Reviews (14)

Yes, there's an age difference, but....
Fred Astaire has never been a dirty old man-- at least not on screen!! Though he was indeed 56 years old here and Caron was 22 years old (and playing 18), the film's approach to this rather sticky material is completely chaste and innocent. That's why it soars so beautifully. The initial courtship is anonymous. Things only get sticky in the ensuing months as true love intercepts. But it is a prudish visiting ambassador, not Astaire himself, who makes a tacky "sugar daddy" reference, forcing Astaire to go 'noble' and disappear (temporarily) from Caron's life as his own conscience starts bothering him. Ironically, this is really the only dull moment of the film for me- the extended dream ballet of Caron imagining the elusive Astaire all around the world. But the story itself- aided by some lovely musical sequences ("Welcome Egghead," "C-A-T," "Dream," and especially "Something's Gotta Give")- is charming, safe viewing for the entire family. The ending is especially fine, because *two* love stories have resolved instead of just one. And how cool is it to dance with someone on your roof terrace, step into your hat, spin into your wrap, and dance out the front door?!!

Fred's best post-Ginger movie
I realize that many Fred Astaire fans may not agree that DADDY LONG LEGS is his best film made without Ginger Rogers. But I stand by that opinion. The film is a delight, lavishly produced, with an excellent script and cast, and some outstanding musical sequences.

DADDY LONG LEGS is the story of third-generation multi-millionaire Jervis Pendleton (Astaire) who, while on a good-will ambassadorial trip to France, observes and is charmed by young Julie Andre (Leslie Caron), who lost her parents during World War II and has been raised in a countryside orphanage. Jervis lavishes material support on Julie, bringing her to the U.S. and sending her to a women's college. Yet he doesn't reveal himself to Julie, who knows her benefactor only as "Daddy Long Legs." Then the two meet at a college dance, and romance--and complications--follow.

DADDY LONG LEGS was Astaire's only film for 20th Century-Fox, and the studio gave him a superb supporting cast, including Terry Moore, Fred Clark, and the peerless Thelma Ritter. The film's script is by Henry and Phoebe Ephron, parents of today's famous writer/director Nora Ephron (SLEEPLESS IN SEATTLE, YOU'VE GOT MAIL). The script is witty and tender and features two wonderfully developed central characters, who are brought to life beautifully by Astaire and Caron. This was (sadly) the last musical in which Caron showed her dancing talents, but she also shows here the abundant acting talent that has sustained her career to the present day. And Astaire, too, displays the outstanding acting abilities that were unfortunately always overshadowed by his status as the screen's leading male dancer.

Good as the rest of the movie is, it's the musical portions that really lift DADDY LONG LEGS to the heights. First, there are two lavish ballet sequences choreographed by Caron's dance mentor, Roland Petit. The second features a distraught Caron searching for Astaire in settings representing Paris, Hong Kong and Rio. Caron's abilities are on excllent display here (although I leave to dance critics the question of the sequence's actual artistic merit). The other dance sequence is an amusing and colorful daydream showing Caron's musings about who her benefactor might be: a Texas millionaire, an international playboy, or her guardian angel. The "angel" segment is particularly outstanding, featuring excellent dancing, a lavish setting, and the bravura orchestral accompaniment of Alfred Newman and the 20th Century-Fox orchestra.

Even more satisfying than the ballets, though, are Astaire and Caron's "popular" dance duets, the romantic "Something's Gotta Give" and the college dance ensemble, "The Sluefoot." The two dancers make a marvelous pair, and their work together conveys much of the same exhiliration and joy that Astaire helped create during those legendary 1930s dances with Rogers. And adding to the magic of both numbers are Johnny Mercer's excellent songs--"Something's Gotta Give" has, of course, become a "standard," while "The Sluefoot" features an amusing lyric full of Mercer's distinctive vernacular wordplay. In addition, the film also makes excellent use of Mercer's beautiful ballad "Dream," which had actually been written as a pop tune ten years earlier.

As other reviewers have noted, DADDY LONG LEGS has a long running time, over two hours. But I enjoy every magical moment of a film that is certainly one of Astaire's best.

This Film Is For Romantics
I'm currently on a kick to buy all of my all time favorite romantic movies and this is definitely one of them. I fell in love with this movie when I was a kid and have enjoyed watching it ever since. The dancing -- how could it not be great with Astaire and Caron? The music -- two fabulous songs came out of this movie: "Dream" and "Something's Gotta Give." The incomparable Thelma Ritter adds her wonderful presence. (Watching this film again, I suddenly realized that three of my favorite movies have her as a supporting player: Daddy Long Legs, All About Eve and Pillow Talk). And there's a wonderful dance sequence at the college gym called "Slue Foot."
If you are an Astaire fan or a fan of great musicals, you owe it to yourself to check this one out.

a great classic musical
Fred Astaire and Leslie Caron are wonderful in this film. They dance so beautifully and make a wonderful couple. Leslie's cotumes ar ebeautiful and elegant. It's a great story as well.

Enormously enjoyable Astaire musical
Fred Astaire made over thirty musicals, beginning with a brief role in DANCING LADY and ending in FINIAN'S RAINBOW, and this one is far from his best, but it does contain many marvelous moments. Once you get past the fact that Fred was over thirty years older than Leslie Caron, there is everything to enjoy about the film. Unfortunately, the film contains one of the weaker scores in any Fred Astaire film, with one glorious exception. By any standard, Johnny Mercer's "Something's Gotta Give" is one of the great songs in any Astaire film. Although Fred was never a great singer, he was unparalleled in his ability to present a song onscreen. There is something exquisite in the way he gestures as he sings about an irresistible force like her meeting an old immovable object like him. Unfortunately, the rest of the songs are not up to that standard.

Leslie Caron is, to me, one of the most extraordinarily attractive women in the history of film. I think I would enjoy a film in which she did nothing but sit in a chair. Fortunately, in this film she does a great deal more than sit in a chair. Although trained as a ballerina, Caron possessed a gaminlike style of dancing that I find enormously appealing.

This film was made near the end of Astaire's career in romantic musical comedy. He was becoming increasingly uncomfortable with the age differences between him and his leading ladies. He made his next two and final musicals, FUNNY FACE and SILK STOCKINGS, only with great reluctance. Rather than ignore the great age difference in this film between the two leads, it becomes a part of the plot.

Again, this is not one of Astaire's greatest films. It is not in the same category as his work with Ginger or Rita Hayworth, or such films as THE BAND WAGON or EASTER PARADE. But it is still a thoroughly enjoyable film, and one that any fan of musicals or Fred Astaire or Leslie Caron can watch with enormous enjoyment. ... Read more

Reviews (66)

The Longest Story Ever Told
Having seen this movie twice now on TCM (in widescreen, no less), I still found my attention wandering away from the characters and towards the magnificent scenery. George Stevens last film was considered the biggest box office flop in Hollywood history until "Heaven's Gate" came out in 1980.

And no wonder, while Max Von Sydow is fine as Jesus of Nazareth, the supporting cast and cameo appearences run the gamut from inspired (Ed Wynn as an blind old man) to the insane (John Wayne as a thoughtful Roman centurian).

At times, this film seems more like a stylized retelling, rather than a faithful account. Take for example the scene of Jesus riding into Jeruselam on a donkey. Notice how nearly everyone is wearing spotless white garments. I guess the laundromat was just off camera.

But the major problem is the elephant-walk pacing of the film. It simply takes way too long to tell it's story, despite how great it is.

However, if there is a standout, it's the incredable scenery shot in perfect color hues and tones. What's even more inspired is that the film was shot on location in the American southwest. The mountains in the backgroud actually augment the "more than human" atmosphere that is the life of Jesus.

So, while it takes forever to get there, we at least get to take the scenic route.

