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This subtle, existential character study of an emotionally distant outcast (Nicholson) forced to confront his past failures remains an intimate cornerstone of American '70s cinema. Written and directed with remarkable restraint by Bob Rafelson, the film is the result of a short-lived partnership between the filmmaker and Nicholson--the first was the zany formalist exercise, Head, while the equally impressive King of Marvin Gardens followed Five Easy Pieces. Quiet and full of long, controlled takes, this film draws its strength from the acutely detailed, nonjudgmental observations of its complex protagonist, Robert Dupea--an extremely crass and frustrated oil worker, and failed child pianist hiding from his past in Texas. Dupea spends his life drinking beer and sleeping with (and cheating on) his annoying but adoring Tammy Wynette-wannabe girlfriend, but when he learns that his father is dying in Washington State, he leaves. After the film transforms into a spirited road movie, and arrives at the eccentric upper-class Dupea family mansion, it becomes apparent that leaving is what Dupea does best--from his problems, fears, and those who love him. Nicholson gives a difficult yet masterful performance in an unlikable role, one that's full of ambiguity and requires violent shifts in acting style. Several sequences--such as his stopping traffic to play piano, or his famous verbal duels with a cranky waitress over a chicken-salad sandwich--are Nicholson landmarks. Yet, it's the quieter moments, when Dupea tries miserably to communicate and reconcile with his dying father, where the actor shows his real talent--and by extension, shows us the wounded little boy that lurks in the shell of the man Dupea has become. --Dave McCoy ... Read more

Reviews (37)

Brilliant mood piece
How can you not love a movie whose soundtrack successfully intermingles Tammy Wynette songs with classical music pieces??

I like to think of this film as more of a "mood piece" than a "character study". It succeeds tremendously as both; but if I had to describe to someone what is meant by a "mood piece" I would direct them right to this film. It epitomizes the early-70s American wasteland look and feel common in some great "New Hollywood" films of its time (Jack Nicholson was in several such movies, like the classics "The Last Detail" and "One Flew Over The Cuckoo's Nest"). The scene outside the bowling alley especially captures this beautiful grit.

You all probably know the story, so I won't bother with the obligatory references to the diner scene, the hitchhikers, or the truly heartbreaking scene where Robert Eroica Dupea clumsily spills his guts to his sick father. I will admit it took several viewings to truly appreciate this film. But now I rank it as one of my favorites. It's rare to find a film that can take you to a time and place you weren't at and introduce you to people you've never known, yet feel it as if you had.

This one is not to be missed. Give it a few tries if you have to.

Five Easy Stars
After his strong supporting turn in Easy Rider brought fame to Jack Nicholson, he got his first starring opportunity in Five Easy Pieces. Teaming up with his old pal Bob Rafelson (from Monkees fame), they created an interesting character study. Mr. Nicholson is Robert Dupea, a hellion who is oilrig worker in Texas. He is basically shiftless and has no direction in life. What we soon discover is that Dupea is a piano playing prodigy who grew up on the Puget Sound in Washington. His girlfriend, played by Karen Black, wants to be a country & western singer and is constantly singing along to "Stand By Your Man". She drives him nuts, but after his best friend is arrested, he heads back home to Washington with her in tow. He ends up falling for another woman who also plays piano and is staying at his father's house. The title of the film is derived from five easy piano pieces that Dupea and the woman dissect. Mr. Nicholson does an incredible job of peeling back the layers of Dupea and his scene ordering a chicken salad sandwich is highly memorable. Ms. Black is perfectly annoying in her role and she does a tremendous job. Mr. Rafelson & Mr. Nicholson have teamed several times since this movie, but never were they any better together.

NOT Texas!
Why does everyone say Nicholson's character is working in the "Texas" oil fields? It's the California oilfields (Bakersfield, Shafter California).
Good character study, excellent acting. and the chicken salad scene is classic Nicholson.

A Great Film
In a story of two worlds and what happens when they collide, Jack Nicholson gives a performance that should have won an Academy Award. As Bobby Dupea, Nicholson abandons his privilaged life for that of an aimless drifter- something he will eventually apologize for. He goes from being a talented musician to working as an oil rigger but a family illness will bring him back to his affluent roots and it is here that he must decide the course the rest of his life will take. And while all the perfomances are excellent, it is Nicholson that keeps us spellbound. In a long career, he has played many facinating characters but in my humble opinion, it is as the wasted talent Bobby Dupea that Nicholson shines the brightest.

A film about people
This film got a fair amount of buzz in its time but I had never seen it. Having been interested by some of Nicholson's work (Head, Witches of Eastwick, Chinatown) I thought, in a weak moment, that it might be good to own a copy of this.

It is a film about people I wouldn't want to know relating deeply with other people I wouldn't want to know and has few other qualities which stand out after a first viewing. I give it two stars rather than one because it was, I suppose, professionally done. ... Read more

Reviews (12)

Solid, attractive suspenser
Okay, the story is preposterous and technologically dated, and some of the dialogue is melodramatic in a retro kind of way. That said, BLACK WIDOW still makes good viewing because it remains true to itself and the premises it has set up, and Debra Winger and Theresa Russell do a smashing job on their characters. It also has an interesting style, managing a noir atmosphere even while filming a considerable portion of the story in the bright sunshine of Hawaii and dressing the leads in the blues and red-oranges of '80s fashions.

Debra Winger plays a bright young unattached woman in a drab, stultifying life as a statistics accountant for the federal government. She does not openly indulge in self pity, but when she identifies a wisp of a possible crime in the statistics she compiles, she sells all her possessions and quits her job to pursue the case on her own. The case surrounds Theresa Russell's character who Winger believes marries older men and somehow precipitates their deaths to reap their inheritances, what is called a black widow. This is all established with swift efficiency, as is the guilt of Russell's character. The suspense lies in if and how Alex will corner her black widow, who is equally intelligent. The two make a sensational pairing, circling around each other, getting closer and closer.

Leonard Maltin's movie guide says the film doesn't deliver the big pay-off. That depends upon what kind of pay-off you are looking for. I happen to think it did deliver.

Don't Miss the Kiss of the Spider
I caught this movie on HBO in 1988-15 years later, I can still sit through it from beginning to end with out being the least bored. It is one of my favorite great movies that few people seem to know about.
Debra Winger is perfect as feisty Government agent, Alex, who notices a pattern and sets out to find the Black Widow-Theresa Russell, who reminds me a lot of Kathleen Turner in "Body Heat".
I would like to see more of her movies, as her portrayal of the woman Alex hunts down, is complex and compelling.
There are enough twists and turns to always keep your attention, and as other reviewers note, the scenery is spectacular.
The peripheral actors are well cast, and you find yourself caring about every one in the movie...and wondering what makes the Black Widow tick.

Superb script!
A young woman (Theresa Russell) seduces , marries and murders all the men who appear in her life and selected for her to join in this undesirable club . Obviously the case becomes too suspicious and a female investigator (Debra Winger) is assigned to watch her . This plot will turn in a challenge . You will experiment the gradual transformation starting from intrigue to obsession .
A very well made script with high caliber performances . Unforgettable locations and dazzling direction.
Imagine this tour de force: the seductive Theresa Russell (Bad Timing) and the captivating acting of Winger.
A must for you.

