran. But before long, his life starts to unravel because of his association with this group, leading to a lot of tragedy, death, and heartache. I was impressed to see that a major studio like Warner Brothers took such a direct look at a hate group in 1930's Hollywood. The scene where Bogart takes the group's pledge particularly surprised me with its subtle brutality. Bogart is very good in this film, one of the few actors of his time that could have made this character seem believable. The supporting cast, which also includes a young Ann Sheridan as Foran's fiancee, all give good performances as well. The film is tough, presents a hate group as frankly as a 1930's film could, and although a little preachy at the end, delivers its message well.

Well-done Warner Bros. social drama
Humphrey Bogart owns this movie about a Ku-Klux-Klan-like organization that takes it upon itself to inhibit "foreigners" from competing with the local "American" work force. How many actors in the '30s could (or would) be willing to portray the craven Taylor, a machinist jealous of the new foreman whose job he intended to have, and who eventually joins the ranks of the Black Legion for the thrill of exacting vengeance on Eastern Europeans, Irish, or anyone perceived as an outsider threatening American jobs? Bogart is pathetic, harrowing, poignant, and acts with such depth of feeling that he emerges from the screen like a relief carving. It anticipates his role as Fred Dobbs in Treasure of the Sierra Madre. Already he's one of a kind, even in this early social drama that Archie Mayo and Warner Brothers were so good at executing in the '30s. I could look at the glistening machine shop all day and the eerie Black Legion gowns are a true menace in this richly photographed black and white movie. Hard to believe and incredibly sad that such an absurd and tragic theme as crusading masked bigotry remains pertinent to this day.

A True Story
This movie is a gripping account of a very real problem that affected the Detroit automotive industry in the 1930's. The editorial review states that "the script conjures up." This movie is no conjure job. It tells a true story. My father, originally from Kentucky, went to Detroit to work in the automobile factory in the 1930's. While he was never in the Black Legion, he had enough stories to tell about it. I recommend that everyone watch this movie once. ... Read more

Reviews (8)

Excellent vehicle for Heifetz
Jascha Heifetz was good friends with producer Sam Goldwyn, and this movie was designed to showcase Heifetz's talents. Heifetz was paid quite a bit of money for six weeks of filming, and quite a bit more later for another three weeks of retakes.

The actual filming of Heifetz was interesting. He'd record the music in a studio, then go in front of the cameras. A loudspeaker played the recording, while Heifetz synchronized his violin playing to the music. Naturally, this took quite a few takes to get down pat. The result is excellent: it looks as though the music was played in real-time.

The movie featured the Peter Meremblum California Junior Symphony, a popular training orchestra of that day (which still exists today). The venerable Alfred Newman, who was occasionally a conductor with the Meremblum orchestra, wrote the musical arrangements for the movie and rescored many of the classical works to fit the Meremblum orchestra. The score was nominated for an Academy award but had much competition that year, among them "The Wizard of Oz" and winner "Stagecoach.". The Meremblum orchestra was conducted by Mr. Meremblum himself as well as by Rudolph Polk and Alex Steinert.

What is noteworthy is that many of the youthful members of the Meremblum orchestra in the movie went on to successful careers in show business. 12 year old pianist Dolly Loehr took the name of Diana Lynn and became a well-known actress. 9 year old soprano Jacqueline Nash took the name of Gale Sherwood, singing partner of Nelson Eddy for 15 years. The character of "Frankie" in the movie was played by then 13 year old Gene Reynolds, who became a successful producer, director, and writer (The TV series M*A*S*H* being his best-known effort) and recently has worked actively for the actors' union. Young cellist Richard Berres became a successful music director for many TV shows, among them "Ben Casey" and "Hogan's Heroes." Many of the other kids went on to distinguished careers in music and elsewhere. While privacy issues prevent naming them here, the "kids" in the orchestra include those who went on to successful and distinguished careers as: two professors of music at Juilliard; a concertmistress of the New York Metropolitan Opera orchestra and professor at SUNY Stonybrook; a first chair trumpet player for the New York Philharmonic; three symphony conductors; a renowed clarinetist who still teaches master classes at USC; a longtime professor who, in her mid 70's, performs with a prominent symphony; one of the most sought after harpists by the major motion picture studios; a violinist who recently retired from an active studio and concert career to an active second-career as a sought-after teacher (in her mid 70's), at least three other musicians who had careers as concert artists, several other distinguished members of symphonies and studio recording artists----and a young cellist who might have been a renowed concert artist, had she taken that route, but instead chose another rewarding career: as Sisters of the Immaculate Hearts of Mary---and who still managed to "moonlight" as a prominent member of the Los Angeles Philharmonic. Add to that two doctors---one of them a well-respected cardiologist---and you have quite a collection from forty-one kids.

The movie itself is charming, albeit full of cutting room "holes" that an astute viewer will discover. The plot is well-worn, but not boring. Heifetz and most of the kids in the orchestra had little or no acting experience. Mr. Goldwyn compensated for that by supplying, in addition to Joel McCrea, Andrea Leeds, and the incomparable Walter Brennan, a veritable Who's Who of character actors: a young Terry Kilburn, Porter Hall (in one of his many villain roles), Marjorie Main (later of "Ma and Pa Kettle" fame), Arthur Hohl, Paul Harvey (the actor, not the radio guy), longtime veteran Arthur Ayelsworth, Wade Boteler, perenniel policeman Lee Phelps, stolid Perry Ivins, rotund and pompous Frank Jacquet, Emory Parnell, Wydham Standing, Dulcie Day, Marjorie Wood, Paul Stanton, and many others.

The music is superb, both of Heifetz and the Meremblum orchestra. There is much closeup footage of Heifetz, and I highly recommend the movie to any violinist and especially students of that instrument.

Altogether, it's a satisfying picture if you don't ask too much from the plot. Oddly, the picture was not very popular when it first showed, and Goldwyn lost quite a bit of money on it.

This movie was in AMC's regular rotation in the early 90's, and was phased out as AMC got hold of newer and better known movies. It's a shame.

Been looking for this for years
Years ago I saw this movie, it was one that made me interested in classical music. I have been looking for it for years. If someone comes out with it on DVD, it's a keeper.

One of a Kind
This movie is one of a kind--there are no others like it. Borrwoing from my review (as tvcat) on IMDB:

The story itself is routine: A boy runs away from home and ends up in a struggling music school for kids. He convinces a famous violinist to sponsor the school. The film is a splicing of shootings over 11 weeks, and leaves many amusing holes which the observant viewer may find for him/herself.

However long the whiskers of the plot might have been, the movie is justified by its music and acting. There is plenty of music, featuring classical works played by Heifetz and by The Meremblum Orchestra, one of the leading youth symphonies of that day, and said music is excellent. By itself, it would make the picture worth viewing. The conducting and scoring duties were put in the best of hands: those of Alfred Neumann.