Jesus Christ Never Existed.
'The Greatest Story Ever Told' is a famous film some people have seen or at least heard about. Most people fail to realize all of that doesn't matter because Jesus Christ never existed!! Jesus Christ is a mythological figure the church has exploited for hundreds of years and now the film industry has for almost a hundred years. There is absolutely no archeological or historical evidence that Jesus Christ existed. Even if he did exist, it would be highly unlikely he would have received that kind of punishment.
It is a shame that con artists like these filmmakers are using this mythological figure to make millions of dollars. People have to start swaying away from the manipulations of the church and the filmmaking industry and start looking at the hard facts. Jesus Christ and his crucifixion never happened.

a majestic, beautifully filmed epic
This film is often compared with the 1961 "King of Kings", and "Jesus of Nazareth", but this one is by far my favorite of the three, because of the exquisite beauty of it, and Max von Sydow's powerful portrayal of Jesus; his performance has a strength and boldness that is lacking in the other two, and therefore for me much more believable. Sydow was only known to fans of Ingmar Bergman's films at the time, having starred in the Swedish director's "The Seventh Seal" among others, and was a surprise choice to play Jesus, and a good one. He does a marvelous job, and I especially like the scene after Lazarus has died...it is brilliant, and very moving.

George Stevens' vision of the story has a stark majesty, and is taken at a leisurely pace; it is also quite verbal, with some of the major events in the gospels not pictured, but spoken of instead.
Filmed in Arizona and Utah, the cinematography by Loyal Griggs, who took over from William Mellor when Mellor passed away during filming, is glorious. There are scenes that have the composition and balance a fine painting, with extraordinary detail, often framed by doorways or windows, and it's a film I never tire of just looking at. Graphic artists should make a point to see this film, as there is much that can be learned from it. Alfred Newman also wrote a lovely score (with a little help from G. F. Handel) which adds to the aesthetic appeal of this film.

In the huge star-studded cast, some performances are truly memorable, like Claude Rains as a bitter and devious Herod, and Jose Ferrer excellent as his son Herod Antipas; Charlton Heston's ferocious, wild-man John the Baptist is impassioned and perhaps more like the actual Baptist than some of the tamer portrayals.

With its huge budget (over 20 million in 1965 dollars) it was a critical and commercial failure when it was released, but it has had a long life, and is being watched today while some successful films of the mid-'60s quite forgotten, and will continue to be appreciated by everyone who likes Bible epics. It was however, nominated for 4 Academy Awards: Best Art Direction/Set Decoration, Color Cinematography, Costume Design, and Original Score, losing out in all those categories to "Doctor Zhivago". There is "artistic license" taken with the story, but overall, it is a reverential, fairly accurate telling.
Total running time is 196 minutes.

huh?
Okay-- this is the movie on 1 disc ... no extras ... that's it. Why did they bother? You can still buy the 2-disc edition and get all the extras. Very confusing marketing move. I'd also like to see the complete 260 minute version.

the films not great but this is a beautifully acted christ
this film has an absolutely beautiful, poignant performance from max von sydow as christ.more than robert powell, defoe or clavell von sydow gives us a poetic, highly nuanced performance as a human, sensatively emapthetic christ. von sydow does more with facial expressions, his eyes and gestures than defoe did with his writhing or clavell did with his masochism.
powell came close but the quintessental acting role of christ belongs to von sydow.
the film itself has an abundance of flaws, most notably all the star cameos, but watch it for sydow ... Read more

Amazon.com

Nunnally Johnson's Broadway comedy was brought to the big screen by director Jean Negulesco, built around a trio of female stars, Lauren Bacall, Marilyn Monroe, and Betty Grable. They play friends who come up with a plan to find and marry rich men. They rent a lavish penthouse and use it as their launching pad to lure men with money in the bank. But each eventually finds that love is more important that material possessions, though it takes a while. One running joke has Monroe so insecure about her looks that she refuses to wear glasses, though this means she bumps into furniture and walls. The other has Bacall rejecting suitor Cameron Mitchell because he doesn't wear a tie, assuming this means he's low-class when, in fact, he's the Donald Trump of 1954. Pre-feminist comedy captures the mindset of an era in which women's identities were based on the men they married. It has its moments, but much of the humor seems dated, though its take on sexual politics is occasionally acute. --Marshall Fine ... Read more

Reviews (31)

High Society Fun
Lauren Bacall, Marilyn Monroe & Betty Grable are highly entertaining in this tale of models who set out to land a millionaire. Not having any of their own money, they come up with some off the wall schemes to live the lifestyle they are dressed for! All 3 are gorgeous and funny to watch. Each does a great job of playing the quirkiness of their characters. This is a timeless classic that's as appealing today as it was in it's day. A great girly movie. Lauren Bacall has a flair for humor that is delightful to watch.

Brilliant
This as definatly a feel good movie. A sweet romantic comedy (leaning heavly on comedy) about three models who take up a expensive penthouse in New York hoping to catch themselves some millionairs. Schatze Page (Lauren Bacall)is a woman who is through with marrying poor men, or as she calls them "gas pump jockeys" for the simple reason that poor men have broken her heart. She's the brains of the bunch. Bacall is wonderfull in this film. Pola Debevoise (Marlyn Monroe) is the blonde, and blind, one who is really just going along with what shounds like a good idea. In this role Monroe pulls off a stunning performance, marked by her sweetness and child-like inocence, as well as many commedic scenes. She is somewhat sill (she beleives that her glasses make her unatractive) but warm-hearted.
Loco Dempsey (Betty Grable)is a girl who has an appetite..... for food. She is nice, somewhat dumb but a good person. Her performance is good, but not as outstaning as Monroe's.

Overall this is a really sweet movie with alot of substance.

"How To Marry A Millionaire"
"How To Marry A Millionaire" is a comedy story of 3 girls living in a penthouse searching for meeting and marrying wealthy millionaires.The movie is alot of fun.And if you want to know "How To Marry A Millionaire" and if they do marry millionaires with their schemes then you will enjoy this movie.The movie is Marilyn's best movie.The movie was very popular that there was a syndicated TV version of the same name "How To Marry A Millionaire" starring Barbara Eden in the Marilyn role,Merry Anders in the Bacall role,Lori Nelson (1st 39 episodes) in the Grable role and Lisa Gaye (in episodes 40 thru 52) in the Grable role.

EXCELLENT! BRAVO! 5 STARS!
This is a magnificent movie. It is artful, filled with humor and it's just good clean fun. It is an excellent choice for parents who have girls--like mine--who idealize Marylin Monroe. I can let my 5 and 8 year old watch this classic without any qualms. Betty Grable is fabulous as is Laurne Bacall. The dialogue in the movie is worthy of being memorized. If you like old classics, you'll love this movie. We sure do.

Marilyn should get the millionare
Marilyn Mnroe shines in this movie and all three ladies add a great comedic touch. Definately worth your money, you'll want to watch it many times ... Read more

Reviews (27)

Best of the Titanic movies!
I don't remember when I saw this the first time,But I much prefer it to its highly hyped 1997 successor. I rented the video the other night and still sniffled at the end. I would imagine most viewers don't know that it won an Oscar.(For best screenplay,I think.) My mother was just thrilled with the very young Robert Wagner. Does anyone know what happened to Audrey Dalton??? One of the best "minor" characters had to be Richard Basehart as the defrocked priest. and wasn't that Edmund Purdom(uncredited) as "Mr Lightoller? Barabara Stanwyck and Clifton Webb were excellent too. Characters much more clearly drawn than in the 1997 version. Class distinction is not as hokey as Jack and Rose. Was Thelma Ritter supposed to be "Molly Brown"? I think the effect of the film in black and white works very well(NO COLORIZATION PLEASE!)