A greedy widow spins one web too many
This fine thriller could have been much better if the currents between Alexandra [Debra Winger] and Catharine [Theresa Russell] were explored and developed by the film-makers instead of letting the moment pass. The electricity between the hunted and the huntress is obvious after Alexandra finally catches up with black widow Catharine and from their first shared moments it seems as though Alexandra is spellbound by the woman she has set out to capture. Although Alexandra spends most of the film chasing after Catharine, she has a deer-in-the-headlights look when they spend time alone, whether in a hotel room, on a beach, or at a party, because she isn't as sure of herself as she was before she finally tracks down her dangerous prey. Catharine's seductive, flinty green eyes and sidelong glances at Alexandra suggest that this beautiful but ruthless killer is spinning her web to snare her pursuer before she can solve the mysterious deaths of her late husbands.

Dramatic Thriller
Debra Winger plays a detective who is on the trail of a psychopathic woman. She quickly meets, "falls in love" and then marries her man, but soon kills him before moving onto the next man repeating the process all over again. When the detective finally locates her in Hawaii, she meets her and the two become friends. As she investigates the woman's web of lies and murder, the woman becomes suspicious of her. When she finally discovers that her friend is a detective, it becomes a deadly rollercoaster ride as she repeatedly tries to kill her. Some of the best scenes were... poisoning the wine scene, the scuba-diving scene, the scalding shower scene, and the end scene. ... Read more

Reviews (17)

Dark but incomplete tome on corrections reform
Robert Redford is Brubaker, an honest expert in corrections sent to clean up a trouble-plagued penitentiary. Sent to Wakefield Brubaker enters undercover, living his first few days as a prisoner. We learn that for its brutality, Wakefield was conceived along the lines of a noble experiment - one that gave the prisoners unusual autonomy, and was intended to actually correct those imprisoned there. Instead, the experiment has carved a super-class of prisoners who rule over the rest of the prisoners as Trustees. Unafraid to use force, they skim off books while stealing supplies already paid for. Brubaker, once revealed as the new warden, slowly but surely turns the system upside down - he can't move too quickly because those prisoners or administrators who are most guilty are also the only ones who can tell him what's wrong. Eventually discarding the old guard, Brubaker soon learns that Wakefield has an even darker secret, one whose discovery threatens the Wakefield's future.

This was a good movie, although it's hard to understand the first time around. The sophisticated system of prisoner autonomy is somewhat hard to believe unless you've already seen the movie before. The setting is interesting - a dessicated prison, complete with an antique electric chair (which emerges from the shadows like the monster from "Alien" - quite yet terrifying). That said, the movie has no surprises (comparisons to "Last Castle" are incorrect). Brubaker is an utterly honest and incorruptible soul. Once we see how he uncovers grafters among the prison administration and trustees, there's little more for him to do. We know that outside businessmen will be corrupt croneys and that even well meaning corrections bureaucrats will try to rein Brubaker in for the good of the system. The movie blows what should be its focus - having Brubaker connect with the prisoners - something he does too easily, too much so considering that his first speech reminds them that they are prisoners and that they are there for a reason. There also aren't enough really supportive roles - as if Yaphet Kotto was the only reliable prisoner. Still worth a look.

Not your average prison movie....
Brubaker is based on a true story and tells of the events of one man's attempts to reform a prison system mired in corruption, brutality, and a lack of order to any general degree.

Henry Brubaker, as stated in the movie, gained his past experience in corrections working in military prison systems. Brubaker hatches the ingenious plan to insert himself into the prison population at Wakefield Penitentiary as an inmate to experience first hand all the problems inside the facility. What he uncovers is nothing less than barbaric punishment methods, no structured management of inmates, lack of medical care, and the penitentiary itself in advance stages of disrepair.

Henry Brubaker, after revealing his status as the new warden and assuming his duties, goes on to discover that there are no state hired corrections officers on the staff. Inmate trustees, armed with weapons, are given the responsibility of manning watch towers, supervising work crews, and keeping the peace inside of the prison. Furthermore, prisoners are farmed out to local businessmen in the community for work with no pay which amounts to slave labor.

Upon deeper investigation into all the activities in and around the prison, Brubaker discovers other illegal activities including theft of prison food supplies and equipment, inmates being charged fees for almost non-existent medical care, and the revelation that there are prisoners buried on the prison property that were the victims of murder by fellow inmates.

Brubaker confronts the state prison board with these problems only to find out that the prison board is not only aware of these incidents, they think the system should reamin unchanged because it has always been this way and should remain so. You can sense their unhappiness with Brubaker as the new warden who wants to come in and upset their system rather than tow the line.

Henry Brubaker is portrayed as a man of honesty, integrity, and professionalism and in defying the prison board's message to leave well enough alone, he launches his own campaign to reform the prison and correct the wrongs he has inherited as the new warden. Unfortunately, with the power of the prison board and the governor of the state against him, he is eventually removed as the warden and fired.

In the final outcome, many inmates saw the necessity of the changes attempted by Brubaker and were dismayed at seeing him removed and the new warden not making proper progress to reform the prison. This prompted many inmates to file lawsuits against the state for inhumane prison conditions resulting in the governor not being re-elected the following year.

This movie is a fine drama with a very good plot, great acting, and poignant conclusion. I highly recommend this movie to everyone.

A+!! One of Robert Redford's best films.
This ranks right up there with ... as one of the great "hero with integrity goes up against the corrupt system" movies of all time.

I used to teach American Government and would show this and Redford's ... Two of the best political films of all time.

This movie brings up many important and insightful issues involving prison reform/management.

A real story, like Walking Tall
Of course, I'm biased. "Brubaker" is a fictionalized account of the real story of Tom Murton, warden of Tucker & Cummins prison, in Arkansas, in 1967-68. Tom Murton was my dad & I lived on both those prisons as a 5th grader, before we were unceremoniously kicked out of Bill Clintons state. Most of the movie's events really happened, including the electric torture--called the Tucker Telephone--the whip, the horrid food, the inmate trustees carrying guns, painting death row, & digging up some of the 200 unmarked graves, most of which remain unmarked on Tucker farm. Fictional events include the female prison board member, the black old inmate dying--his name was Reuben Gaines & he got out of prison. My dad assuredly did NOT infiltrate the prison as an inmate, but the scene w/ the old warden barricading himself in his office w/ a Thompson submachine gun was true. Like Redford's character, my dad was not PC & probably unecessarily antagonized both the corrections board, & the governor. But who could really agree to cover up 200 murdered inmates? Governor Winthrop Rockefeller fired my dad, even as the Arkansas legislature was moving to indict him for grave-robbing. We had 24 hrs to exit Arkansas. My dad went on to be a tenured professor of Criminology at the Univ. of MN, Minneapolis & passed away in 1990. The book about all this is "Accomplices to the Crime" by Tom Murton & Joe Hyams, Grove Press. Long since out of print, but available over the internet from rare booksellers for a reasonable price. My verdict on the movie: considering that it's primary purpose was to make money, it's a lot more factual than it could have been.

Must See
A wonderful movie for it's day, and even today.
I could see it being the Shawshank Redemption of the early 1980's, except this movie is true. ... Read more

Amazon.com

You can feel the gears grinding, trying to turn this attempt at film noir into something sleek and insinuating, instead of the labored near miss it turns out to be. Jack Nicholson is a Florida wine merchant whose business isn't as good as he has his unhappy wife (Judy Davis) believe. He's also consistently at odds with his churlish stepson (Stephen Dorff). Meanwhile, Nicholson is plotting to steal an expensive diamond necklace and dump his wife, aided by his mistress (Jennifer Lopez) and a sleazy safecracker (Michael Caine). It's the kind of thing James M. Cain used to toss off effortlessly, but in director Bob Rafelson's hands the strain shows at every seam as crime and romantic treachery put all of the characters on a violent collision course. --Marshall Fine ... Read more

Reviews (10)

Blood, wine, and a really great story
Blood and Wine follows a very disfunctional family, played by Jack Nicholson, the wonderful Judy Davis, and Stephen Dorff. Also along for the ride are Michael Caine, and even a young Jennifer Lopez, who is actually a good actress.