The acting is a study in contrasts. The kids in the orchestra, most of whom had little or no acting experience, must have driven director Archie Mayo crazy, looking into the camera, overacting the parts that they had, and overstudiously following directions given to them. But the spontaneity that results from their lack of training adds an interesting charm to the picture. The veteran actors were marvelous with the material they had to work with. Walter Brennan was perfectly cast in his role, one that he emulated in real life. Joel McCrea and Andrea Leeds were ideal fits for their parts. And the supporting acting was a veritable Who's Who of character actors: Marjorie Main, Arthur Hohl, Paul Harvey, , Charles Coleman, Perry Ivins, and Porter Hall in his typical role of the heavy---all ideally cast. And the bit players: Jessie Arnold, John Hamilton, Marjorie Wood, Jimmy Flavin, Dulcie Day, the gravelly voiced Lee Phelps in his usual role as a policeman and many many more. If you're a fan of character actors, this movie will bring back a lot of memories.

Overall, the picture is very enjoyable and is recommended, even if you aren't a fan of classical music.

As a side note, the young soprano in the movie was not Beverly Sills, as noted elsewhere, although Sills might have appeared in it elsewhere. The character of Betty was played by then Jacqueline Nash, who later was known as Gale Sherwood.

Great for violin students
I found this video at my local library and was mesmermized by Heifetz's performance. My seven-year old is just finishing up Suzuki violin book one. He was awed by Heifetz's technique and asked to see the violin parts again and again. The camera work is wonderful. This is an inspiring film! One of the customer reviewers here said that Beverly Sills is the young singer. What a treat!

"They Shall Have Music" In The Classroom
I happened to tape this classic film off of cable some years ago and have used it many times in my music classroom. Very few films capture the attention of middle school instrumental students as well as "They Shall Have Music". My clarinet teacher at USC, Mitchell Lurie, appears as the young clarinetist in the school orchestra. Beverly Sills is the talented singing voice behind the youthful actress appearing with the Peter Merenblum Youth Orchestra. And Heifetz appears five times! What great gems to show to young music students, especially my inner city kids! ... Read more

Reviews (8)

CRASH DIVE SOARS - TRANSFER IS SUSPECT, THOUGH.
"Crash Dive," a melodramatic lover's triangle between naval heroes (Tyrone Power and Dana Andrews) and the girl they both love (Anne Baxter), is one of those standard war flicks made at the height of conflict (1943). Remarkably, it continues to stir up patriotism and lift the spirits, despite a somewhat heavy handed script and some truncated bits of romance that seem to be inserts into an otherwise straight forward and compelling adventure movie. Powers is a reluctant executive officer aboard a submarine. His relationship with his new captain (Andrews) becomes strained after he realizes that they are in love with the same woman. All this is background fodder for the real plot of the movie - a mid-Atlantic ambush of a secret German island and its Nazi military base.
THE TRANSFER: Filmed on location, Leon Shamroy's lush Technicolor photography is the real star of "Crash Dive" and although the film has dated considerably, there's still enough gleam in the original negative to compel the viewer onward. Colors are rich and for the most part, nicely balanced. Occasionally there are scenes in which the color scheme becomes unstable or flickers. There is also an abundance of age related artifacts that detract from the overall visual presentation. Black and contrast levels are generally solid. There's a slight haze over some of the scenes as well. Digital anomalies are not an issue on this disc. The audio has been cleaned up and is nicely presented. EXTRAS: None.

BOTTOM LINE: If you're a cinema war junky, then "Crash Dive" will suit you tastes. But it does not represent the best of genre by any means. The DVD's middle of the road picture quality is a let down.

A nice surprise for the war effort
Filmed as the actual battle for the Atlantic was taking place is the 1943 drama "Crash Dive" starring Tyrone Powers. These types of movies are a common phenomenon during wartime to help lift peoples spirits on the homefront and drum up patriotic fervor. Here the American sailors are fighting the good fight against the despicable Nazi war machine.
However, this DVD offers a surprise. It is actually a very well made and entertaining adventure movie with enough splashes of romantic subplot and action to keep everyone in the family happy.
Powers plays a PT boat crewmember who is unwillingly transferred as executive officer aboard a submarine based out of the New London, Conn. base. Initially he gets along well with his new captain until he realizes that the two of them are in love with the same woman. The two must learn to trust one another and work together to investigate a mysterious ship in the mid-Atlantic and destroy the secret German island base that is being used by the Nazi's as a staging point for attacks on the Allied shipping lanes.
Filmed on location with the full cooperation of the War Department the movie is presented in technicolor and although the color on the DVD transfer is somewhat saturated it is still relatively clear of blemishes. Where the DVD is lacking however is in special features merely offering a selection of trailers of the other Fox war titles.

Good Hollywood Submarine Film for War Effort
This 1943 film made during the War boasts beautiful color Cinematography by Leon Shamroy. Basically it sets up a love triangle between naval heroes Tyrone Power and Dana Andrews and the girl they love Anne Baxter. The actual United States Navy submarine base at Groton, Connecticut was used in some of the location photography. Fred Sersen won an Oscar for Special Photographic Effects and Roger Heman for Special Sound Effects. Also featured are James Gleason, Dame May Whitty and Henry Morgan.

Submarines and Anne Baxter
Crash Dive was released the same year as Destination Tokyo, and I think the latter was the better film. Not to slam this movie too much, because it's entertaining enough. But the focus in Crash Dive is different, spending a considerable amount of time off the submarine as Tyrone Power and Dana Andrews clash over the affections of an incredibly beautiful Anne Baxter. The performances are as good as you could expect with this kind of material, and the action scenes are quite effective. But it's the kind of movie you can watch and then forget pretty soon afterwards. It's entertaining, but without much impact.

Tyrone Power in one of his best action films.
Tyrone Power shows us in this film, he's a real man, and a real ladies man with love interest Anne Baxter. Dana Andrews co-stars in this example of a fine war movie. If you collect war films, this one is a must. ... Read more

Amazon.com

Night After Night was conceived as a serious dramatic vehicle for George Raft, a major star in gangster pictures (who had been a real New York gangster before coming to Hollywood). But the movie--for the most part an overheated melodrama--would probably have been forgotten long ago were it not for Mae West. Raft and West had been lovers when she was starring on Broadway. He brought her to Hollywood to give her a break in pictures with a small part in this one. But, as Raft said, West "stole everything but the cameras."

Raft is convincingly melancholic as Joe Anton, owner of "the swellest speakeasy in New York". He's sick of the racket, sick of the smell of booze, and sick of his girl, Iris (Wynne Gibson), a whiny, pathetic floozy. Lately his head has been turned by a classier species of dame, one Miss Healy (Constance Cummings), a society debutante who's been pining prettily in his speakeasy every night. Raft hires a high-falutin' tutor, Mrs. Jellyman (battle-axe Alison Skipworth), to improve his deportment and impress Miss Healy. He invites Mrs. Jellyman to dine with him and Miss Healy, when who should show up to wreck his plans but his old flame, Maudie Triplett (West). The movie shifts into high gear when she appears. It's fascinating to see West in a very different role than those she plays in her other films. No goddess with men falling at her feet is she, but an uninhibited good-time girl with a healthy taste for champagne. We have the sense that we're glimpsing Mae West before her all-important image had been finely honed. --Laura Mirsky ... Read more

Reviews (4)

Night After Night VHS
I was very disappointed in this video. If your fond of George Raft it is great. If it's Mae West your interested in there is not much of her in this video. The copy I received had some flutters in it as well.