OSCAR should have been aboard THIS ship......
One of my all-time 10 favorite movies (along with ALL ABOUT EVE, GONE WITH THE WIND, AUNTIE MAME, Jane Wyman's THE BLUE VEIL, Garland's A STAR IS BORN, CABARET, Lana Turner's career highlight in MADAME X, 1939's THE WOMEN, and 1953's SO BIG) THIS is the only version of TITANIC anyone should want to keep in their collection of classics. This is the one that should have been an Academy Award champion.....and it is a sin that Clifton Webb and Barbara Stanwyck not only didn't win 1953 Oscars, but were not even nominated. Ditto the wonderful performance of the greatest supporting actress in movie history, Thelma Ritter, as the indomitable Unsinkable Molly Brown. I will never forget the hysteria in Barbara Stanwyck's voice as she screamed "Norman! Norman!" when she realized her young son had slipped out of their life-boat to remain with his dad as the ship sank.....nor the tears in Clifton Webb's eyes when he told the boy what pride he felt for him as the end drew near. Please, don't anyone tell me there was an ounce of reality in the blockbuster, phony '97 version.....This simple black & white movie told the REAL story of the very rich and the very poor suddenly equalized in the face of disaster. And I dare you not to smile as millionaire John Jacob Astor reassures his young, pregnant, second wife with the immortal words "My dear, God himself could not sink THIS ship"......and I defy you not to cry when old Mrs. Strauss refuses to board a life-boat, saying "I've been with Mr. Strauss for more than fifty years....I don't intend to leave him now." This is a classic. This is THE classic. And these people, brilliantly portrayed by brilliant actors, become the ones who were really aboard the TITANIC in 1912.

Literary License Keeps Movie Afloat
We know the ship is going to sink, and we can read the committee reports, history books, and other sources to find out the details of what happened in 1912. This movie presents an innovative plot line that keeps our attention. Importantly, the film also preserves the essential truth of the Titanic disaster: 1,500 people died needlessly on account of arrogance and overconfidence.

THe Best Titanic Film Ever
Aside from the great acting, the special effects, music and staging are supurb. It is much more believable than the most famous Titanic movie and will be remembered long after any others. Buy it and Enjoy

Titanic with heart
I remember crying over this film as a kid, and sitting absolutely unmoved during James Cameron's feelingless epic. True, "A Night To Remember" is more accurate, but if you're one of those people who want to count the windows on the promenade deck, buy a documentary. Unlike some reviewers who can't possibly understand the character's actions during the sinking, it is about dignity and courage, something missing from other depictions of the story. The cast are flawless, and the story of a shallow family's realization of meaning brought about through tragedy is age-old and timeless. ... Read more

Reviews (27)

Best of the Titanic movies!
I don't remember when I saw this the first time,But I much prefer it to its highly hyped 1997 successor. I rented the video the other night and still sniffled at the end. I would imagine most viewers don't know that it won an Oscar.(For best screenplay,I think.) My mother was just thrilled with the very young Robert Wagner. Does anyone know what happened to Audrey Dalton??? One of the best "minor" characters had to be Richard Basehart as the defrocked priest. and wasn't that Edmund Purdom(uncredited) as "Mr Lightoller? Barabara Stanwyck and Clifton Webb were excellent too. Characters much more clearly drawn than in the 1997 version. Class distinction is not as hokey as Jack and Rose. Was Thelma Ritter supposed to be "Molly Brown"? I think the effect of the film in black and white works very well(NO COLORIZATION PLEASE!)

OSCAR should have been aboard THIS ship......
One of my all-time 10 favorite movies (along with ALL ABOUT EVE, GONE WITH THE WIND, AUNTIE MAME, Jane Wyman's THE BLUE VEIL, Garland's A STAR IS BORN, CABARET, Lana Turner's career highlight in MADAME X, 1939's THE WOMEN, and 1953's SO BIG) THIS is the only version of TITANIC anyone should want to keep in their collection of classics. This is the one that should have been an Academy Award champion.....and it is a sin that Clifton Webb and Barbara Stanwyck not only didn't win 1953 Oscars, but were not even nominated. Ditto the wonderful performance of the greatest supporting actress in movie history, Thelma Ritter, as the indomitable Unsinkable Molly Brown. I will never forget the hysteria in Barbara Stanwyck's voice as she screamed "Norman! Norman!" when she realized her young son had slipped out of their life-boat to remain with his dad as the ship sank.....nor the tears in Clifton Webb's eyes when he told the boy what pride he felt for him as the end drew near. Please, don't anyone tell me there was an ounce of reality in the blockbuster, phony '97 version.....This simple black & white movie told the REAL story of the very rich and the very poor suddenly equalized in the face of disaster. And I dare you not to smile as millionaire John Jacob Astor reassures his young, pregnant, second wife with the immortal words "My dear, God himself could not sink THIS ship"......and I defy you not to cry when old Mrs. Strauss refuses to board a life-boat, saying "I've been with Mr. Strauss for more than fifty years....I don't intend to leave him now." This is a classic. This is THE classic. And these people, brilliantly portrayed by brilliant actors, become the ones who were really aboard the TITANIC in 1912.

Literary License Keeps Movie Afloat
We know the ship is going to sink, and we can read the committee reports, history books, and other sources to find out the details of what happened in 1912. This movie presents an innovative plot line that keeps our attention. Importantly, the film also preserves the essential truth of the Titanic disaster: 1,500 people died needlessly on account of arrogance and overconfidence.

THe Best Titanic Film Ever
Aside from the great acting, the special effects, music and staging are supurb. It is much more believable than the most famous Titanic movie and will be remembered long after any others. Buy it and Enjoy

Titanic with heart
I remember crying over this film as a kid, and sitting absolutely unmoved during James Cameron's feelingless epic. True, "A Night To Remember" is more accurate, but if you're one of those people who want to count the windows on the promenade deck, buy a documentary. Unlike some reviewers who can't possibly understand the character's actions during the sinking, it is about dignity and courage, something missing from other depictions of the story. The cast are flawless, and the story of a shallow family's realization of meaning brought about through tragedy is age-old and timeless. ... Read more

Amazon.com

Velvety and glazed like a fattening pastry, this 1954 love story concerns three American women who make wishes for love in Rome, and end up having three romances. The cast is fine, but as for the film, what you see is what you get. There's no mystery to any part of this movie--like everything director Jean Negulesco made once CinemaScope entered his life (e.g., How to Marry a Millionaire, A Certain Smile), Three Coins is designed to lull rather than stimulate. (It did, however, win Oscars for cinematography and the Jule Styne-Sammy Cahn title song performed by Frank Sinatra.) --Tom Keogh ... Read more

Reviews (15)

A working girl's dream job!
I recently bought this tape again after I wore out my old one! The scenery in this film is truly beautiful as well as that of the many fountains. The movie starts off with three young ladies, one of which just arrives in Rome to start a new job taking over for another girl returning to America to be married. All three young ladies go through the trials and errors of finding love interests in the romantic city. One finds her handsome prince, one finds a hunky, floundering student and the third falls for her novelist older boss. All three ending up with their heart's desire. Guess those coins in the fountain paid off! Sure wish it was that easy these days!! Truly a delightful film.

One of the Most Romantic Beginnings in Any Hollywood Movie
I don't think you'll find much to top this opener, with the fountains of Rome being turned on one by one while Frank Sinatra croons an ulta-smooth rendition of the title song. Ohhhh!
This movie has a lot going for it after the opening song too, (unlike "Raintree County" for instance), so you'll be riveted to the screen. For starters, it's a wonderful travelogue of Rome, in glorious technicolor. And then, it boasts three of my favorite actors, none of whom ever gave a bad performance: Clifton Webb, Louis Jourdan, and Rosanno Brazzi.
These men each figure in a love story with one of three American secretaries living in Rome, respectively Dorothy McGuire, Maggie McNamara, and Jean Peters. In Webb's case, he is McGuire's boss, and has been totally unaware of her real feelings these past ten years. Jourdan is a wealthy playboy used to preying on innocent young girls who's having the tables turned on him by the very predatory McNamara. And lovelorn Rosanno Brazzi--who always makes my pulse flutter--has been pining after Peters, but afraid to tell her of his love, since he believes her engaged to another. How these unlikely scenarios resolve themselves is a delight for the viewer. Take my advice on this one: If you want to be swept away some night by romantic escapism, "Three Coins in the Fountain" is your best bet.