The story follows Alex (Nicholson), who is a wine seller, but he also has a bit of a larceny problem as well. So as he's selling expensive wine to rich people, he's also stealing their jewels. And he's also cheating on his wife (Davis) with the beautiful nanny (J.Lo). And his stepson (Dorff) absolutely hates him. And his partner in crime (Caine) is an ailing psychotic. And that's just the background to the story.

There are plenty of good twists and turns in this thriller. The direction is great, as is the acting from everyone. If you're looking for a good thriller that you've never heard of, check this one out. You won't be disappointed.

Wonderful characters in this film noir
I'm not a diehard fan of film noir movies, but this one appeals to me, largely because of the multi-dimensional characters, written with more insight and compassion than usually found in this genre. Even the most villainous character has an understandable reason for all-consuming greed; the rest exude depths of decency and honor when you least expect it. That makes it all worth watching; these are people worth watching and even rooting for. The main cast is uniformly magnificent... what a treat to see Caine and Nicholson play off each other so expertly, and Judy Davis is intelligent and stellar as always. Stephen Dorff continues to impress me with his "diamond-in-the-rough" surliness and Jennifer Lopez does better work here than I've seen before, adding extra likeableness to a plot that, on the surface, threatens to be more hard-boiled than it actually turns out to be. Although there are plenty of violent scenes, there's also just the right amount of vulnerability mixed in with the toughness, enough self-awareness and kindness mixed in with the hatred and selfishness. Great movie, great surprise!

The best Stephen Dorff movie yet!
Yes this was a saspenceful movie,Yes this movie had a good plot,but what or who made this movie as good as it was well of course old deacon frost himself Seephen Dorff. but don't take my word for it,I advise you to SEE THIS MOVIE!!! If you don't like Stephen than you will like Jack Nicolson or J.Lo (before She was J.Lo Jennifer Lopez) I give this movie a big 5 stars!

Riveting entertainment!
Hey, granted, this is ain't for delicate sensibilities, but it sure is dynamite entertainment. It doesn't come much better. Sure, it's crass & classless & about greed & deception & lust, but so's the Bible (the first part, anyway). Get Shorty was a candy bar compared to this flick. Watching Nicholson, Caine & Davis together has to be (if you enjoy good acting) one of the pinnacles of film-viewing, particularly the repartees between the two male leads: near-Shakespearean. Rafelson sure makes this movie trip right along, always the sign in my book of a first class movie. And more than anything, what a pleasure to see Nicholson & Rafelson together again. 5 Easy Pieces & King of Marvin Gardens have to be two of the most brilliant films ever made.

Tense and Exhilarating
This is a beautifully filmed picture with a rich plethora of twists and turns to keep you guessing. It repeatedly questions your own morality through the use of several flawed protagonist who also double as the films antiheroes. Bob Rafelson paints breathtakingly colorful imagery on the screen and changes the mood of the scene through the use of color to great affect. Michael Caine, Jack Nicholson and Stephen Dorff give stellar performaces. But perhaps the most amazing thing about this movie is the dark subtext that lies beneath each spoken line. There are times when you can feel your heart sink from the bitterness of the unspoken words. Outstanding. Five stars. ... Read more

Reviews (5)

A Rare Gem-Amazing!
This film really is spectacular. From the very opening(which is slightly disorienting-but becomes clear quickly), it weaves a tale filled with some very odd and fascinating characters. Nicholson plays a radio deejay of sorts that spouts some fictionalized, but engrossingly told tales. The story itself deals with his visit to his brother-played by Bruce Dern, who he must attempt to talk out of some financial scheming. Dern turns in a fine performance-comparable to his performance in SMILE(very different characters, both great performances). Ellen Burstyn is also terrific. Photography by Laszlo Kovacs ranks up with his best. A welcome follow-up to Rafelson's FIVE EASY PIECES(a follow-up that doesn't get the press it deserves). Looks beautiful on dvd!

The Best Nicholson Film You've Never Seen
The film opens with Nicholson in a tight shot talking to someone. We aren't sure at first to whom he's talking or why. From that opening scene I was hooked. Nicholson is a radio personality (David) who one day gets a phone call from his brother Jason (Bruce Dern) who is in jail. Jason is basically a big-time loser who has been trying all his life to make something big happen. His latest scheme is to encourage his brother to join him and his female companions (played by Ellyn Burstyn and Julia Anne Robinson) in Atlantic City while contemplating the purchase of an island near Hawaii. Many strange events happen along the way, not the least of which finds the two women competing for Jason's affection. A very strange scene occurs involving a fire on the beach. Without giving too much away, I will say that this is a turning point that has tremendous impact later in the story. So few films today have even slightly interesting characters. These characters are so vivid and interesting that you can't help but be intrigued, wondering what's going to happen next. Each scene seems to have no rhyme or reason, until finally the pieces fall into place. When the pieces do come together, you realize that you've witnessed something very unique, original, and haunting.

The four leading actors are all at the top of their form. I have never seen Nicholson timid, unsure, or at a loss for words before. Dern is hopelessly reckless. Robinson is an innocent in an evil environment. Burstyn is perfect as the key to the whole story, which is one that I'll never forget. You'll think about this quiet little film long after the credits are over.

Excellent
Dont miss it, you'll be sorry if you do

Jack Nicholson
If you are looking for a film that has no "fx" and also no "over the top" Jack Nicholson ,try " King of Marvin Gardens" You can see glimpses of pre casino " Atlantic City". Along with Bruce Dern, as Nicholson,s brother, this film examines just how disconnected from reality certain "apparently mainstream" folks are. Ellen Burstyn delivers a haunting performance. Unlike many films of today, this film has a real script and devilishly good acting..involving a very downbeat subject.

Please see this film. You'll thank me.
There once was a space in Hollywood for small, carefully crafted films that raised intelligent questions about existence. This is one of the best such films I know, and it's too well-kept a secret. Another top-twenty pick from the weird, bossy lady hangin' in the video store. ... Read more

Reviews (11)

So-so Noir Film Featuring Sam Jackson and Milla Jovovich
"No Good Deed" is based on Dashiell Hammett's short (and very short) story titled "The House on Turk Street" which is included his book "The Continental Op." The original short story appaered in 1924, but as is often the case with film adaptations, the story is extended to cover its running time, perhaps stretched beyond its limit.

In this noir film, not an "op(erative)," but a cop Jack Friar plays the usual role of reluctant hero. Jack is asked to search the whereabout of a missing girl when he, being an amateur cellist, is about to join in the classic music festival. Against his better judgment, he promises to seek for her, and goes to "the house on Turk Street." Too late that he realizes he stepped into the wrong place where he, or any other cops, should not be.

There he encounters a motley group of criminals, who plan to get easy money from a bank. Captured by them, Jack has only his brain to rely on, to get away from this big trouble.

Be warned. This is a noir film, which means you cannot look for any conherent logics (can anyone summerize the plot of "Maltise Falcon"?) There are so many incredible decisions the characters make, or so many unbelievable coincidences. If you don't like these kinds of situations too good to be true, just forget about the film.

But the film looks beautiful as noir, and director is Bob Rafelson, who recently gave us atomospheric "Blood and Wine." "No Good Deed" has also equally credible sinister atmosphere, thanks to production designer Paul Peters and photographer Juan Luiz-Anchia. If you love this genre, you might find the film more engaging than other movie fans do.