A very good pre-code movie
I'd always read that this film's only asset was being the movie in which Mae West made her screen debut, and having seen it, I can say that that's untrue and absolutely unfair. West is in top & rare (different from her subsequent stereotyped love goddess persona) form as Maudie, Raft's old flame and friend, and her scenes are very funny, but that's only part of it. George Raft plays the lead as the owner of a Speakeasy who longs for things that money alone can't buy: prestige, class, a worthy lady-wife and going up the social ladder. He hires wonderful Alison Skipworth as a teacher, in order to learn the manners + way of the upper classes (her hangover scene with miss West is a gem). Raft also falls for very pretty Constance Cummings, who's good in her part of the impoverished socialite. Noteworthy performances too by Wynne Gibson (who physically resembles the young Miriam Hopkins, who was also a Paramount star in that period of time), as the vulgar and cheap floozy in love with Raft (who wants to get rid of her at any price!) and by Roscoe Karns as his loyal sidekick. Also in it, great character actor Louis Calhern as Cummings' rich suitor. In all a very pleasent, entertaining and very well acted movie, unjustly neglected and overlooked for decades, and merely dismissed as "Mae West's first picture". It's much more than just that kids.

Very Interesting...
Ms West... Was a class act and she was way way before her time... This movie(the second of hers I own)has some very interesting scenes in it... alot of "things" going on in the 1930's

MAE DAY
This is the film in which 39 year - old Broadway star Mae West made her debut in motion pictures; like co-star George Raft once said "She stole everything but the cameras". Alison Skipworth is hilarious as Mabel Jellyman and when she is taking nips with Mae, she asks "Maudie, what do you think I should do with my inhibitions?" to which Mae replies "Well, honey, I've got an old trunk over here"! When Mae asks Mabel to get into her "racket" which is one of "the best payin' around" (Maudie has her own chain of beauty parlours called "Institute de Beaut") Mabel mistakenly thinks Maudie's talking prostitution and answers "Well, dontcha think I'm just a little old"? Not a great movie by any means, it comes alive only when Mae appears on screen. "Night after Night" is the name of the speakeasy in which the movie takes place. ... Read more

Reviews (17)

The End of the Road
I've had the advantage of seeing The Petrified Forest as a movie and on stage. Taking into account the fact that the stage production I saw wasn't the greatest, I still think that the movie version captured the story better. The story is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties' star these days, manages to make some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an interesting and sympathetic figure, despite not having many moments to really develop the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, full of ideas waitress that Howard falls in love with. The Petrified Forest is a hostage drama, but it's more than that. It looks at life, growth, love, and disillusionment. It presents a nice contrast of characters, since Howard and Bogart are both at the end of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today's movie fan will still find truths and entertainment in it.

Should Be on DVD!!
I taped The Petrified Forest a couple of years ago when it was shown on TCM and I thought it was a very good movie! Bette Davis plays a young woman who lives in a desert town with her father and works as a waitress in his desert cafe, she is bored and would love to leave home and go see the world! A disillusioned writer played by Leslie Howard stops at the cafe and she falls for him but when a criminal played by Humphrey Bogart and his gang are on the run from the law they hide out in the cafe and hold everyone hostage. This is a good movie and I like that Bette Davis is playing a nice girl who is sweet and compassionate when it seems that she was generally known for playing ruthless, cold and calcuating women so this is a nice change. I recommend this movie, I don't think it's been put on DVD yet but I really think it should be put on DVD!

Fascinating film debut for Humphrey Bogart
Actually, this was not quite Bogart's debut. He had been in a few utterly forgettable films in tiny roles in the early 1930s before returning to Broadway, but this is his "real" debut.

THE PETRIFIED FOREST had been a highly successful stage play starring Leslie Howard and Humphrey Bogart, and Warner Brothers wanted to do a film version of it. They therefore approached Howard with the offer, indicating that they would like to have him reprise his starring role, and have him star opposite Edward G. Robinson as Duke Mantee. Howard, however, indicated that he would only make the film if his Broadway costar, Bogart, played Duke Mantee. At this point in his career, Bogart's acting career had consisted primarily in playing juvenile parts in various plays (the famous line "Tennis anyone?" is perhaps mythically attributed to one of his roles, but sums up the spirit of onstage persona) and failed attempts to break into film. Playing Duke Mantee had been a dramatic departure for Bogart, who had never previously played a heavy. Luckily for film history, Howard insisted that he would not make THE PETRIFIED FOREST unless Bogart played Mantee.

Historically, the most important thing about this film is that it launched Bogart's film career. Although he would spend the next four years playing a huge number of gangsters, he was, nonetheless, after this film, a Hollywood mainstay, becoming the number four gangster in the Warner Brother stable after Robinson, Cagney, and Raft.

THE PETRIFIED FOREST is, however, entertaining on its own. The one great negative of the film is the fact that it is very obviously a film version of a stage play. The action of the film is limited to only a few locations, and overall the production has a very static feel. Although there are some interesting sets, with some fascinating painted backdrops of Arizona landscape (some of it was shot live, but most of it is done in a studio), the real interest in the film lies in the performances. Leslie Howard made far too few films for my taste. I know he was deeply involved in the stage, but he was both immensely talented and quite charismatic. Unfortunately, his bizarre death cut his talent off far too soon (during WW II, the Luftwaffe shot down a plane he was in, thinking that a military or political VIP was on it). Bogart is striking as Duke Mantee. Bette Davis is as enjoyable in this as any film I have seen her in. I have to confess that by and large I don't care for Bette Davis. She has a tendency to over enunciate every word in a way that is not merely unnatural but a little unnerving. She never seems at ease on screen. She always seems to be "acting." Still, she is well suited to this role.

Leslie is the star, but Humphrey's the cover guy? Strange...
I could sum this up in a very brief paragraph, and I will, because it simply did not thrill me to the depths of my soul, leaving me appropriately petrified.

Bette Davis was fine. Leslie Howard is, as usual, a watery intellectual, this time turned hitchhiker. Humphrey Bogart is the tough guy whose entire role required little more than sitting pointing a gun at people. The others were unremarkable.

This movie wants so much to live, and love, and be loved, but there is nothing to be found for it - not here nor anywhere else. It longs to be buried somewhere in the Petrified Forest, where the winds can blow over it, and perhaps - being so chocked full of dramatic, poetic statements, some will leak out from its grave, and the occasional tourist will hear the gentle whisper, "'Tis for this end that we twain are met!"

Let this movie rest in peace.

Classic Story of Good vs. Evil Battle -- One of the Best
Humphrey Bogart and Leslie Howard reprise their stage roles as "bad guy/good guy" in this ever timely tale of greed and ruthlessness vs. selfless and compassionate courage. Caught in the middle of this age old story is a young Bette Davis, who in the course of hours learns to love the "hero", never stopping to despise the evil enemy.