Great story, great cast and superb cinematography
I saw this movie when I was a child and liked it. Then saw it many times on TV and at a special screening in New York.The best thing about it I discovered is the dialog. It's smart and funny - of course, the script was written by a Pulitzer prize winner: John Patrick.
The film was nominated for an Oscar as Best Picture of 1954, and actually won for Best Cinematography and Best Song
The cast is marvelous - most outstanding are Jean Peters and Rossano Brazi (who are the best looking couple and also share the best story of the three featured in the film)and Clifton Webb, who delivers his lines full of sarcasm and innuendos with perfect timing.
The film's most valued asset is its photography by Milton Krasner. Although many will remember "Roman Holiday" as capturing the best of Rome, this film is much more superior visually - and in color and glorious wide screen Cinemascope.

romance is not that easy in Rome!
This movie tracks one month is the lives of 3 American secretaries working in Rome. It opens with the newest girl being picked up at the station and brought back to the apartment, where the other 2 fill her in on how hard romance is in the Eternal City. One even says she is returning to the USA to get married -- although there is actually no fiancee in question --- just to protect herself and her reputation.

There is to be no fraternizing with other employees -- after all, they are told, they are only secretaries -- but when one falls for a coworker she gets them both into trouble. Another has spent 15 years as the secretary to a great novelist who is obvlivious to her feelings for him. And another goes about being a "Rules Girl" (it IS the 1950s), learning everything about her Italian Prince Charming and pretending to like all the same things as he does, but then feeling horrible for misleading him.

Charming and beautifully filmed, this is a romantic film for audiences of all generations.

THREE COINS IN THE FOUNTAIN
I LIKED THIS MOVIE BUT I THOUGHT THE REMAKE WITH LONI ANDERSON WAS MUCH BETTER. I'D LIKE TO BUY THAT VERSION BUT DONT SEE IT LISTED. ANY SUGGESTIONS? ... Read more

Amazon.com

Jane Wyman won a Best Actress Oscar for her strong performance in this touching drama of a deaf-mute girl (Wyman) and a doctor (Lew Ayres) who works closely with her. The story (based on Elmer Harris's play) seems intent on dumping one grievance after another onto the poor character, from rape to community pressure to give up the resultant baby, plus a terrible loss sustained somewhere in there as well. But Wyman and director Jean Negulesco manage to make the film more than the sum of its perils, and the texture and atmosphere of the town is particularly effective. --Tom Keogh ... Read more

Reviews (12)

A sensitive and brilliant film
Jane Wyman deservedly won the Best Actress Oscar for her portrayal of Belinda, the deaf-mute who becomes a mother after being raped. It is such a wonderful performance, as Belinda grows in knowledge and life experiences, helped along by Lew Ayres as a kind-hearted doctor who comes to Cape Breton Island after some problems in his own personal life. The two of them grow together, and overcome some severe obstacles before they can find happiness. Charles Bickford as Belinda's father and Agnes Moorhead as Belinda's aunt also give stellar performances.

Ahead of its time in terms of subject matter (treatment of the handicapped and the stigma of rape), this film holds up well after all of these years. One of my long-time favorites, and a true classic.

Silence is Golden
Johnny Belinda must have been a groundbreaking film for its time. The subject matter of the film surprised me for a movie made in the 1940s. Three aspects of the story impressed me. For one thing, the movie clearly demonstrates the way that a deaf-mute person can communicate and that they are not stupid (a "dummy"), as people used to assume. The viewer can learn a lot about sign language, and this must have been new to audiences of the forties. Another fascinating thing is the fairly straightforward handling of the rape and its after effects. There's nothing graphic about it, but the movie doesn't attempt to really skirt around the sensitive subject matter the way older movies used to due to censorship and moral codes. I was also impressed by the realistic depiction of the small town where Belinda lives. Their attitudes and feelings of superiority ring very true. As the central character, Jane Wyman gives a very good performance, communicating Belinda's confusion, fears, and growing maturity without the benefit of words. Lew Ayres is good as the doctor, and Charles Bickford and Agnes Moorehead give terrific supporting performance (which they usually did) as Belinda's tough but loving father and aunt. Johnny Belinda is an adult, honest, and well-made movie.

An understated, yet magnificent film
I hadn't seen this film in 30 years, but watched it again last evening. I was mesmerized by several aspects of this classic (and ahead of its time) 1948 movie. Jane Wyman won the Oscar in this role where she makes not a single sound, not even in the throes of pregnancy. She is a deaf mute and never speaks, but imbues her character with a poignant tenderness and yearning which is extremely moving. There is no doubt that Wyman is an extremely underrated actress, because the pathos in this performance is moving indeed.

Lew Ayres gives possibly his best performance here. For other reviewers who say he's the weakest part of the movie, I don't agree; perhaps they need to see him in the classic 1930 offering, "All Quiet on the Western Front." In that film, Lew was gorgeous to look at it, but couldn't act his way out of a paper bag. Here, he's vastly improved and deliberately underplays a character who is caring, decent, but essentially stoic and very still. I admit there isn't a lot of chemistry between Wyman and Ayres, but he projects a dignity and decency which shines through.

Agnes Moorehead and Charles Bickford deliver outstanding supporting performances. Their interplay and dialogue is interesting and they contribute to the flowing plot.

Aside from Wyman's stellar performance, the most interesting aspect of the film is that it is not dated in the least. The subjects of rape, an illegitimate baby and pre-marital sex were hardly common themes in movies of that era, and this film handles it with aplomb and class. The weakness of the film is that Belinda is assailed from all sides constantly; her lot in life is hard enough to begin with, but she is thrown one vicious curve after another. But not to worry, all comes out all right in the end.

This movie is worth watching solely for Wyman's outstanding performance. Watch her eyes and how she conveys such beautiful emotion in them. I have renewed respect for Jane Wyman after watching this moving drama.

An All-Time AWESOME Film!
Johnny Belinda has been my absolute FAVORITE film for at least 40 years! Jane Wyman's performance is one not to be missed. Other reviewers on this forum have noted her expressive face, body language, growth; the ground-breaking subject matter (sexual assault and dignity in the face of bigotry); and the outstanding supporting cast. All come together to create a timeless story, told in an amazing performance.

The ONE possible flaw may be with the "Perry Mason-style" theatrics in the courtroom. However, it's so minor as (and so VERY 40's!) that it detracts nothing from this outstanding film.

Jane Wyman's Great Triumph
I hadn't seen "Johnny Belinda" for many years when I took it out of the library a few weeks ago. What a shame I waited so long! Jane Wyman turns in an incredibly appealing performance as the deaf-mute Belinda, daughter of a Cape Breton miller (Charles Bickford) who resents the daughter as his wife died in childbirth. Also on hand is his gruff sister, played by Agnes Moorehead in what I honestly think is the best acting job I've ever seen her do, and I've seen her a lot. Belinda has been long neglected--not even called by her name, but just "dummy"--until the new town doctor happens on the scene and takes an interest in teaching her sign language and how to read lips. The doctor is played by Lew Ayres, and I must admit, he's the weakest part of the picture. I thought he was passionless--he reminded me of Alex Trebek! Well, almost as soon as Belinda blossoms as a result of her newfound ability to communicate her ideas, she is raped by a townsperson and bears the illegitimate namesake of the movie, Johnny. The rest of the movie concerns the stigma her family and she endure as a result of the rape and birth, and some shocking tragedies before Belinda finally is acknowleged to be a person of intelligence and feeling by her whole community.