As to actors. Sam Jackson is as good as ever (have we seen bad Sam Jackson?) but his actions sometimes lack convincing touch, not because of his acting, but because of the plot (Amazon's editorial review is perfectly right). As a femme fatale Erin who must survive, using whatever method she can grab, you can see Milla Jovovich, whom I thought, though she is doing her best, still slightly is miscast. But some people might find otherwise, so leave it to other reviewers.

More interesting and funny is the couple of Mr./Mrs. Quarre, played by Joss Ackland and Grace Zabriskie. They are simply amusing to see, with the wicked humor only those veterans can show. Oh, and I almost forgot to say that Stellan Skarsgard is the leader of the criminal group, whose character is always full of menace hidden under his calm attitude. He makes a great contrast with Doug Hutchison's most dangerous computer wiz that appeared on the screen.

"No Good Deed" is not good indeed, but its characters are drawn farily well, and the film manages to show some nice atomosphere of noir films. I don't think not many people have seen it, and that is understandable, but those who like the genre will find it pretty interesting.

By the way, in the film, you hear an old song "I'm not Your Stepping Stone" originally played by the Monkees. Of course, Bob Rafelson was producer of this popular TV series (1966-68), and the version you hear here is performed by Peter Rafelson, his son who is also known for Madonna song.

We Are The Pawns
No Good Deed is yet another example of a movie, with a fine cast, that despite that, ends up as a film with wasted potential instead.

While investigating a missing persons case, detective Jack Friar (Samuel L. Jackson), is captured and held hostage by a group of sadistic thieves. This group of waywards are in the process of pulling off an elaborate bank heist and Friar must be dealt with. Cruel mastermind Tyrone (Stellan Skarsgård, manipulative girlfriend Erin (Milla Jovovich), and deranged henchman Hoop (Doug Hutchinson) are locked in a dangerous game of deceit, double cross and romantic intrigue, making Jack a pawn in the lethal high stakes plot. Against the odds, Erin and Jack find themselves erotically drawn to each other, igniting a volatile love triangle that turns deadly as the body count starts to rise.

Based on a short story entitled 'The House on Turk Street' by Dashiell Hammett, No Good Deed, is directed by Bob Rafelson. With the likes of a talented cast, and under the usually sure handed stewardship of the man behind Black Widow & The Postman Always Rings Twice, I expected a better film. Things end up as a convoluted mess, rather than a taut thriller, that it should have been. The acting is ok but the script has a few holes in it, to subvert any strides, the movie makes. It's hard to imagine that this passes for anything resembling "film noir" though.

Aside from the theatrical trailer, the DVD, doesn't have any other extras. I was also shocked to find, that the only version of the film that's available, is in the full screen format. Huh?? What gives Obviously, having a widescreen viewing option, would have been the fair way to go. 2 stars for the actors involved...but a real disappointment otherwise.

HAS GOOD ACTORS IN IT, BUT...
DURING A MISSING PERSONS INVESTIGATION, A COP [SAMUEL L. JACKSON] GETS KIDNAPPED BY A GANG OF THIEVES. MEANWHILE, AN ELABORATE BANK ROBBERY IS ABOUT TO GO DOWN. OF COURSE, SAMUEL DOES GREAT AS ALWAYS, BUT THE SCRIPT AND ESPECIALLY THE VERY SLOW PACE BRINGS IT DOWN. WHAT SOUNDED LIKE A GOOD MOVIE TURNED OUT TO BE A DISSAPOINTMENT. FAR FROM BEING THE WORST MOVIE YOU CAN RENT, BUT, IT'S JUST NOT AS GOOD AS IT SOUNDS. MAYBE NEXT TIME, THEY WON'T TAKE ALL DAY TO GET STARTED.

Name of the song
Movie was ok, like both Samuel L Jackson and Milla but was disappointed. But does anyone remember the name of the song that Milla and Samuel play together - her on the piano and him on the cello - she asks him if he has ever played it and hands him the sheet music. thanks

anon
this movie is like eggs and biscuit on a thursday mornin' ... Read more

Reviews (14)

Their Favorite Episodes
You can't really disagree with someone else's favorite episodes, they are THEIR favorites. For the most part, I found myself agreeing with the Monkees. While I think Mike's and Micky's pick are the standouts, I also enjoyed Peter's MONKEES vs. MACHINES.

I do wish Rhino would release a Monkees Holiday DVD with the two Halloween episodes and the Christmas installment featuring Butuch Patrck.

Monkees discuss their shows
A nice concept by Rhino, having the four Monkees select and discuss their favorite episodes. The dvd shows the episodes in their entirity with bonus features including commercials featuring the Monkees and interviews with the band. Three of the four episodes are excellent, but the Davy Jones entry (Out to Sea) is a little weak. Since no other Monkees TV episodes are currently available on dvd, this disc is a must for any Monkees fan who wants to see the shows on a digital format. It also makes for a nice introduction to the group's shows for the new or casual fan.

monkees
i enjoyed your show alot and more i enjoyed it.i know that is hard for the monkees that way for live and learn from your mass up the monkees show on the television show and i know that is fun for the monkees do and haveing fun on it for kid's two watch whan i was 5 in 1976 i ues two watch them alot and my mother and my father was talking two me about it so i understand why the monkees go thought on the television show the monkees they happy in the show @ the first time in the middie they are not of monkees war i am so sorry thatthat happned two them and my heart just with out of them 30 year's in the hey hey monkees show.
beverly ann clark

A Good DVD "Stand In"
This disc was Rhino's first attempt to package Monkee episodes in the then-new DVD format. Clips of each of the Monkees from their 1997 documentary are used to introduce their favorite episodes.

It has already been noted that the episode that Davy mentions is really "Royal Flush" ("Hitting the High Seas" is shown instead as his favorite). "Royal Flush" would have been a better choice because it would've balanced the DVD better to have 2 episodes from the first season and 2 from the second, instead of having 3 from the second and only 1 from the first.

The film quality was a bit of a disappointment, especially during parts of "Fairy Tale". The quality is much better on Rhino's second Monkee DVD (Monkees Volume 1 & 2) although there are some good moments on this disc. Some of the episodes have the original end credits with Kellogg's products. It's fun on both discs to pause the picture and use the "step" button on your DVD remote to discover things that have never been noticed before on VHS copies.

The chapter breaks are much better than on Rhino's second Monkee DVD and there are actually breaks for all of the songs in each episode; even the Kellogg's commercial shown during Mijacogeo has a chapter break.

Since the DVD format was still young when Rhino released this, it has no extras, not even closed-captioning. It's too bad that the Monkees couldn't have recorded audio commentary in addition to introducing the episodes. A photo gallery and some more Kellogg's commercials wouldn't been a nice extra also.

Fans desparate for any Monkee episodes on DVD will want to pick this up but keep in mind that the VHS edition is packaged better in a retro-style metal Monkee lunchbox with a mini-ceral box and puzzle. This DVD will have to do as a "stand in" until Rhino gets around to issuing the entire series on DVD.

Davy is little, but PETTY?!!
First off, I'm a 1st-gen fan (yes, I'm very old) and since this DVD has been well-covered by other reviewers, I wanted to use this space to explain Davy's choice of "Hitting The High Seas".