The setting is a diner, suddenly held-up by Bogart, who eventually shoots and kills the kindly Howard who 'dared' to stand up to the bully (mainly to protect Davis). The helpless waitress (with the universal 'dream' to get away and make a better life for herself), sees the crisis as a 'sign'. Before dying, Howard makes Davis the sole benefitiary of a modest insurance policy, which Davis tearfully accepts.

This film lives on in Cinema History as one of the true classics of all time. The transition from stage to silver screen was sucessful, especially when considering that the story was made available to a much greater audience. This is a highly recommended 5-star film!***** ... Read more

Reviews (8)

Look Into My Eyes...
At first glance, SVENGALI (John Barrymore) is just a slimy, heartless music instructor, taking advantage of the folly of his female students (victims). On closer inspection, he is a demonic presence, mesmerizing those he desires with those hideous eyes of his! Trilby (Marian Marsh) is a beautiful young model, who captivates SVENGALI and drives him to obsession. He simply must possess her and sets out to do so by hypnotizing her (in the guise of a headache cure). The various shots of SVENGALI's eyes are unforgettable. In them we see an evil that is otherwise hidden deep in SVENGALI's heart. While others think of him as a harmless buffoon, we know what he REALLY is, as well as what he's really capable of. Trilby is drawn into those eyes, becoming his slave. Though she becomes a singing sensation, we realize that she is only a puppet for her new master, a caged bird chirping for her captor. Her life is reduced to SVENGALI. This is a horror story about domination, submission, and death. Eerie and disturbing, SVENGALI is a must-see classic. Highly recommended...

Barrymore's best
John Barrymore gives a performance for the ages as the title character. His walk, body language, makeup and voice are outstanding and he makes the mesmerist a very tragic character.
The overlooked Archie Mayo does a great directing job for this early sound film and the very green Marion Marsh, helped by Barrymore, is the doomed Trilby. This is Barrymores's greatest hour.

Under John Barrymore's spell
Maestro Svengali (John Barrymore), professeur du chant, dwells in a shabby attic. His hair is greasy and his goatee split like a snake's tongue. But one indifferent "Ja, Liebchen, I know how you feel" is enough to bring women to throw themselves at his head. But heaven help those who fall for his flattery. He has no use for a burdensom appendage, and a gullible woman who throws herself in the Seine because of him grieves him not particularly: "Ah, that was a pity. She was very sweet - but a bad businesswoman. Tsk, tsk, tsk". The scene of action is Paris. The Paris of MOULIN ROUGE and LA BOHEME.

Svengali's morning toilet is not too careful - he spits in a cuspidor - and the sight of a young briton taking a bath gives him the idea to play "God save the Queen" to make him stand up. Most of the time he grapples with the problem of how to pay his rent, but when his purse if filled he spruces himself up and goes to town, unaffected by the mockery of the passers-by.

One day, Trilby (Marion Marsh), a young, coquettish painter's model bursts into this bachelor's topsy-tuvydom. Casually dressed in a gendarme's uniform and comfortable slippers she poses for all those Toulouse-Lautec-wannabes and falls in love with Billie (Bramwell Fletcher), the young briton who soon proposes to her. While Billie falls for her looks, her singing-voice attracts Svengali's attention. He recognizes her potential as primadonna and uses his hypnotic powers to clear her brain until she thinks nothing but: Svengali. He heals her headache but her pain goes directly in his heart.

The next shot is famous: Svengali calls Trilby via long-distance-hypnosis: His eyes light up like electric bulbs, the camera moves from his pupils along the block of houses in Trilby's bedroom. She sleep-walks in his apartment. His powers are strong enough to transform he in a somnabulist, but to win her love... He obstructs her wedding: She feels guilty after Billie surprises her posing as life-model ("He saw me there, before all those men!"). Svengali lists her former lovers and appeals to her conscience: "You are good like a little bird, like a lark that must sing in the sunlight - but are you good enough to face Billie's mother?" and his cunning is crowned by success.

Five years later, Trilby, now Madame Svengali is a famous primadonna who sends the audience into raptures. Svengali, bemedalled, and "La Svengali", loaden with jewels look very new-rich, but the glittering facade crumbles: Svengali's heart is failing, slowly he loses his grip on Trilby. In those moments she wakes up and greets her old friends as if nothing ever happened. Billie too is in the audience, Billie who still loves her...Svengali pulls himself together and Trilby is spellbound again. He showers her with presents, but she is unable to give him what he wants most - her love: "You are beautiful, my manufactured love, but it is only Svengali talking to himself".

Two components contribute to make SVENGALI a classic: The famous surrealistic sets and John Barrymore's performance. One aspect of his performance is problematic: The protagonist in Du Mauriers novel was a Polish jew, and Barrymore, with his tog, his make-up and his thick german accent may look like a wildly racistic caricature for those who don't know him. But nothing could be further from the truth! He was such a good, open-minded man. His eye-twinkling charm enchants the viewer, and near the end his performance becomes nearly soul-stirring. This was probably his sexiest performance. His biographer Margot Peters found him the personification of seductive guile - Lucifer as serpent, and was remembered of a tomcat watching a mousehole. Barrymore's fourth wife fell so completely in love with him after watching this film, that she chased him by train, plane and even radio-address until he finally said: "yes".

AN INTERESTING ANTIQUE.
For those who are interested to catch a glimpse of the legendary John Barrymore - before he basically became a parody - this film from 1931 is a good choice. In the title role, Barrymore is still quite mesmorising and the photography is interesting. Svengali, of course is that immortal teacher of female singers who can work wonders via his hypnotic glare: Trilby is his newest conquest: she becomes the toast of Europe as Madame Svengali, the singer - all because of his supernatural powers. Marian Marsh makes a visually perfect Trilby but her acting isn't nearly on a par with her benefactor - but then few actresses could really do much with such a mealy, whacko role. Barney McGill's inspired photography won him an AA nomination. Based upon the nearly immortal novel by George Du Maurier, this was - rather unbelievably - first filmed in 1896 (!) by Biograph as TRILBY AND LITTLE BILLEE. Later, in 1915 Equitable filmed the story with Clara Kimball Young and Wilton Lackaye (what a name!) : it was directed by Maurice Tourneur.

Visually Intriguing
John Barrymore stars as a composer and hypnotist who takes control of Marian Marsh through hypnosis and turns her into a great singer and his lover. Barrymore gives a striking performance as the sinister, yet humorous Svengali, sometimes a bit hammy but acting circles around the rest of the cast. The sets and photography are strange, yet stunning, creating an eerie, almost other world feel. There are a number of great camera shots, including a long shot that moves from Svengali's apartment to another building that must have been a real challenge technically back in 1931. It is a very talky film with little action, but the visual presentation of Barrymore and the sets helps to make up for it. It's not a great film, but it does leave an impression. ... Read more