Jane Wyman does a wonderful job portraying Belinda and imbuing her character with a quiet dignity. Seeing her here makes me curious to see other movies starring her. If you want to see a movie that treats sensitive issues with honesty, I advise you to pick up a copy of "Johnny Belinda" today. ... Read more

Amazon.com

Robert Mitchum and Marilyn Monroe are abandoned by a bad guy (Rory Calhoun) who steals Mitchum's horse, forcing them to travel down a raging river (along with Mitchum's son) on a raft. The three refugees, all of them living troubled lives to begin with, have to face the rapids together, and director Otto Preminger's allegory for individual salvation through unity becomes a stirring family drama. This 1954 film features Monroe at her golden peak, though not quite at the apex of her sexual iconography. The result is that she gets to play a character whose beauty is not really part of the story line, a character many other actresses might have played. --Tom Keogh ... Read more

Reviews (17)

Lesser Known Monroe Film Worth A Look
Robert Mitchum plays a practical, no-nonsense farmer recently reunited with his young son, Tommy Rettig. They rescue a young couple (Marilyn Monroe and Rory Calhoun) going on a raft down a river by their homestead, and that's where the trouble begins. Calhoun is out to make a gold claim, and he'll do anything, including stealing Mitchum's horse and gun, leaving Mitchum, Rettig, and even Monroe behind to face the Indians without any defence. So they must take to the raft to survive, and that's where the adventure begins. I liked this film a lot. Mitchum is his usual laconinc self, but it works really well with this character. Monroe gets to act in this film, and she does so very well, playing a saloon singer that wants to defend her man, despite what he has done to all of them. Young Rettig is good too, not cloying and irritating like so many child actors can be. The scenery is beautiful, the title song very effective, and although the direction of Otto Preminger isn't very fluid and sometimes the movie lumbers from one scene to another, the performances and relationships among the characters make up for it. Viewers will enjoy the trip down the River of No Return.

Marilyn Monroe and the Canadian Rockies!
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While this is certainly far from Marilyn Monroe's best performance, it is nonetheless an interesting film to watch.

Amazingly, the somewhat artificial beauty of Marilyn Monroe shown floating on a raft down the "river of no return" with a backdrop of the Canadian Rockies can capture one's imagination and make you forget what a truly awful film this is.

Marilyn steals your attention in every scene, and the sheer beauty of her presence more than makes up for the ridiculousness of the plot.

MM sings a couple of numbers in her dance-hall girl phase of the film, most notably, "I'm Gonna File My Claim", about a gold-digger during the gold rush days.

Any Marilyn fan would have to see this movie just for Marilyn's sake. Anyone else can probably skip it.

MMMmmmarvelous Marilyn!

Sometimes it's peaceful, sometimes wild and free
Marilyn Monroe described this movie as a grade-Z cowboy movie where the acting finished third to the scenery and Cinemascope. Okay, the Canadian Rockies and the rapids were utilized to its best for 1950's film-making, and MM's second film in Cinemascope must have made quite an impression in the theatres for the new aspect ratio.

It's 1875 in the wild Northwest. Matt Calder is reunited with his young son Mark in a saloon town and rather than go the usual route of prospecting, start a new life on a farm bordering the River of No Return. Their life is instantly disrupted by two events. One, gambler Harry Weston, who's one a gold claim under dubious circumstances, is eager to file the claim in Council City to prevent the loser from beating him to it. To that end, he steals Calder's horse and rifle, a capital offense in the codes of the West. Second, a group of Native Americans on the warpath descend on the farm. Both Calders and Kay, Weston's moll who stays behind to look after the injured Calder and his son, flee in time in the raft Weston and Kay arrived in.

From then on, it's a struggle to survive the rapids without any weapons, food, and constantly being drenched by that river whenever it's "wild and free." As Calder tells Kay, "The Indians call this the River of No Return. From here on, you'll find out why." He is so dead set on getting his hands on Weston, he'll risk anything, all the time looking after his two charges.

Conflicts arrive in many forms, the primary two are Kay's torn loyalties between Harry and Matt. She doesn't want Matt to kill Harry once the two meet up, and performs acts that range from desperate to being a seductive vamp, yet she realizes in their travails that he is thoughtful and unselfish, as demonstrated in the scene where he looks after her following her collapse from exhaustion. The other involves the circumstances where Matt had to leave young Mark in the saloon town for five years, and while it's justified, there is a certain amount of stigma in it.

Marilyn gets to sing four songs here, the acoustic guitar tune "One Silver Dollar" and the piano bar tune "I'm Gonna File My Claim", "Down In The Meadow", and one of the best songs she's ever sung, the title ballad. Her costumes aren't bad either, from the garish red dress she wears for the first song, the long green dress for the second tune, and the white blouse and anachronistic Levi's jeans she wears throughout the film. And this is the longest her hair has been in films, albeit it being a blonde wig, of course.

Despite the costumes, it's not a Western in the traditional sense of the word, but River Of No Return pales to others in the genre it's purported to be because it's more drama than action. Granted, this is not one of Marilyn's best films, nor is it that of Robert Mitchum's, Rory Calhoun's, or director Otto Preminger for that matter. Monroe would have to wait until The Seven Year Itch for her next biggest hit. However, both Mitchum and Monroe come off well despite the latter's dismissal of it.

Some of MARILYN'S best acting!! And MITCHUM's superb!
Marilyn doesn't play a dolly-girl in this film. She plays a very human female who has seen hardships and goes through many in the film, and takes it like a toughened woman. I've never seen her quite like this in any of her other films. I love all of her films, but this is a stand-out and unique. I wouldn't rate it as one of her best films, but she IS super in it. It's a Level 2 Marilyn film, not quite up there with How to Marry a Millionaire and The Seven Year Itch, but still pretty darn good!
Robert Mitchum is, as always, superb, and there is a good chemistry between the two. A definite must on DVD for any Marilyn fan. If only somewhat interested get the VHS, but Marilyn fans and Western fans will want the Widescreen DVD.

Revenge and Redemption on a Raging River.
The movie: This is an entertaining movie. Although there are some minor flaws and improbabilities in the script, the film is an exciting blend of action and drama, as Marilyn tries to convince a vengeance-driven Mitchum to spare her boyfriend's life. Marilyn has 4 or 5 songs in the movie, and shows some real talent. This does not detract from the realism of the story, either, because her character plays songs for a living. The ending leaves something to be desired, however, because it never answers a question that the film has set up about Mitchum's character. Still, the movie is fun to watch, and the two leads keep things interesting.

The DVD: This is the perfect DVD to use with a home theater. It has surround sound (the best I've encountered), and a whopping 2.55:1 widescreen transfer. (In case you didn't know, that means that the widescreen picture is 2.55 times wider than it is high.) The film has panoramic shots of some genuinely breathtaking locations. Perhaps the DVD's biggest fault is the way that the restoration inexplicably CUTS OUT whenever there is a fade-out or fade-in! You'll be watching a scene, and then suddenly, without warning, the restoration will blink out, leaving you with a washed-out-looking unrestored image. Then the picture will fade out, and you will see a fade-in on a new unrestored scene. About 1 or 2 seconds after this fade-in, the screen will blink, and the picture will look pretty good again. This is awkward, and interrupts the flow of the movie. I can't believe that the manufacturer is unable to fix those brief segments.