When this DVD was being produced, Davy was in the center of a protracted and one-sided snit with Michael Nesmith... seems the mystery surrounding Mike had drawn all the attention away from Davy, the self-professed heart-throb of the group, and Davy is not one who relinquishes attention easily. Its widely known that he chose this particular episode as his "fave" because Mike doesn't appear in it for more than 3 minutes! ... Read more

Reviews (5)

Here it comes...the original Pilot episode of "The Monkees"
"Here Comes the Monkees" is the show's pilot episode but ends up airing as Episode #10 (November 14, 1966). The Monkees' manager sends the boys to the Riverdale Country Club to audition for a Sweet Sixteen Party for young Vanessa Russell. Sven Helstrom and his Swedish Rhythm King are no match for the Monkees and their rocking version of "I Wanna Be Free." But then Davy and Vanessa look at each other, stars shine in their eyes, and they are in love. The next thing we know, Vanessa is flunking history. This episode also includes the Monkees playing "Let's Dance On" at the actual party and screen tests of Davy and Mike. "Picture Frame" (Episode #34, September 18, 1967), also known as "The Bank Robbery," finds the boys being conned into robbing a bank because they think they are making a movie with hidden cameras. The giant chase sequence is done to "Pleasant Valley Sunday" while the show ends with "Randy Scouse Git." There is also an impromptu version of "Zilch" during the Police interrogation scene for those who insist upon completeness. These two episodes are as representative of the Monkees at their best as any volume in this collection. The formula established in the pilot is still clearly at the heart of "Picture Frame." What I find interesting is realizing that the group had different versions of some of their songs, such as the quicker tempo on "I Want to Be Free" in the pilot.

Classic Monkees!
I love this one! The first is their debut where they're hired to play at Vanessa's sweet 16 birthday party & after she falls for Davy,she starts failing history & the Monkees coach her for her test. It's classic, cute Monkees! In the 2nd episode, the guys get tricked into robbing a bank and get caught. Peter has to be the sleuth to save them. The songs on these episodes are "I Wanna Be Free", "Let's Dance On", "Pleasant Valley Sunday", and "Randy Scouse Git"-which is a fun "live-type" version.

Volume 1 Episode Titles
These are two very enjoyable episodes. The first one is "Here Come the Monkees." It's a cute story, where the Monkees are hired to play for a sweet sixteen party. The second episode is "The Picture Frame." This one is really funny. Here, the boys are tricked into robbing a bank.

Good Episodes
This was a cool video all Monkees fans should have it. It was funny and entertaining and they were soooo adorable in it.

A must have for a die hard fan
This tape is a nessesary part of any Monkee fans collection, although the beauty of it is lost on people other then die hards. ... Read more

Reviews (20)

Underwhelming
THE POSTMAN ALWAYS RINGS TWICE (1981) serves as a cautionary lesson to anyone who's considering renting or buying a film on the strength of its starring leads, and then proceeds to plunk down dollars after asking the rhetorical question, "With that cast, how bad can it be?"

Jack Nicholson is drifter Frank Chambers, who washes up in a rural roadhouse run by Nick Papadakis (John Colicos) and his too young (for him) wife, Cora (Jessica Lange). The time is the 1930s, and the place somewhere in the coastal mountains between Los Angeles and San Francisco. After Chambers is employed by Nick as a mechanic in the outpost's garage, Frank and Cora soon ignite a spark of mutual lust that eventually spreads into a conflagration of betrayal, attempted murder, murder, violent sex, insurance company venality, blackmail, and bad driving.

There's a good story here somewhere, so how did it go so badly wrong? Most damaging, there's no likable character for the audience to champion. Nicholson's character is as sleazy and vicious as any role he's ever done. Cora, married to an unsuitable older man for reasons we never learn, initially gains some audience compassion, perhaps. But then, after she demonstrates a cold-bloodedness worthy even of Frank, I ceased sympathizing with the character. Of the lot, only Nick is blameless, but he's such an old fool that it's hard to care.

The supporting cast is no better. The award for Worst Performance In A Negligible Role (Female) has to go to Anjelica Huston as Madge, a lion tamer and manager of a traveling wild cat show, who sports a goofy accent and hairdo worthy of Natasha (of "Boris and Natasha" on the old Bullwinkle TV series). The same award for a male actor is due William Traylor as Sackett, the Los Angeles DA out to nail our heroic couple.

There are only three reasons to view this film. First, if you're a diehard Nicholson fan. I'm not. Second, if you're a diehard Lange fan. I am. But, while she's undeniably gorgeous and indulges in tempestuous sex that would make my Mom blush and fuels my personal fantasies, prurient interest isn't enough to carry the day. Lastly, the scenery surrounding the roadhouse is beautifully pastoral.

I haven't seen the 1946 release of THE POSTMAN ALWAYS RINGS TWICE, nor do I intend to because Jessica isn't in it. This 1981 version is over-acted, over-scripted, under-edited, and implausible. It's just silly in a lurid sort of way.

Underrated, but still not entirely realized
This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

All happiness demands its prize!
There we have a well remade from the James Cain's novel . It's good to remind that Visconti made a superb film in 1941 with Ossesione but without this cast and this atmosphere ; Visconti is concerned about other issues and abandons the clues of the film noir.
Nicholson is hired to work in a gas station ; the seductive Jessica Lange (who lives a ficticious live with an alcoholic and inhuman greek husband) establishes the chemical and sexual rapprot with Nicholson and become lovers.
There will be too much to watch in this sordid , nocturnal and bitter tale ; but the dazzling direction of Nichols , the ravishing acting of Lange and the cold blooded mind of Nicholson make a team hard to equal . There are smart twists about Macbeth and his wife in this one (a man without ambition is not a man) . I've always thought the film noir is the last son of the greek tragedy: any happiness is innocent ; and only under this gaze it's possible to understand and to discuss a film like this.

Excellent and fundamental in your golden collection. A cult movie and a classic sample of the purest film noir.
It's remarkable to state that the best trilogy of films noir in the eighties were with this one ; Bad timing and Body heat .

Postman is right, the second time around
Twice is nice. Hollywood had to try twice to get this story right. Lana Turner was beautiful in the 1946 version, but Jessica Lange was something to kill for opposite Jack Nicholson.

Such raw sensuality would easily persuade a man to lose his very soul. Nicholson's part is certainly unscrupulous to begin with, but in Jessica Lange he finds a confederate with even less scruples. The legal loose ends that dangled in the earlier version are avoided this time with a more plausible chain of events... and the story ends when the story ought to end, instead of being dragged on.

Wonderful character and situation development, intriguing and engaging, even when you know the story. Nice twists of the story from the Lana Turner and Italian ("Ossessione" 1943) versions.

Much closer to the book
This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book! ... Read more

Reviews (17)

The Last for the Foursome
33 1/3 Revolution Per Monkee was the last project (of the originals) to feature all four Monkees--Peter had actually left the group before the special was released on television in 1969. The telecast has been dubbed a water-down version of their masterpiece, "HEAD", but "33 1/3" has some interesting moments of its own. It is a further insight into the foursome and how they felt about their experience as a "manufactured image". Although most of the songs were not released until recent Rhino compilations and box sets (or still never have been), two songs were hits for the Monkees--the standard, "I'm a Believer", and "Listen to the Band", which is completely different from the released version that became a Top 100 hit. As with "HEAD", this project also remarked on where rock'n'roll came from in general and how the machine of fame can overrun the celebrity. Excellent selections are: Davy's "A String for My Kite", and Mike's split-personality song. "Goldilocks Sometimes", another Jones installment, also has merit.

I Love the Monkees......BUT
I am a HUGE Monkees fan, BUT--This is one of the Monkees worst offerings. No wonder this was the beginning of the end for them! I spent most of my viewing time fast forwarding through this video--even the music was lousy. I'm glad that I only need this particular video to help round out my Monkees video collection because it will probably never get played again--and that's MY two cents worth!