Amazon.com

Adapted from a hit Broadway play by Robert Sherwood and starring original cast members Leslie Howard and Humphrey Bogart, this 1936 suspense drama is set in an aging desert roadhouse café, where a young woman (Bette Davis) dreams of escaping a dead-end existence spent with her father and a lunkheaded, would-be suitor. Along comes a penniless poet (Howard), a wanderer who has made a mess of his life and crossed the hot sands as a symbolic act of meaningful futility. Davis's waitress is instantly enchanted, and in short order they begin talking about heading out to the world together. Then a twist: the world comes to them--in the form of escaped convicts, led by the monosyllabic Duke Mantee (Bogart), who secretly agrees to the poet's request that the fugitive gangster kill him. Directed by Archie Mayo (The Great American Broadcast), much of the film, perhaps inevitably, looks set-bound. Most of the action occurs in the café, and the script's tension sadly dissipates a bit as villains and hostages stay glued to their seats. The film's enduring appeal has everything to do with the leading performances: the fascinating alchemy of Howard's ethereal air, Davis's sexy urgency, and Bogart's bemused menace. If the story feels a trifle dated and perhaps a bit smug, the actors make it compelling nonetheless. --Tom Keogh ... Read more

Reviews (17)

The End of the Road
I've had the advantage of seeing The Petrified Forest as a movie and on stage. Taking into account the fact that the stage production I saw wasn't the greatest, I still think that the movie version captured the story better. The story is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties' star these days, manages to make some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an interesting and sympathetic figure, despite not having many moments to really develop the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, full of ideas waitress that Howard falls in love with. The Petrified Forest is a hostage drama, but it's more than that. It looks at life, growth, love, and disillusionment. It presents a nice contrast of characters, since Howard and Bogart are both at the end of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today's movie fan will still find truths and entertainment in it.

Should Be on DVD!!
I taped The Petrified Forest a couple of years ago when it was shown on TCM and I thought it was a very good movie! Bette Davis plays a young woman who lives in a desert town with her father and works as a waitress in his desert cafe, she is bored and would love to leave home and go see the world! A disillusioned writer played by Leslie Howard stops at the cafe and she falls for him but when a criminal played by Humphrey Bogart and his gang are on the run from the law they hide out in the cafe and hold everyone hostage. This is a good movie and I like that Bette Davis is playing a nice girl who is sweet and compassionate when it seems that she was generally known for playing ruthless, cold and calcuating women so this is a nice change. I recommend this movie, I don't think it's been put on DVD yet but I really think it should be put on DVD!

Fascinating film debut for Humphrey Bogart
Actually, this was not quite Bogart's debut. He had been in a few utterly forgettable films in tiny roles in the early 1930s before returning to Broadway, but this is his "real" debut.

THE PETRIFIED FOREST had been a highly successful stage play starring Leslie Howard and Humphrey Bogart, and Warner Brothers wanted to do a film version of it. They therefore approached Howard with the offer, indicating that they would like to have him reprise his starring role, and have him star opposite Edward G. Robinson as Duke Mantee. Howard, however, indicated that he would only make the film if his Broadway costar, Bogart, played Duke Mantee. At this point in his career, Bogart's acting career had consisted primarily in playing juvenile parts in various plays (the famous line "Tennis anyone?" is perhaps mythically attributed to one of his roles, but sums up the spirit of onstage persona) and failed attempts to break into film. Playing Duke Mantee had been a dramatic departure for Bogart, who had never previously played a heavy. Luckily for film history, Howard insisted that he would not make THE PETRIFIED FOREST unless Bogart played Mantee.

Historically, the most important thing about this film is that it launched Bogart's film career. Although he would spend the next four years playing a huge number of gangsters, he was, nonetheless, after this film, a Hollywood mainstay, becoming the number four gangster in the Warner Brother stable after Robinson, Cagney, and Raft.

THE PETRIFIED FOREST is, however, entertaining on its own. The one great negative of the film is the fact that it is very obviously a film version of a stage play. The action of the film is limited to only a few locations, and overall the production has a very static feel. Although there are some interesting sets, with some fascinating painted backdrops of Arizona landscape (some of it was shot live, but most of it is done in a studio), the real interest in the film lies in the performances. Leslie Howard made far too few films for my taste. I know he was deeply involved in the stage, but he was both immensely talented and quite charismatic. Unfortunately, his bizarre death cut his talent off far too soon (during WW II, the Luftwaffe shot down a plane he was in, thinking that a military or political VIP was on it). Bogart is striking as Duke Mantee. Bette Davis is as enjoyable in this as any film I have seen her in. I have to confess that by and large I don't care for Bette Davis. She has a tendency to over enunciate every word in a way that is not merely unnatural but a little unnerving. She never seems at ease on screen. She always seems to be "acting." Still, she is well suited to this role.

Leslie is the star, but Humphrey's the cover guy? Strange...
I could sum this up in a very brief paragraph, and I will, because it simply did not thrill me to the depths of my soul, leaving me appropriately petrified.

Bette Davis was fine. Leslie Howard is, as usual, a watery intellectual, this time turned hitchhiker. Humphrey Bogart is the tough guy whose entire role required little more than sitting pointing a gun at people. The others were unremarkable.

This movie wants so much to live, and love, and be loved, but there is nothing to be found for it - not here nor anywhere else. It longs to be buried somewhere in the Petrified Forest, where the winds can blow over it, and perhaps - being so chocked full of dramatic, poetic statements, some will leak out from its grave, and the occasional tourist will hear the gentle whisper, "'Tis for this end that we twain are met!"

Let this movie rest in peace.

Classic Story of Good vs. Evil Battle -- One of the Best
Humphrey Bogart and Leslie Howard reprise their stage roles as "bad guy/good guy" in this ever timely tale of greed and ruthlessness vs. selfless and compassionate courage. Caught in the middle of this age old story is a young Bette Davis, who in the course of hours learns to love the "hero", never stopping to despise the evil enemy.

The setting is a diner, suddenly held-up by Bogart, who eventually shoots and kills the kindly Howard who 'dared' to stand up to the bully (mainly to protect Davis). The helpless waitress (with the universal 'dream' to get away and make a better life for herself), sees the crisis as a 'sign'. Before dying, Howard makes Davis the sole benefitiary of a modest insurance policy, which Davis tearfully accepts.

This film lives on in Cinema History as one of the true classics of all time. The transition from stage to silver screen was sucessful, especially when considering that the story was made available to a much greater audience. This is a highly recommended 5-star film!***** ... Read more

Description

Marx Brothers comedy has them ferret out Nazi spies in a Casablanca hotel. ... Read more

Reviews (19)

The Marx Brothers' Farewell Film
"A Night in Casablanca" (1946) is the best of the later Marx comedies and a fitting finale to their screen career. ("Love Happy," made in 1949, is a Harpo Marx vehicle with Chico and Groucho as guest stars -- it never was intended to be a legitimate Marx Brothers film and should be viewed in that context.) Perhaps their finest effort since "A Night at the Opera" (1935), this postwar escapade features the Marxes in splendid form and recaptures some of the rough-edged spontaneity of their early Paramount comedies. Harpo, in particular, is superb -- this is easily his best performance since "Duck Soup" and, unlike the MGM films, his talents are given a free reign. The absence of Margaret Dumont is compensated by the return of comic villain Sig Rumann (as Heinrich Stubel), who was a terrific foil in "A Night at the Opera" and "A Day at the Races." It may seem odd to place Groucho, Harpo and Chico in a post-WWII setting, but the brothers' shenanigans inside the Hotel Casablanca are a refreshing throwback to their first film, "The Cocoanuts" (1929). In many ways, the Marxes have come full circle. The final image of Groucho, Harpo and Chico chasing beautiful Lisette Verea through the streets of Casablanca ends the movie on an appropriately Marxian note -- which wasn't the case in most of their MGM efforts. Though not without its minor faults, "A Night in Casablanca" is a much better film than its critical reputation would have you believe. The print quality is excellent and, for the first time in many years, this video is recorded in SP mode.