Overall, this is a fun piece of 1950s Americana. "River of No Return" is far better than 90 percent of the new movies being made today, and I recommend it. ... Read more

Amazon.com essential video

The greatness of John Garfield was that he was a tough guy who wasn't afraid to wear his sensitivity on his sleeve. What makes this such a great film is that director Jean Negulesco and his two writers (including Clifford Oddets) construct a complex web of ambiguity around Garfield's own torment. He's a violin virtuoso from the slums of New York who rises to the top with the assistance of socialite Joan Crawford (who was never better). There's a sexual intensity to his art that she wants to possess, and there's a vulnerability behind her lacerating façade that he wants to expose. They play each other like a couple of virtuosos, stripping each other's spirit away. What helps transcend this depression-era class struggle is its cool sophistication. It's a sublime noir about loneliness. Everyone knows his dream has hit a dead end, except Garfield. He refuses to give up, even after his soul is long gone. --Bill Desowitz ... Read more

Reviews (20)

Nothing Good Can Come Of This Relationship
In HUMORESQUE we see a dedicated young musician (John Garfield) meet a wealthy possessive woman (Joan Crawford) who takes an obsessive interest in him and his career as a violinist. We know that nothing good can come of this relationship and we are surely looking at a tragedy in the making. In spite of all the warning signs we feel compelled to watch this movie to the end.

The acting of both Garfield and Crawford is superb. The role of Helen Wright seems to be the perfect vehicle for Crawford. Oscar Levant excells as a pianist and Garfield's friend. The rest of the strong supporting cast includes J. Carrol Naish, Joan Chandler and Tom D'Andrea. Garfield's violin is played by Isaac Stern.

HUMORESQUE received an Oscar nomination in 1946 for Best Scoring of a Dramatic Picture. Jean Negulosco directed many other fine movies during his career including JOHNNY BELINDA, ROAD HOUSE and THREE COINS IN THE FOUNTAIN.

A ROMANCE TO DIE FOR...
This is a superb melodrama about a young man, Paul Boray, from the wrong side of the tracks, who plays a mean violin, and the unhappily married society matron, Helen Wright, who becomes his patron and then his lover. John Garfield is well cast as Paul Boray, the ambitious violinist. Joan Crawford does a star turn as the glamorous and beautiful patron of the arts, who underwrites Boray's big break and ends up falling passionately in love with him. Theirs is a turbulent relationship. He is singularly devoted to his music, and she is an alcoholic, plagued by self-doubt. They are star crossed lovers whose romance is destined to end tragically.

The film has a magnificent musical score courtesy of violinist virtuoso Isaac Stern. Pianist Oscar Levant is a double threat in this movie, as he, too, does a star turn as Boray's best friend, acting as a comedic foil. He also dazzles on the ivories, playing away so that the viewer wonders why he, too, does not have some society dame underwriting a show for him, such is his talent. All in all, a well cast and well acted film. Fans of Joan Crawford and all those with an appreciation of classical music will especially enjoy this well made film.

Playing second fiddle to Beethoven's ghost
That sentiment sums up the frustration and disappointment of Helen Wright [Joan Crawford] about her love for and obsession with violin virtuoso Paul Boray [John Garfield] in an excellent film blessed with great acting and beautiful music. Mrs. Wright becomes Boray's patron and gives his career a financial boost but becomes hopelessly drawn to her protege as his concert career takes off. The two principals circle each other warily, sizing up the other and lashing out verbally with accusations of ingratitude and selfishness with Boray holding fast to his dedication to his music while Mrs. Wright begins a slow but steady decline into drinking and depression. Boray's tunnel vision concerning his instrument does not allow him to appreciate the love Gina [Joan Chandler] has for him, nor can he grasp his mother's sage counsel and warning about his involvement with a married woman. The film has generous servings of music by Sarasate, Dvorak, Lalo and a brief but excellent recital of Franz Waxman's adaptation of "Carmen".

Crawford & Garfield in top form!
Terrific movie and Joan's worthy follow up to "Mildred Pierce." Everything's terrific about this one, so curl up on the sofa and settle in for a first class melodrama.

Joan Crawford's finest film and performance.
Not only was Joan Crawford at the height of her beauty and glamour when she made Humoresque - she was also at the height of her acting ability, having just won the Oscar for Mildred Pierce. It would be unfair to say Humoresque is a better film than Mildred Pierce, considering how different the two films are. Mildred Pierce was gritty and dark and strived for harsh realism. Humoresque is romantic and tragic - beautifully written, acted, and filmed. There are moments in movies that linger in your mind a long time after viewing.. The finale of Humoresque is one of those moments. I'm certain I will never forget Joan Crawford's melancholy walk along the sea shore in the moonlight. It is one of the most artistic scenes ever captured on film...and all the emotion Joan goes through is genuine and deep. It is definitely a glimpse through to the heart of Joan Crawford, vulnerable and beautiful, defiant and strong. For in real life, Joan Crawford was never loved. And her character in Humoresque was, as Joan described, "a woman with too much time on her hands and too much love in her heart." Perhaps that was the real Joan Crawford, a woman clinging to her career and the fans that loved her, when nobody else did. People have long criticized Joan Crawford, but who would you be if nobody loved you? ... Read more

Reviews (9)

An Underrated WWII Film Well Worth Your Time
I had never even heard of Three Came Home until I ran across it in a catalog. The description sounded interesting enough to get me to buy it, and I'm glad I did. Three Came Home is a riveting and moving film that grabs the viewer and never lets go. Focusing on what happened to many civilians in the Pacific the film covers a 4 year period from 1941 to 1945, and it shows what kind of hardships and trials many people had to endure in prison camps during the war, primarily focusing on womens camps. Claudette Colbert gives a fantastic performance, and Sessue Hayakawa is outstanding as the Colonel in charge of the prison camps. The script is intelligent and filled with great dialogue, and the acting is first rate throughout. The Alpha DVD is quite good - the print is VERY clean for a "bargain" (public domain) copy, and you should have no concerns as to the quality of this DVD. Highly recommended.

A Classic Comes Home.
One of the best World War Two era dramas ever. The fact that I had never heard of this movie is a testament to it's being under-rated. It's usually not shown in retrospectives of war movies, not enough testosterone displayed, I presume, which is a shame, as it is a powerful take on the "human" side of war, and the effects on the individual. Claudette Colbert, whose only starring role I was familiar with was in "It Happened One Night", is wonderfully touching and noble in this true- story based drama of an author forcefully seperated from her husband and placed, with her little boy, in a Japanese prison camp. As anyone who reads my reviews knows, I like strong womens roles, the good ones of which are few and far between. This is one of the best. Her portrayal is one of pathos, bravery, and perseverence in the face of overwhelming, spirit- breaking odds. This film also offers a rare for that time somewhat sympathetic view of the Japanese, in the role of Sessue Hayakawas' Japanese officer who, over time, developes a true respect for Colberts character that transcends gender and war time prejudices, and, shows the human loss on both sides. This film says just as much about the tragedy of war, maybe more so, than any battle scenes. I am not generally a fan of many war movies, how many battle scenes can you watch??, but I was totally drawn in when I happened upon this film by accident on the History Channel. I was so impressed by it that I bought the video, after trying to track it down for some time. A wonderfully moving drama, yes, it is a "tear-jerker", but much more than that, it is also ultimatley uplifting. A classic movie, very radical for it's time, it's a must have for any film buff, or anyone who wants to see what true movie making WAS.

True-life drama: Superb
Miss Colburn did a lot of work in war movies and it was all excellent: Three Came Home rates among the best ever made about WWII, it is all true, wonderfully made, rarely known among the best b&w war movies, a fantastic story really well done.

Real Life Survival Story
Claudette Colbert gives a very strong performance as real life writer Agnes Keith, an American woman living on Borneo with her British husband and son during WWII. When the Japanese invade, she and her son are separated from her husband, Patric Knowles, and all are imprisoned in camps. A Japanese colonel, very well played by Sessue Hayakawa, takes an interest in Colbert since he has read her book, and they have a platonic relationship that is one of the most interesting features of the movie. He has been educated in America, and he reveals more about himself than a typical Japanese soldier would. Three Came Home illustrates the poor conditions of prison camps during WWII and the effect of the war on those who weren't soldiers but had to fight to survive. It's a dramatic story, well acted, and worth viewing.