Psychedelic! Freak out! Wheee!
Originally aired on NBC on April 14, 1969, opposite the Academy Awards, 33 1/3 Revolutions Per Monkee was supposed to be the first of three television specials starring The Monkees, but 33 1/3 RPM was the only one that materialized. The show contained songs that were written specifically for it along with a plot that expressed how The Monkees were manufactured and manipulated by different people including Bob Rafelson, Bert Schneider and Don Kirshner during their career.

The story focuses on the famous evolutionist, Charles Darwin (Brian Auger) who takes 4 young men (Micky Dolenz, Davy Jones, Mike Nesmith and Peter Tork) erases their identities and names and takes them through different stages so that they will be able to brainwash the world through commercial exploitation. The Monkees, in an attempt to regain their identities and control over themselves, try to think their way out of captivity. Darwin, alarmed that they will become free, uses hypnotism to break them down physically and they become restored to Darwin's tastes. The Monkees, now ready to make their debut, appear as classic rock'n'rollers at the Paramount Theatre with Fats Domino, Jerry Lee Lewis, Little Richard and Buddy Miles Express playing backup to The Monkees. Darwin, realizing his mistake, sets The Monkees free.

After the failure of their film Head released in 1968, The Monkees went ahead with their television special undaunted by the terrible reviews from critics about the movie. 33 1/3 Revolutions Per Monkee, produced by Jack Good of Shindig, 3.5 Special and Oh Boy! fame, had a lot of time and creativity put into it. The point of the special was to save whatever fans and popularity that they had left and it was virtually snubbed by NBC. By airing it opposite the Academy Awards, the show rated disastrously. Mike Nesmith remembers, "I'd already seen it so I watched the Oscars like everybody else," as told in Glenn A. Baker's book 'Monkeemania.' NBC wasn't taking any chances with this "strange" special that contained psychedelic dancers, music and The Monkees singing and poking fun at their manufactured image.

There weren't any bad reviews for this TV show because no one saw it in 1969 and the critics could care less about The Monkees at that time. It was too far-fetched for the normal public and too uncool for the hippies to watch. The special had a substantial storyline (once it was understood) and some amazing guest stars (such as Brian Auger, Jerry Lee Lewis, and Little Richard). The show also contained songs that expressed their manufactured image ('Wind Up Man'), what each of their backgrounds or favorite type of music was (Micky sang an R&B version of 'I'm a Believer,' Mike sang a country-western tune called 'The Only Thing I Believe is True,' Davy, in fairy tale land sang 'Goldilocks Sometime,' and Peter sang a song about spiritual values called 'Prithee') and marking the end of the group as a quartet ('Listen to the Band'). The highlight of the show was when The Monkees, dressed in '50s like clothes, performed at the Paramount Theatre with the classic rock'n'rollers (Jerry Lee Lewis, Little Richard and Fats Domino) singing such songs as 'Tutti Frutti,' 'Little Darlin',' 'At The Hop' and 'Whole Lotta Shakin.' According to Eric Lefcowitz in his book 'The Monkees Tale, 'This is the peak performance of the Monkees kept on celluloid.'

33 1/3 Revolutions Per Monkee was even praised by Variety on the East Coast by saying, 'It was anything but a conventional norm rock'n'roll and in some respects made 'Laugh-In, which is was pre-empting, seem almost conventional television by comparison.' The special showed The Monkees not as musicians, but as performers and made the public realize that they did have minds and talent of their own.

After viewing this special, it showed me that The Monkees were way ahead of their time. The show was very different from their television series that was shown from 1966-1968. It did not contain the same storyline as "Davy meets girl, Davy falls in love with girl and The Monkees get into a lot of trouble," but it showed that The Monkees matured musically and in their writing abilities. I found the show strange at first, but after watching it a few thousand times (as every Monkees fan should) it began to grow on me. I also found the songs more impressive in this special than in their previous shows and on their albums even though no soundtrack was ever released. 33 1/3 Revolutions Per Monkee "... stands out as one of the greatest lost artifacts of Rock'n'Roll," according to Eric Lefcowitz in his book 'The Monkees Tale.'

Amazing!!!
This film is so amazing, i can't believe half the reviews in here give it merely 1 star. These people have no appreciation of the bizarre. This special has some great perfromances, especially from Brain Auger and Julie Driscoll. Buy it, watch it, and your mind will never be the same.

See it to believe it!!!
I can't really top the great reviews here (except for the guy who said they should have burnt it!) so I'll just add my own few words...
The only two things in my mind ever to match "33 1/3 Revolutions Per Monkee" for pure far-out psychedelic television are "Magical Mystery Tour" and the final episode of "The Prisoner" (the British tv series written by and starrring Patrick McGoohan)...

This tv special has just got to be seen to be believed for it's weirdness value alone... But the finale featuring, the Nesmith classic "Listen To The Band", has the wildest, psychedelic, free-for-all freak-out, noise and dance(?!) experience you'd never thought you'd ever see on a broadcast tv show!...
(And can someobody tell me just who is the English(?) guy with the moustache who keeps saying "I don't believe it!" ???)

Anyway, I give this slice of pure bizareness a full 5 stars because it's the sort of imaginative, screwed-up and quite scary(!) tv you never get nowadays... ... Read more

Amazon.com

How did Bob Rafelson, the director of small-scale American studies such as Five Easy Pieces and The King of Marvin Gardens, find himself helming an old-fashioned adventure story such as Mountains of the Moon? Whatever the reasons, Rafelson invested this 1990 epic with passion and professionalism. The hero is one of the greatest British explorers of the 19th century, Sir Richard Burton (played by Patrick Bergin), a fascinating figure and a man out of time: a modern in the Victorian era. Mountains of the Moon is primarily concerned with Burton's trek into East Africa to discover the source of the Nile, accompanied by fellow adventurer John Hanning Speke (Iain Glen). Rafelson is at least as interested in the tricky psychological jockeying between the two men, as he is in the grueling conventions of the adventure movie, but he delivers well on both counts. The brawny Bergin is sensational in a role that should have made him a star, but didn't (though he had a shot, menacing Julia Roberts in Sleeping with the Enemy); the film disappeared quickly. Perhaps audiences were put off by the lack of marquee names and confused by the title, which refers to a piece of African landscape. Providing solid support are Fiona Shaw (another should-have-been star), Richard E. Grant, and Delroy Lindo, as an African warrior. A very satisfying excursion into the National Geographic pith-helmet genre. --Robert Horton ... Read more

Reviews (15)

European quest for source of Nile
It is interesting to consider that just a century (give or take a decade) before people in airplanes and spaceships were looking down on East Africa, the source of the Nile was as unknown as it had been in Caesar's lifetime. The discovery of the source of the Nile was one of the last prizes for European explorers during the 19th century, and that is the starting point for this film, which chronicles the expeditions of Richard Burton and John Speke, their friendship and eventual falling-out over the debate as to whether the source had been discovered.

I very much enjoyed "Mountains of the Moon", and could have happily watched a longer version, but I also have to admit that this movie doesn't succeed as much as I hoped it would. It is a well made movie, beautifully filmed on location in Africa. The script is intelligent and seems (to me) to be historically accurate to the extent that is possible in a two-hour film. The acting and music are fine. But somehow all of the ingredients don't come together into a fully successful film. I had the idea that I enjoyed the film because I already knew a lot about the subject, but someone without that knowledge might have a more difficult time with it. Overall this is a very good effort, and much credit has to be given for making a film about an African historical subject. Recommended, but especially for anyone who has already read a book or two about Burton, Speke, and East Africa.