A Fond Farewell
By 1946 the Marx Brothers considered themselves retired as a screen team--but brother Chico's on-going financial difficulties coaxed them back into the studio for a final film. The result is a film that will never compete with their sharp-edged comedies of the 1930s but which possesses considerable charm nonetheless.

A NIGHT IN CASABLANCA finds Groucho employed as the manager of the Hotel Casablanca--where three previous managers have met sudden death at the hands of post-war Nazis in search of treasure hidden at the hotel during the war. Time, it seems, mellowed the brothers, and although they retain their sparkle they perform without the manic edge that characterized their earlier films; the result is a much friendlier, cozier style of comedy that feels as comfortable your bedroom slippers.

All three brothers have ample opportunity to shine, and the film includes its share of memorable moments--perhaps most notable the diminishing dancefloor and the hilarious suitcase packing scene. It all has tremendous charm, and all the more welcome for following the several uninspired films the brothers made in the early 1940s. A fitting finish and fond farewell to one of Hollywood's greatest comedy acts; recommended.

"You schweinhund!"
A NIGHT IN CASABLANCA is a film more famous for the correspondence it allegedly provoked (there's a possibility that the entire thing was a publicity stunt) between Groucho Marx and the Warner Brothers' legal department (WB stated they had a claim on 'Casablanca'; Groucho countered with a claim on 'Brothers') than for any of the gags it contained. I think this is a pity as, while it certainly can't compare to the Marx Brothers at their height, it isn't an awful film. In fact, taken on its own merits, it's quite good.

The first thing that struck me when I put on this DVD (this was the first time I'd seen the film) was how much older the Marx Brothers themselves looked, particularly Harpo. His character was always a sort of ageless clown and seeing wrinkles sort of spoilt the illusion for me. On the other hand, Groucho actually looks more in character at this age. It gives him easier access to his "dirty old man" routine, which he played perfectly.

Despite the title (and apparently the original intentions of the filmmakers), the movie doesn't have much to do with the more famous film with a similar name. The action centers in and around a hotel rather than a nightclub (Groucho is now the manager after the last few died under mysterious circumstances). The search is for treasure instead of travel papers. And, of course, instead of Humphrey Bogart and Ingrid Bergman as the romantic couple, we have bland Zeppo-replacement and bland Zeppo-replacement's bland girlfriend. Well, we can't have everything.

While most of the secondary cast is uninspired, it is nice to see Sig Ruman and his eye-popping indignation back again after his stints in A NIGHT AT THE OPERA and A DAY AT THE RACES. His over-the-top, sputtering reactions almost make up for the lack of Margaret Dumont. In the sequence where he's trying to pack his suitcases and trunks while the Marx Brothers invisibly impede his progress, he helps turn a great scene into a classic one.

The joke writing in this movie is quite strong compared to some of the other MGM Marx features. In particular, Groucho's one-liners are at full strength; I have this movie on in the background while I type up this review, and I'm catching hilarious little jokes and double entendres that I missed the first time around. And while some of the gags have the hint of unoriginality about them, there's enough that's fresh. Sure, the scene of Harpo pantomiming that Groucho was about to be blackmailed by a femme fatale had already been done in A DAY AT THE RACES, but they wisely don't use the same lines to fuel the jokes (although strangely they do use the same music: both Groucho seduction scenes feature Johann Strauss' "The Blue Danube"). The same is true for the crowded dance-floor sequence that mimics the crowded stateroom scene from A NIGHT AT THE OPERA. Same premise, but different funny jokes.

The DVD extras are nothing special. I suppose someone must be enjoying the vintage cartoons that they're putting on these Marx Brothers DVDs, but that person isn't me. The extras aren't important anyway; unfortunately, they don't add anything to the experience. Picture and sound quality are both excellent for a film of this age.

This movie may come from the less celebrated portion of the Brothers' career, but to my surprise I really enjoyed it. No film can go wrong that features a scene of Harpo Marx grinning madly at the controls of an airplane. If you go in expecting DUCK SOUP, then you might be disappointed. But if you take it for what it is rather than what it isn't, you'll find a film that's funnier than most.

The Fab Three.
While "A Night in Casablanca" is not the Marx Bros. at their best, it still has enough chuckles and gags to amuse Groucho, Chico and Harpo's legion of fans. Sure--it doesn't compare to "Horse Feathers", "Monkey Business", "Duck Soup", "A Night at the Opera" or "A Day at the Races"--but--to be fair--how many comedies do ?

All three of "Minnie's boys" have a chance to shine in this wacky hotel farce set in "exotic" Casablanca. What fans will appreciate most is that the Marxes are on screen for most of the film. For this viewer at least, some of their MGM films were spoiled by saccharine romantic sub-plots, with some boring young tenor of the day crooning to a starlet. While there is some music in this film--including expected turns on piano by Chico and on harp by ( duh ) Harpo--it doesn't detract from the fun.

Groucho shines as the new hotel manager--Harpo is valet to a very suspicious-looking German ( Sig Ruman, hamming it up wonderfully )--Chico seems to be a con-man, intent on ensuring that Groucho does not meet the same nasty fate of previous hotel managers. Of course, we have the usual number of pompous, arrogant people who run head-long into Groucho's rapier wit. I did miss Margaret Dumont though.

The quality of the DVD is excellent--crisp B & W picture--clear mono sound.

Groucho, Chico and Harpo were quite simply three of the funniest human beings of the 20th century. While "A Night in Casablanca" is not a top-tier Marx movie, it will still provide you with a lot of amusement, and deserves a spot in your classic comedy DVD collection.

Pretty funny
Except for the numbers with the clothes and the airplane which were comical at first but then endless, I think this movie almost ranks with their first 5 (or 4 not counting Duck Soup, which I don't). It was really funny. The brothers were a little long in the tooth by 1946 and it showed, which made their capers seem more childish and dumb than childlike and elfin, but I thought the flick was pretty funny. It was a serious plot (murders, nazis), and once again Harpo got knocked around instead of doing his usual former fey bit of chasing and scaring the pants off girls. The old Marx trademarks were gone (except once, Harpo put a girl's thigh into the palm of his dangling hand, but alas, it was only to catch her cigarette in his shoe, and she wasn't annoyed), but I laughed a lot, didn't recognize the names of the authors, liked Harpo's and Chico's musical numbers, liked all the sight gags, thought some of the lines (a lot of them, actually) were really witty and generally had a good time. I think these (except the 7 disc set which I haven't seen) are the only DVDs of these movies available, but I'll tell you anyway that there are (at least not in Opera or Casablanca) no papers in the DVD cases with notes or scene indices. They are nicely done sets, but I thought that was a little cheap, especially considering what these flicks cost. One last note. The first 5 Marx Bros movies were crowded, loaded, rife with incidents and pranks and jokes and stuff. This and Opera (I bought but have yet to watch Races) seem pretty thin, sparse and barren, particularly in comparison. ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.