Colbert gives a Great performance
If you are a Colbert fan or not or simply want to know her, this movie should be on your list! She gives a good range of her acting (even if Hollywood believes that mascara was easy to come by in a Japanese camp!). What`s more, Sessue Hayakawa, a typical villain, proposes a sweet & sour taste to his character rather uncommon to his more typical roles. And if you liked that movie, go to "So Proudly We Hail", a story with a similar plot but even better! ... Read more

Reviews (4)

"If you like the sound of gravel."
Jefty (Richard Widmark) owns a "Road House" in a small town. It's managed by childhood friend, Pete Morgan (Cornell Wilde). Jefty, who has a reputation with the ladies, brings home a sultry singer, Lily Stevens (Ida Lupino), and when Pete hears that she's getting $250 a week for singing in the bar, he's against the deal. Jefty, apparently, has a history of bringing female singers back to the road house, and then expecting more than just a few songs for his money. Pete tries to dump Lily at the train station, and Lily refuses to leave. This initial maneuver by Pete sets him at odds with Lily. But then when Pete hears Lily sing, he realizes that she's worth every penny Jefty's paying her.

Jefty soon makes it clear that Lily is hired to entertain the crowds that swarm to listen to her every night, but that in her spare time, she belongs to him. Lily is experienced enough to know how to manage Jefty. Circumstances, however, throw her into Pete's company, and they fall in love. Jefty feels crossed. He's not about to let his manager leave town with Lily, so he devises a plan that guarantees that the couple will be under his sadistic thumb for a long time....

Lily, Jefty, and Pete could make an interesting love triangle. Unfortunately, there's just not enough of a hint early in the film to explain Jefty's later actions. His character isn't explored adequately to explain his evil actions once the couple try to leave town. It's clear that Jefty has a problem with using his female singers (and that Pete is tired of moping up after Jefty), but Jefty's character is not warped beyond a certain weakness where women are concerned. Pete and Jefty should be foils for one another, but neither character is distinct enough to really bring this out. Pete is too bland, and Jefty isn't spoiled and evil enough. There are just not enough sparks here. Widmark as Jefty does a credible job with the restraints placed upon him by the narrow role. There are shades of Tommy Ugo ("Kiss of Death") when Jefty goes crazy in the final scenes, so for film noir fans, this film is worth watching. Lupino, as the singer who sounds as though she's smoked her way through a six-pack-a-day habit for years, is great. Unfortunately, the script just didn't allow much scope for exploration of the male rivalry between Jefty and Pete, and this flaw, ultimately, weakens the film--displacedhuman.

The mating season
ROAD HOUSE sets a dark mood with plenty of night scenes. I'm usually turned away from a film having too many night scenes. Half the time you can't tell who's who and what's they doing. Nothing unclear in ROAD HOUSE. Director, Jean Negulesco, deserves a gold star for handling the lighting in those scenes. I give another gold star to Celeste Holm, the girl that you want for a "friend." The plot gets down to the simply fact of the mating season. I was a little concerned that Widmark's evil propensity wasn't foreshadowed during the earlier stages of the film, but it was acceptable to believe that he just flipped his cork. The best part of the movie was perky Ida Lupino's torch song singing effort beginning with "Set 'em up Joe," and "Again." The soundtrack was marvelous.

A NOIR FAN MUST-SEE!
As a noir collector, I have to tell you that this one is a must. Buy it for Ida Lupino's performance alone! The star of the show for me, though, is Widmark. While his role is no Tommy Udo (Kiss of Death - 1947 - DON'T MISS IT!), he sizzles, as always. Let's face it, aside from being a great actor, when he was young, the guy was a major hotty!

Lupino Unbound
Jean Negulesco was an also-ran among golden-age directors, but he fired on all cylinders in this late-forties piney-woods noir. Richard Widmark is a giggling psycho who owns, what else, a Road House somewhere near the Canadian Border; Cornel Wilde is his all-American man Friday. Into the mix comes Lupino, a tough "shantoozie" who becomes the apex of a sick triangle. The talk is hard-boiled and freighted with innuendo (in the style of the times). Worth the price of admission is Lupino singing "One more for my baby (and one more for the road)" in her burnt-toast voice, while sitting at a white piano gouged with burns from her smouldering cigarettes. This movie was made for viewing on the late, late show. ... Read more

Reviews (4)

good cast
I know Bette Davis was only in a small part of this movie but she was in it and that was all I needed to like the movie. And it is a good movie with a good cast.

Bring the Kleenex
It's a great Sunday afternoon movie. In reality, the performance of Shelly Winters is the best part. Since Gary Merrill and Bette Davis were married when this movie was made, there had to be some scenes with them together. But sadly, those scenes were not the best ones.

But if you are a Shelly Winters fan, this is a must see. If you are a Bette Davis fan, you will be disappointed.

Don't Bother With This One!
This was a very BORING film. Bette Davis's picture shouldn't even be on the cover because she's in the film for about a minute in a half! Okay, maybe alittle longer than that but not by much! Don't waste precious time on this one when there are so many really good ones to see.

Slow Paced - Non-typical Bette Davis Film
Bette Davis plays the role of an invilid. Her part in the film is very short and at the end. I do not recommend for those primarily interested in seeing Bette Davis in a leading role. ... Read more

Reviews (24)

ideal for study of the feminine mystique
The first five minutes alone of this movie provide fodder for discussion of historical attitudes toward women. Hope Lang arrives at an office building clutching a job listing for a secretary with the heading above "Help Wanted--Female". She discovers that all the women in the office are engaged, and the office supervisor herself is only working to save up for her wedding dress. Joan Crawford plays a bitter spinster who has chosen a career over marriage and now is having an unhappy affair with a married man, and taking out her resentment of her situation on the secretaries who work for her. Lang's roommates are coworkers who are also seeking love and aspire to little else, as their fates in the film reveal. The rest of the film is filled with male characters who regularly lecture women on the perils of careers, as well as the women's shortcomings as women. One editor at the office pinches and generally preys on all the young secretaries (we don't find out he's married until an offhand remark in the last reel), and the women's reaction to this then accepted form of sexual harassment is to laugh it off or put up with it as a normal working hazard. I recommend the film for anyone who wants to see the feminine mystique of the 1950s and 60s firsthand.

TRULY The Best of Everything!
This is one of the best soap-opera-type films in history. It brings us back to a time when women went on job interviews wearing little hats and white gloves--before the Equal Rights Ammendment and sexual harrassment lawsuits in the workplace.

The cast is phenomenal: Joan Crawford as the bitter career executive who missed out on a personal life; Stephen Boyd as the jaded, cynical, alcoholic editor geared to the "younger generation"; Robert Evans (in one of his few serious screen roles) as the sociopathic, rich playboy--and many others, all perfectly cast.

This is a fabulous movie about corporate 1950s New York City and one you'll want to watch over and over.

See Vanity Fair Magazine, March, 2004
All of the reviews submitted here really explore the main points of this excellent film. For a behind-the-scenes article on the making of the film, plus lots of juicy tidbits of life on the (freezing) set with Joan, you must read this article. Some interesting bits: As depicted in the book, there were originally five girls and their boyfriends. But when the film previewed before test audiences, many people did not care for two of the girls. So, most of their footage ended up on the cutting room floor. The bosses at Twentieth Century Fox knew Joan wouldn't accept a co-starring role, but producer, Jerry Wald, worked on her vanity and she agreed. But then... Lots of photos and a very well-written article. It begins on page 402.