An enlightening work of biography and the lure of Africa
"Mountains of the Moon" starts out on the Indian Ocean coast of either Kenya or Tanzania. Later expedition scenes take place around Lake Turkana in Kenya's remote "Northern Frontier District." While on a three-month "camel safari" in 1988, I met the location scouting crew near the lake. The movie touches on the vastness of Africa, and features Samburu, Masai and Turkanan tribesmen. Bergin developes his character in Burton as a tough adventurer with a sensitive humanity for non-European peoples in this film. Bergin places Burton's intentions as explorer and geographer into the motives of a modern "comparative" cultural anthropologist. His companion, John Spekes, represents our modern dullness to the rich communal values of African tribesmen that exist even now in the 20th Century. Both actors compliment the relationship between Burton and Spekes who operate under continual duress while on safari. Burton, as naturalist, desires to leave only footprints; Spekes is preoccupied with shooting all that moves. The love relationship for Bergin's character by Shaw portrays a believable admiration that is truly virtuous. The romance in this film survives the real strains of separation and intrigue. Anyone who has been "on safari" somewhere in the world will identify with this relationship. The action is believable and balanced for the whole story to emerge on its own.

How dare a white man say he discovered Africa?
Is what Sir Richard Francis Burton (Patric Begin) tells his wife Isabell (Fiona Shaw ) after she rushes in to their London home exclaiming: " Newspapers! Mr. Speke again! "

At which point one of the most intelligent and best written love scenes ensues---in one of the most intelligent and best written films of all time---as Isabell demands that the hitherto heroic Burton--who has given in to drink and despair, publically confront his former friend, John Speke (Ian Glen) who is damning him in the press, and fight to vindicate his good name.

Irony of Ironies! In the Victorian age, Burton, for all his dashing bravery was considered less 'respectable' than Speke. Burton had been the first European to enter Mecca, disguised as an Arab (he was fluent in 23 languages), a swordsman who published manuals on the use of the saber in combat, and translated The Kama Sutra and The Arabian Nights into English. He had a reputation for wildness in an age of conformity.

Speke, of the other hand, was a British officer, a member of a prominent family, and a discreet homosexual.

The irony continues. This is perhaps the best foreign film that ever bombed at the American box office. Why?

1. The heterosexual ends happily, the homosexual does not. Furthermore another homosexual, Larry (Richard Grant) plays the part of 'Iago' lying and separating the two friends into bitter rivals. Worse still, unlike, say, "Kiss of the Spider Woman " Speke, does not get his sexual fantasies fulfilled. That part of his love for Burton goes unrequited.

2. Africans in the 19th century are not represented as 'Noble Savages ' living in egalitarian harmony with each other. Rousseau would have been disappointed.

3. Outside the aforementioned outburst "How dare a white man.say he discovered Africa! Africans discovered Africa! " There is no apology for British colonialism. In fact, it's rather unimportant to the main focus of the film.

4. There were no STARS, that brought in an audience, only great actors.

( One shudders at the thought of a Hollywood remake with Tom Hanks and Tim Burton in the leads and Whoopi Goldberg delivering an impassioned speech at The Royal Geographical Society. )

This film is a glorious, true life, adventure story about the discovery of the source of the Nile. Yes, it is an "epic" , wonderfully photographed. David Lean would have loved it.

Especially since the plot is driven by the characters, not the outside world, exotic as the surroundings may be. There is a tone of melancholia, a bittersweetness that prevails throughout. It is a tragedy about the friendship of Speke and Burton. The first gay as a breeze, the second a raving heterosexual but both, (without any excuses to audiences trained to expect that only 'ordinary folks' are believable ) presented for what they were: Heroes.

Indeed if the word 'hero' did not apply to Speke and Burton, it would have no meaning. I lost track of how many time they saved each other's lives. A brilliant, subtle and touching film.

Wasn't worth the hype
A great movie if you like to see grime and only grime. For me, it is a disjointed movie. The story wasn't melded enough. The characters did not connect with each other enough to create the drama. The sex scenes are so bad that they look like afterthoughts. Poor editing. I see why ordinary mortals like me would not go ga-ga over this.

Patience well rewarded
I came to this film knowing almost nothing about Burton, Speke, or the search for the Nile; in fact I only picked it up because I heard Roger Rees was in it (he's great as always, by the way, but he only has a two-minute part at the end). However, I came away entranced and fascinated by the subject, and more especially, by the characters. Although the film is a little slow moving for ignorant types like myself, it merely requires patience for the first 20 minutes or so, before the powerful storytelling and acting overcomes any pacing problems. Patrick Bergin creates a truly memorable character, and Fiona Shaw is wonderfully...Victorian, only not. A character of true intelligence and humour, yet undeniably a product of her time. My favourite though, is Iain Glen as John Hanning Speke, who did the whole tortured/ambitious/second-fiddle-and-hating-it/sexually frustrated part very convincingly. His relationship with Burton is intense enough to unify the film as it sprawls accross two completely different continents (how civilized Africa seems next to London) and keep us caring right up to the final frames (and the belated but welcome appearance of R. Rees)! ... Read more

Amazon.com essential video

In The Postman Always Rings Twice, Jack Nicholson teamed up again with his Five Easy Pieces and King of Marvin Gardens director Bob Rafelson for this 1981 version of James M. Cain's hardboiled novel of lust and murder. This version takes a much grittier (and sexually explicit) approach to the material than the slick 1946 MGM version starring John Garfield and Lana Turner. Nicholson plays Frank Chambers, a drifter who happens upon a roadside diner run by Cora Papadakis (Jessica Lange) and her swarthy Greek husband, Nick (John Colicos). Sparks fly, and before you can say l'amour fou, Frank and Cora are making the beast with two backs on the kitchen table. One thing leads to another and they conspire to murder Nick. The movie is still a little too cold and distant to fully convey a hot-blooded passion that leads to murder, but it is a strangely haunting and disturbing film nevertheless. The screenplay is by David Mamet, the photography is by the great Sven Nykvist (Ingmar Bergman's cinematographer), and watch for Anjelica Huston in a supporting role. --Jim Emerson ... Read more

Reviews (20)

Underwhelming
THE POSTMAN ALWAYS RINGS TWICE (1981) serves as a cautionary lesson to anyone who's considering renting or buying a film on the strength of its starring leads, and then proceeds to plunk down dollars after asking the rhetorical question, "With that cast, how bad can it be?"

Jack Nicholson is drifter Frank Chambers, who washes up in a rural roadhouse run by Nick Papadakis (John Colicos) and his too young (for him) wife, Cora (Jessica Lange). The time is the 1930s, and the place somewhere in the coastal mountains between Los Angeles and San Francisco. After Chambers is employed by Nick as a mechanic in the outpost's garage, Frank and Cora soon ignite a spark of mutual lust that eventually spreads into a conflagration of betrayal, attempted murder, murder, violent sex, insurance company venality, blackmail, and bad driving.

There's a good story here somewhere, so how did it go so badly wrong? Most damaging, there's no likable character for the audience to champion. Nicholson's character is as sleazy and vicious as any role he's ever done. Cora, married to an unsuitable older man for reasons we never learn, initially gains some audience compassion, perhaps. But then, after she demonstrates a cold-bloodedness worthy even of Frank, I ceased sympathizing with the character. Of the lot, only Nick is blameless, but he's such an old fool that it's hard to care.

The supporting cast is no better. The award for Worst Performance In A Negligible Role (Female) has to go to Anjelica Huston as Madge, a lion tamer and manager of a traveling wild cat show, who sports a goofy accent and hairdo worthy of Natasha (of "Boris and Natasha" on the old Bullwinkle TV series). The same award for a male actor is due William Traylor as Sackett, the Los Angeles DA out to nail our heroic couple.