A Gangster goes to Hell and meets the Devil.
If you can't sleep or it's raining outside and you don't have to work tomorrow, here is a good late night movie to watch. Paul Muni plays a gangster, "Eddie", who has just been released after four years in prison. A gangster pal, "Smiley", picks him up in a car. Suddenly, Eddie is shot and he ends up in Hell. Claude Rains plays the Devil. The Devil decides to let Eddie go back up on Earth. He puts him in another body, a look-alike who is a Judge. All that Eddie can think of is getting even with Smiley for shooting him. But everyone else looks at him as The Judge who is not himself anymore. Ann Baxter plays Miss barbara.

A Classic for All Generations
The popularity of "Angel on My Shoulder" spans seven decades. This 1946 classic film stars Paul Muni, Claude Rains, and Anne Baxter. Originally written by Harry Segall, it is the reverse telling of his earlier work, the stage play "Heaven Can Wait", (which was adapted for the screen as "Here Comes Mr. Jordan" and remade in 1978 by Warren Beatty). Whereas "Heaven Can Wait" is the story of a man who's prematurely sent to Heaven, "Angel" tells the tale of a mobster, Eddie Kagle, who is sent to Hell after he's gunned down by his best friend. The Devil gives him an opportunity to spend a few days back on Earth to seek revenge. While there, Eddie manages to redeem himself... much to the Devil's chagrin. It's a clever re-telling of Faust.

Both "Here Comes Mr. Jordan" and "Angel on My Shoulder" not only spoke to the era in which they were made, but also became classics in their own right. Despite the fact that "Angel" was produced during the tail end of World War II, it continues to be enjoyed by audiences year after year. Its heartwarming comedy and central theme of redemption have stood the test of time.

Paul Muni plays the lead with much charm, while Claude Rains is a debonaire Devil. There's a few loose ends in the story's structure and non-organic characters whose only purpose is to serve a utility function. However, in the end the overall film delivers an entertaining viewing... and afterall, isn't that the bottom line?

Current rumor has it that a re-make is in the works with a major actor to play the lead. I personally can't wait to see the update. ... Read more

Reviews (17)

The End of the Road
I've had the advantage of seeing The Petrified Forest as a movie and on stage. Taking into account the fact that the stage production I saw wasn't the greatest, I still think that the movie version captured the story better. The story is dated and clearly belongs in the time period it was made, but that works in the film. The performances also work. Leslie Howard, sort of a forgotten Thirties' star these days, manages to make some difficult dialogue play well. Humphrey Bogart, in an early role as the young gangster, makes his character an interesting and sympathetic figure, despite not having many moments to really develop the character with dialogue. Bette Davis brings a lot of conviction to her role as the young, full of ideas waitress that Howard falls in love with. The Petrified Forest is a hostage drama, but it's more than that. It looks at life, growth, love, and disillusionment. It presents a nice contrast of characters, since Howard and Bogart are both at the end of their roads, having gotten there in very different ways. Bearing in mind that the film/play was written for an audience in the Thirties, today's movie fan will still find truths and entertainment in it.

Should Be on DVD!!
I taped The Petrified Forest a couple of years ago when it was shown on TCM and I thought it was a very good movie! Bette Davis plays a young woman who lives in a desert town with her father and works as a waitress in his desert cafe, she is bored and would love to leave home and go see the world! A disillusioned writer played by Leslie Howard stops at the cafe and she falls for him but when a criminal played by Humphrey Bogart and his gang are on the run from the law they hide out in the cafe and hold everyone hostage. This is a good movie and I like that Bette Davis is playing a nice girl who is sweet and compassionate when it seems that she was generally known for playing ruthless, cold and calcuating women so this is a nice change. I recommend this movie, I don't think it's been put on DVD yet but I really think it should be put on DVD!

Fascinating film debut for Humphrey Bogart
Actually, this was not quite Bogart's debut. He had been in a few utterly forgettable films in tiny roles in the early 1930s before returning to Broadway, but this is his "real" debut.

THE PETRIFIED FOREST had been a highly successful stage play starring Leslie Howard and Humphrey Bogart, and Warner Brothers wanted to do a film version of it. They therefore approached Howard with the offer, indicating that they would like to have him reprise his starring role, and have him star opposite Edward G. Robinson as Duke Mantee. Howard, however, indicated that he would only make the film if his Broadway costar, Bogart, played Duke Mantee. At this point in his career, Bogart's acting career had consisted primarily in playing juvenile parts in various plays (the famous line "Tennis anyone?" is perhaps mythically attributed to one of his roles, but sums up the spirit of onstage persona) and failed attempts to break into film. Playing Duke Mantee had been a dramatic departure for Bogart, who had never previously played a heavy. Luckily for film history, Howard insisted that he would not make THE PETRIFIED FOREST unless Bogart played Mantee.

Historically, the most important thing about this film is that it launched Bogart's film career. Although he would spend the next four years playing a huge number of gangsters, he was, nonetheless, after this film, a Hollywood mainstay, becoming the number four gangster in the Warner Brother stable after Robinson, Cagney, and Raft.

THE PETRIFIED FOREST is, however, entertaining on its own. The one great negative of the film is the fact that it is very obviously a film version of a stage play. The action of the film is limited to only a few locations, and overall the production has a very static feel. Although there are some interesting sets, with some fascinating painted backdrops of Arizona landscape (some of it was shot live, but most of it is done in a studio), the real interest in the film lies in the performances. Leslie Howard made far too few films for my taste. I know he was deeply involved in the stage, but he was both immensely talented and quite charismatic. Unfortunately, his bizarre death cut his talent off far too soon (during WW II, the Luftwaffe shot down a plane he was in, thinking that a military or political VIP was on it). Bogart is striking as Duke Mantee. Bette Davis is as enjoyable in this as any film I have seen her in. I have to confess that by and large I don't care for Bette Davis. She has a tendency to over enunciate every word in a way that is not merely unnatural but a little unnerving. She never seems at ease on screen. She always seems to be "acting." Still, she is well suited to this role.

Leslie is the star, but Humphrey's the cover guy? Strange...
I could sum this up in a very brief paragraph, and I will, because it simply did not thrill me to the depths of my soul, leaving me appropriately petrified.

Bette Davis was fine. Leslie Howard is, as usual, a watery intellectual, this time turned hitchhiker. Humphrey Bogart is the tough guy whose entire role required little more than sitting pointing a gun at people. The others were unremarkable.

This movie wants so much to live, and love, and be loved, but there is nothing to be found for it - not here nor anywhere else. It longs to be buried somewhere in the Petrified Forest, where the winds can blow over it, and perhaps - being so chocked full of dramatic, poetic statements, some will leak out from its grave, and the occasional tourist will hear the gentle whisper, "'Tis for this end that we twain are met!"

Let this movie rest in peace.