The Best of Everything
Most of you hit the nail on the head with your reviews. It is a wonderful movie about "those" days back then. For those of you who thought otherwise, keep it in perspective. They don't make movies like this anymore. Too bad. My goodness, when I was in high school, I read the book and daydreamed constantly about what it would be like to work in the "big city". I wanted to be Caroline Bender (I guess I didn't know any better in 1959). The scenery, the clothing, the cars (that's what grabbed my brother-in-law) was (is) wonderful. I have read and re-read the book zillions of times, bought the VHS and can't wait for the DVD to come out (if it every does). The only part of the movie that I was disappointed in was the part that Martha Hyer had. In the book, there was much more of her character and "Sidney" and we got to know her better.

Subservient? Joan Crawford????
Okay, yes - women, both in and out of the workplace, were treated quite differently in 1959. But I hardly think anyone could categorize Amanda Farrow (Joan's character) as subservient. In fact, Amanda is pretty much a direct clone of the large-and-in-charge Joan who told the Pepsico board members "Don't f--k with me, fellas!" right around the time this film was shot.
This is a great period piece to watch today. I love the IBM blue that is omnipresent in the offices, the primitive electric typewriters, the office gossip, the "girls" with curlers in their hair, the look of NYC at that time - and let's not even start on the women's clothes (one word - gloves)!!
If only to honor the very recent passing of the ultra-glamorous Suzy Parker, this film needs to be released on DVD without delay!
Oh, just one other little thing - another reviewer claims that Shirley Jones has a small part in this picture. Sorry, but tain't so, kids. I can only think the reviewer has mistaken Martha Hyer, who plays Mrs. Lamont, for Ms. Jones (they do have a lot in common physically). ... Read more

Reviews (17)

Lesser Known Monroe Film Worth A Look
Robert Mitchum plays a practical, no-nonsense farmer recently reunited with his young son, Tommy Rettig. They rescue a young couple (Marilyn Monroe and Rory Calhoun) going on a raft down a river by their homestead, and that's where the trouble begins. Calhoun is out to make a gold claim, and he'll do anything, including stealing Mitchum's horse and gun, leaving Mitchum, Rettig, and even Monroe behind to face the Indians without any defence. So they must take to the raft to survive, and that's where the adventure begins. I liked this film a lot. Mitchum is his usual laconinc self, but it works really well with this character. Monroe gets to act in this film, and she does so very well, playing a saloon singer that wants to defend her man, despite what he has done to all of them. Young Rettig is good too, not cloying and irritating like so many child actors can be. The scenery is beautiful, the title song very effective, and although the direction of Otto Preminger isn't very fluid and sometimes the movie lumbers from one scene to another, the performances and relationships among the characters make up for it. Viewers will enjoy the trip down the River of No Return.

Marilyn Monroe and the Canadian Rockies!
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While this is certainly far from Marilyn Monroe's best performance, it is nonetheless an interesting film to watch.

Amazingly, the somewhat artificial beauty of Marilyn Monroe shown floating on a raft down the "river of no return" with a backdrop of the Canadian Rockies can capture one's imagination and make you forget what a truly awful film this is.

Marilyn steals your attention in every scene, and the sheer beauty of her presence more than makes up for the ridiculousness of the plot.

MM sings a couple of numbers in her dance-hall girl phase of the film, most notably, "I'm Gonna File My Claim", about a gold-digger during the gold rush days.

Any Marilyn fan would have to see this movie just for Marilyn's sake. Anyone else can probably skip it.

MMMmmmarvelous Marilyn!

Sometimes it's peaceful, sometimes wild and free
Marilyn Monroe described this movie as a grade-Z cowboy movie where the acting finished third to the scenery and Cinemascope. Okay, the Canadian Rockies and the rapids were utilized to its best for 1950's film-making, and MM's second film in Cinemascope must have made quite an impression in the theatres for the new aspect ratio.

It's 1875 in the wild Northwest. Matt Calder is reunited with his young son Mark in a saloon town and rather than go the usual route of prospecting, start a new life on a farm bordering the River of No Return. Their life is instantly disrupted by two events. One, gambler Harry Weston, who's one a gold claim under dubious circumstances, is eager to file the claim in Council City to prevent the loser from beating him to it. To that end, he steals Calder's horse and rifle, a capital offense in the codes of the West. Second, a group of Native Americans on the warpath descend on the farm. Both Calders and Kay, Weston's moll who stays behind to look after the injured Calder and his son, flee in time in the raft Weston and Kay arrived in.

From then on, it's a struggle to survive the rapids without any weapons, food, and constantly being drenched by that river whenever it's "wild and free." As Calder tells Kay, "The Indians call this the River of No Return. From here on, you'll find out why." He is so dead set on getting his hands on Weston, he'll risk anything, all the time looking after his two charges.

Conflicts arrive in many forms, the primary two are Kay's torn loyalties between Harry and Matt. She doesn't want Matt to kill Harry once the two meet up, and performs acts that range from desperate to being a seductive vamp, yet she realizes in their travails that he is thoughtful and unselfish, as demonstrated in the scene where he looks after her following her collapse from exhaustion. The other involves the circumstances where Matt had to leave young Mark in the saloon town for five years, and while it's justified, there is a certain amount of stigma in it.

Marilyn gets to sing four songs here, the acoustic guitar tune "One Silver Dollar" and the piano bar tune "I'm Gonna File My Claim", "Down In The Meadow", and one of the best songs she's ever sung, the title ballad. Her costumes aren't bad either, from the garish red dress she wears for the first song, the long green dress for the second tune, and the white blouse and anachronistic Levi's jeans she wears throughout the film. And this is the longest her hair has been in films, albeit it being a blonde wig, of course.

Despite the costumes, it's not a Western in the traditional sense of the word, but River Of No Return pales to others in the genre it's purported to be because it's more drama than action. Granted, this is not one of Marilyn's best films, nor is it that of Robert Mitchum's, Rory Calhoun's, or director Otto Preminger for that matter. Monroe would have to wait until The Seven Year Itch for her next biggest hit. However, both Mitchum and Monroe come off well despite the latter's dismissal of it.

Some of MARILYN'S best acting!! And MITCHUM's superb!
Marilyn doesn't play a dolly-girl in this film. She plays a very human female who has seen hardships and goes through many in the film, and takes it like a toughened woman. I've never seen her quite like this in any of her other films. I love all of her films, but this is a stand-out and unique. I wouldn't rate it as one of her best films, but she IS super in it. It's a Level 2 Marilyn film, not quite up there with How to Marry a Millionaire and The Seven Year Itch, but still pretty darn good!
Robert Mitchum is, as always, superb, and there is a good chemistry between the two. A definite must on DVD for any Marilyn fan. If only somewhat interested get the VHS, but Marilyn fans and Western fans will want the Widescreen DVD.

Revenge and Redemption on a Raging River.
The movie: This is an entertaining movie. Although there are some minor flaws and improbabilities in the script, the film is an exciting blend of action and drama, as Marilyn tries to convince a vengeance-driven Mitchum to spare her boyfriend's life. Marilyn has 4 or 5 songs in the movie, and shows some real talent. This does not detract from the realism of the story, either, because her character plays songs for a living. The ending leaves something to be desired, however, because it never answers a question that the film has set up about Mitchum's character. Still, the movie is fun to watch, and the two leads keep things interesting.

The DVD: This is the perfect DVD to use with a home theater. It has surround sound (the best I've encountered), and a whopping 2.55:1 widescreen transfer. (In case you didn't know, that means that the widescreen picture is 2.55 times wider than it is high.) The film has panoramic shots of some genuinely breathtaking locations. Perhaps the DVD's biggest fault is the way that the restoration inexplicably CUTS OUT whenever there is a fade-out or fade-in! You'll be watching a scene, and then suddenly, without warning, the restoration will blink out, leaving you with a washed-