There are only three reasons to view this film. First, if you're a diehard Nicholson fan. I'm not. Second, if you're a diehard Lange fan. I am. But, while she's undeniably gorgeous and indulges in tempestuous sex that would make my Mom blush and fuels my personal fantasies, prurient interest isn't enough to carry the day. Lastly, the scenery surrounding the roadhouse is beautifully pastoral.

I haven't seen the 1946 release of THE POSTMAN ALWAYS RINGS TWICE, nor do I intend to because Jessica isn't in it. This 1981 version is over-acted, over-scripted, under-edited, and implausible. It's just silly in a lurid sort of way.

Underrated, but still not entirely realized
This remake of the 1946 film which starred Lana Turner and John Garfield is significantly better than its reputation. The script, adapted from James M. Cain's first novel, is by the award-winning playwright David Mamet, while the interesting and focused cinematography is by Sven Nykvist, who did so much exquisite work for Swedish director Ingmar Bergman. An excellent cast is led by Jack Nicholson and Jessica Lange, whose cute animal magnetism is well displayed. Bob Rafelson, who has to his directorial credit the acclaimed Five Easy Pieces (1970) and The King of Marvin Gardens (1972), both also starring Jack Nicholson, captures the raw animal sex that made Cain's novel so appealing (and shocking) to a depression-era readership and brings it up to date. Hollywood movies have gotten more violent and scatological since 1981, but they haven't gotten any sexier. This phenomenon is in part due to fears occasioned by the rise of AIDS encouraged by the usual blue stocking people. Don't see this movie if sex offends you.

Lange is indeed sexy and more closely fits the part of a lower-middle class woman who married an older man, a café owner, for security than the stunning blonde bombshell Lana Turner, who was frankly a little too gorgeous for the part. John Colicos plays the café owner, Nick Papadakis, with clear fidelity to Cain's conception. In the 1946 production, the part was played by Cecil Kellaway, who was decidedly English; indeed they changed the character's name to Smith. Also changed in that production was the name of the lawyer Katz (to Keats). One wonders why. My guess is that in those days they were afraid of offending Greeks, on the one hand, and Jews on the other. Here Katz is played by Michael Lerner who really brings the character to life.

Jack Nicholson's interpretation of Cain's antihero, an ex-con who beat up on the hated railway dicks while chasing any skirt that came his way, the kind of guy who acts out his basic desires in an amoral, animalistic way, was not entirely convincing, perhaps because Nicholson seems a little too sophisticated for the part. Yet, his performance may be the sort better judged by a later generation. I have seen him in so many films that I don't feel I can trust my judgment. My sense is that he's done better work, particularly in the two films mentioned above and also in Chinatown (1974), One Flew Over the Cuckoo's Nest (1975) and such later works as The Shining (1980) and Terms of Endearment (1983).

The problem with bringing Postman successfully to the screen is two-fold. One, the underlying psychology, which so strongly appealed to Cain's depression-era readership, is not merely animalistic. More than that it reflects the economic conflict between the established haves, as represented by the greedy lawyers, the well-heeled insurance companies, the implacable court system and the simple-minded cops, and to a lesser degree by property owner Nick Papadakis himself, and the out of work victims of the depression, the have-nots, represented by Frank and Cora (who had to marry for security). Two--and this is where both cinematic productions failed--the film must be extremely fast-paced, almost exaggeratedly so, to properly capture the spirit and sense of the Cain novel. Frank and Cora are rushing headlong into tragedy and oblivion, and the pace of the film must reflect that. A true to the spirit adaptation would require a terse, stream-lined directorial style with an emphasis on blind passions unconsciously acted out, something novelist Cormac McCarthy might accomplish if he directed film. I think that Christopher Nolan, who directed the strikingly original Memento (2000) could do it.

For further background on the novel and some speculation on why it was called "The Postman Always Rings Twice" (Cain's original, apt title was "Bar-B-Que") see my review at Amazon.com.

All happiness demands its prize!
There we have a well remade from the James Cain's novel . It's good to remind that Visconti made a superb film in 1941 with Ossesione but without this cast and this atmosphere ; Visconti is concerned about other issues and abandons the clues of the film noir.
Nicholson is hired to work in a gas station ; the seductive Jessica Lange (who lives a ficticious live with an alcoholic and inhuman greek husband) establishes the chemical and sexual rapprot with Nicholson and become lovers.
There will be too much to watch in this sordid , nocturnal and bitter tale ; but the dazzling direction of Nichols , the ravishing acting of Lange and the cold blooded mind of Nicholson make a team hard to equal . There are smart twists about Macbeth and his wife in this one (a man without ambition is not a man) . I've always thought the film noir is the last son of the greek tragedy: any happiness is innocent ; and only under this gaze it's possible to understand and to discuss a film like this.

Excellent and fundamental in your golden collection. A cult movie and a classic sample of the purest film noir.
It's remarkable to state that the best trilogy of films noir in the eighties were with this one ; Bad timing and Body heat .

Postman is right, the second time around
Twice is nice. Hollywood had to try twice to get this story right. Lana Turner was beautiful in the 1946 version, but Jessica Lange was something to kill for opposite Jack Nicholson.

Such raw sensuality would easily persuade a man to lose his very soul. Nicholson's part is certainly unscrupulous to begin with, but in Jessica Lange he finds a confederate with even less scruples. The legal loose ends that dangled in the earlier version are avoided this time with a more plausible chain of events... and the story ends when the story ought to end, instead of being dragged on.

Wonderful character and situation development, intriguing and engaging, even when you know the story. Nice twists of the story from the Lana Turner and Italian ("Ossessione" 1943) versions.

Much closer to the book
This movie was much closer to the book than the original movie, which for me was a treat. Filled with torrid sex and self centered reckless abandon, the two main characters convey those in the book as they were meant to be. This fleshes out the story quite nicely and keeps it moving through the twists and turns in the plot. Though there were a couple of minor changes in the story, what surprised me, and really let me down was the very ending. Though viewers should pick up on the irony of the situation, it is really driven home in the book! ... Read more

Reviews (20)

Underwhelming
THE POSTMAN ALWAYS RINGS TWICE (1981) serves as a cautionary lesson to anyone who's considering renting or buying a film on the strength of its starring leads, and then proceeds to plunk down dollars after asking the rhetorical question, "With that cast, how bad can it be?"

Jack Nicholson is drifter Frank Chambers, who washes up in a rural roadhouse run by Nick Papadakis (John Colicos) and his too young (for him) wife, Cora (Jessica Lange). The time is the 1930s, and the place somewhere in the coastal mountains between Los Angeles and San Francisco. After Chambers is employed by Nick as a mechanic in the outpost's garage, Frank and Cora soon ignite a spark of mutual lust that eventually spreads into a conflagration of betrayal, attempted murder, murder, violent sex, insurance company venality, blackmail, and bad driving.

There's a good story here somewhere, so how did it go so badly wrong? Most damaging, there's no likable character for the audience to champion. Nicholson's character is as sleazy and vicious as any role he's ever done. Cora, married to an unsuitable older man for reasons we never learn, initially gains some audience compassion, perhaps. But then, after she demonstrates a cold-bloodedness worthy even of Frank, I ceased sympathizing with the character. Of the lot, only Nick is blameless, but he's such an old fool that it's hard to care.

The supporting cast is no better. The award for Worst Performance In A Negligible Role (Female) has to go to Anjelica Huston as Madge, a lion tamer and manager of a traveling wild cat show, who sports a goofy accent and hairdo wo