Classic Story of Good vs. Evil Battle -- One of the Best
Humphrey Bogart and Leslie Howard reprise their stage roles as "bad guy/good guy" in this ever timely tale of greed and ruthlessness vs. selfless and compassionate courage. Caught in the middle of this age old story is a young Bette Davis, who in the course of hours learns to love the "hero", never stopping to despise the evil enemy.

The setting is a diner, suddenly held-up by Bogart, who eventually shoots and kills the kindly Howard who 'dared' to stand up to the bully (mainly to protect Davis). The helpless waitress (with the universal 'dream' to get away and make a better life for herself), sees the crisis as a 'sign'. Before dying, Howard makes Davis the sole benefitiary of a modest insurance policy, which Davis tearfully accepts.

This film lives on in Cinema History as one of the true classics of all time. The transition from stage to silver screen was sucessful, especially when considering that the story was made available to a much greater audience. This is a highly recommended 5-star film!***** ... Read more

Book Description

The distinguished yet misanthropic and perhaps misogynistic linguist Henry Higgins teaches a common flower girl to speak and act like a lady and, to his own great surprise, falls in love with her. ... Read more

Reviews (66)

Wonderful! It has stood the test of time -- and triumphed!
It started out as a play by George Bernard Shaw based on the Greek myth of a man who created a statue and then fell in love with it. The play, which was a spoof on the British upper class, was an immediate success and several movie versions followed. This 1938 version, in black and white, was nominated for four academy awards in 1939 and won an Oscar for best screenplay. Later, it was adapted to the musical hit, "My Fair Lady." The rest, as they say, is history. But Pygmalion should certainly not be forgotten.

The cast is excellent. Leslie Howard is perfect as Henry Higgins, the professor of dialects who transforms a flower girl into a lady. And Wendy Hiller is sensational as Eliza Doolittle. There's a certain regal freshness and her British authenticity comes across beautifully. Even though "the rain in Spain" is spoken, rather than sung, it still keeps the same quality. And there is music throughout as background, lively original music created especially for the film. The supporting cast was excellent too. I particularly loved the performance by Wilfrid Larson as Eliza's father. The film moved fast and kept me totally captivated. The costumes were wonderful and the timing for the comedic moments perfect. I found myself laughing out loud in places and smiling to myself throughout. Certainly, this film has stood the test of time and even though it will always be compared to the musical we all know and love, I must say that Pygmalion can definitely stand on its own. Give yourself a treat and check it out. Highly recommended.

A Wonderful Film -- the Drama of My Fair Lady
This is an enchanting film for which George Bernard Shaw won an Oscar (which I believe he displayed proudly) for best screenplay after adapting the play "Pygmalion." It is true that the movie lacks the grand production values of "My Fair Lady," but it is much closer to the drama that Shaw had in mind. The dialogue is much richer than "My Fair Lady," which still managed to keep much of the language of the play and some of the movie.

Like many of Shaw's plays, it is built around his pet ideas -- here (in a simple form) the notion that class distinctions are not genuine and could be overcome through education. Unlike some of Shaw's plays which read like socialist tracts, this one has very human characters who keep your interest throughout (in contrast to "Major Barabara" which was a rather tedious movie).

For me, Wendy Hiller make a marvelous Eliza Doolittle. Although Leslie Howard is very good (and presumably what Shaw had in mind), it is hard to forget the bluster Rex Harrison -- a great actor himself -- brought to the role of Professor Higgins. Hiller brings a wonderful dignity and pathos to the role of Eliza Doolittle. The rest of the cast is very good and the sets are very authentically set in Edwardian England.

This is definite buy if you like Shaw, theatre in general, good movies from the 30s, or want to see a richer version of "My Fair Lady."

A true British classic
This review is for the Criterion Collection DVD edition of the film.

This film is based on the play by George Bernard Shaw. The film was even scripted by Shaw so it definately is the best version of the film.

The story later inspired the much more famous musical film "My Fair Lady" I have not seen "My Fair Lady" so I am not one to compare.

The film follows a phonetics and linguistics expert, Henry Higgins. He has such a knowledge of accents that he can tell what town a person is from by hearing them speak for only a few seconds. He later makes a bet with a colleague that he can train a common girl from Cockney to speak "proper" English and fool people into thinking she is a duchess.

The Criterion DVD has no special features but the picture quality is quite good for a film of its age.

This film is one of my new favorites!

The most intelligent british comedy in the thirties
The smart script from Bernard Shaw made it possible this monumental film. The myth of Pygmalion was translated to cinema with a dazzling direction and obviously one supeb cast ; this couple Leslie Howard and the always beautiful and charming Wendy Hiller stealed the show.
The tale about a poor girl who sells flowers in Covent Garden; a gamble between two men; the awake as human being is a match against all a new world of possibilities for this woman who suudenly transforms before us and everybody in a woman with class, charming and glamour.
All the script is filled with ingenious and laughable situations with that clever sense of humor, so typical of Shaw.
This unique match will impact the life of these three people with unthinkable consequences.
A delightful movie and one of the best english comedies ever filmed.
Remade in 1964 as My fair lady. But this one is one million years light better.
A must in your collection.

Beware: awful edition!!
This is a comment on the edition, not on the actual play itself (which is great). This edition of *Pygmalion* is incomplete, awfully incomplete. I ignore if Shaw rewrote the play, or what may have happened, but if you intend to read the real version, look for other publisher! ... Read more

Reviews (13)

Devil or the Angel?
Paul Muni plays a gangster brought back to life after he was killed by another evil guy named Smiley Williams. Muni makes a deal with the devil (Claude Rains) and he's brought back as a man who's a judge running for governor! Muni doesn't know Cluade Rains is the devil because he just calls himself Nick, and he says he's an ex- con. Anne Baxter plays the fiancee of the judge and Muni likes her a lot. Lots of people see the change in Muni and soon are wondering if it really is him. There's one scene where Muni wants a drink of liquor and a cigar. But since he's now in the judge's body he coughs it up and feels horrible. Later, Muni finds out that Nick is the Devil and starts distrusting him. Somehow even thoguh this is a little serious, it is also quite funny. THis is a good movie! ENJOY!

Judge for your self
Eddie was rightfully bumped off by gangsters. You know where he goes. "Nick" (Claude Rains), offers a choice position in exchange for a favor. There is an incorruptible judge that needs corrupting. Now if Eddie would just impersonate him and be corrupted? Well you get the idea.
There is great interaction between Paul Muni and Claude Rains. This move takes unexpected twists and turns. I may remind you a little of "The Devil and Daniel Webster "(1941) ASIN: 6302919517. However no one can play "Nick" as well as Claude Rains I kind of like the way they return to the surface. I never trusted those types of elevators. Before you write off Anne Baxter as just another personality in this film remember that she was also Nefretiri in " The Ten Commandments" (1956) ASIN: 6300215830

GOOD QUALITY
This VCI disc is good. The image is mostly crisp and clear, say above 90%. There are a few frames that are fuzzy and dull. There is no hissing or dropout in the sound. There is a comedy short with Leon Errol. It's image sound is also good.

As the other reviewers stated the story and acting are top-notch. Even on the short. I have one other VCI disc and there is a Leon Errol short on it. I had never heard of him. He is actually pretty funny.