Reviews (8)

Not historically accurate, but still good fun.
Robert Alda stars in this odd, melodramatic potboiler which looks at the rags-to-rich (and more riches) rise of one of America's greatest popular composers. The film is hampered by a few small points, one being that Gershwin's life doesn't readily lend itself to dramatic portrayal (until the very end, when he drops dead at a very young age, and your jaw just drops)... The problem is that guy was just too darn successful! He hit a groove and never stopped, moving from one huge critical success to another (with one or two flops in between)... The scriptwriters were obviously aware of this, and insert several belabored sequences wherein Gershwin anguishes over this or that, and a couple of sniffly, symbolic deathbed scenes, just for good measure. Other problems include Alda himself (yes, he's Alan's dad...) who isn't completely up to the role, as well as the weak portrayal of George's brother Ira, a super-brilliant, super-important lyricist, who is here presented as a mere hanger-on and cheerleader for his brother, the big-shot genius. Hello? Excuse me... Ira Gershwin?!? Of the Gershwin brothers? Oh, forget it. Oh, also check out Gershwin's kooky pal Oscar Levant, who plays himself, in a somewhat true-to-life portrayal as George's confidant and stand-in concertizer. Other celebrities who play themselves here include Al Jolson and bandleader Paul Whiteman... and the music, of course, can't be beat.

S'wonderful!
This is a wonderful movie. I am a little upset that is not easily available right now, and I will have to wait for the price to go down before I buy it.

Check out the Gershwinfan.com site if you are interested in Gershwin.

21 minutes, a very important piece.
I discovered this movie back in the early 60's when i use to collect vintage 35mm movie prints. This is the only works i've ever seen of George Gershwin. A pleasant surprise for me was an actress named Alexis Smith. Little did i know that one day i would work with her in "Follies" on Broadway. Pure class Alexis was.But i digress. "Rhapsody in Blue" is one of those great Warner Brothers musicals that have countess number of production numbers in them. One of my favorites is "Blue Monday Blues." The music is beautiful and would also make my eyes tear-up. This is a wonderful classic that you can watch over and over again. With todays technology i only hope that someone will invest the time to transfer it to DVD and maybe rechannel the sound to 5.1? or is that asking for to much.If you can, get this one for your collection, i promise you won't be disappointed especially when they play "The Rhapsody in Blue." Hmmm, now that i wrote this, i think i watch it again.

a classic
I was nine years old when this masterpiece first appeared on our neighborhood screen. I may have missed it cause you know young boys interests were cowboys and indians, and Saturday serials. My parents probably did see it, but it was never mentioned over the dinner table. Now, 56 years later, I have found this classic, and have it my own tape. This is music noone will ever see or hear again. As we grow out of our chilhood years into young adult, we start to appreciate these kind of stories. And, I mus say, made only better in black and white, a standard of that time. Maybe this classic wouldn't have went over in color, maybe it would. But, I will now enjoy this classic all I want. As an aside, when I was that young tot, I had thought that George and Ira were married! Goes to show how much I paid attention. Dumb, heh? Woody Allens' movie "Manhattan" has many of these songs in it's sound track. See it too.....

Nostalgic and Noteworthy!
This movie is the inspiring story of George Gershwin and his music. I adore this movie and I watch it often. To avoid searching for it in the listings, I'm purchasing my own copy. Parents --- introduce your children to George Gershwin's music with a wholesome, entertaining movie! "Rhapsody in Blue" is family entertainment at its best. A tender blend of biography and incredible music, this film honors one of one of America's most beloved composers! ... Read more

Reviews (8)

Intense Relationship Between Teacher and Student
Bette Davis stars as Miss Moffat, who inherits a home in a Welsh mining town and decides that she will educate the young, especially the boys, who are otherwise doomed to a life in the mines. One student, played by John Dall, gets her attention when he reveals depth beyond what she expected, and before long, they are working hard towards getting him a scholarship to Oxford. However, the housekeeper's conniving daughter threatens to ruin everything. Davis is very good as the crusading, very emotionally controlled middle-aged teacher, only once in a while letting us see her act. The supporting cast are all good, with Dall especially strong as the student fighting against his background. There is the occasional moment of stiff dialogue, but there are also some terrific lines as the intense relationship between teacher and student is explored. Irving Rapper doesn't have much punch as a director in this or any of his other films that I have seen, but the story is the kind that will draw you in and having you rooting for the underdog.

DAVIS WILL SAVE US.
Bette Davis does a commendable job portraying L.C. Moffat, the prim, spinsterish English school teacher who comes to the small village of Glensarno, Wales to claim a house she's inherited. Moffat is appalled at the lack of education received by the young men who live in ignorance and squalor in the mining community, so she decides to set up her own school and teach what she can to those who are willing to learn. Miss Moffat's prize pupil is Morgan Evans (John Dall, his debut) who shows natural intelligence, perhaps genius...Rosalind Ivan does well as Watty, the reformed shoplifter who has become an activist in a militant religious group. Joan Lorring also made her debut in the movies playing - with considerable skill - Bessie, Watty's strumpet daughter who eventually complicates matters with her feminine "charms". Davis is so terribly noble and plays the martyr with such conviction that you are only subconsciously aware of the sexual undercurrent between the student and teacher; her devotion to Evans is at once gently heartfelt and and poignantly bitter. Mildred Dunnock borders on being a pain as the prim Miss Ronberry and Rys Williams is adequately square as Mr. Jones, the shop clerk. Nigel Bruce does well enough as the pompous Squire, a landowner who is ultimately "won-over" by the "charm" of Miss Moffat (did she resort to using clever psychology perchance?).

Welcome to Wales (California)
The movie opens as the Welsh miners return from a day in the pits. One wonders why they aren't all carving out for themselves careers in the arts, since the combined force of their voices as they merrily sing their way across hill and dale rivals the Mormon Tabernacle Choir for sound. Of course, if you happen to live in Wales, this kind of virtuosic performance would probably be a fact of everyday life to you. As would those strained, tortured accents. Rhys Williams has a few amusing moments, but one worries about his apparent identity complex-he can't seem to make up his mind whether he is Welsh or Irish, so he throws in a little of both just to be sure. Similarly, John Dall (who would nowadays be largely forgotten were it not for his role as one of the notorious killers in Hitchcock's 'Rope') tries desperately to convince Bette Davis that he is just a poor kid who all his life knew nothing other than impoverished village life in the heart of Wales, but his accent gives him away-he was obviously brought up in America, with brief stints in Ireland and Scotland, before being transported to his current locale.

Mocking aside, this is a good movie. We can forgive Hollywood for the awful attempts at Welsh accents (any Americans reading this review are probably sitting there bemused, thinking, What, so they don't really talk like that in Wales? Yeh, sure-and all the Londoners I know sound just like Dick Van Dyke). It is a moving story of an early feminist who takes it upon herself to educate the deprived children of a small mining community. She faces opposition from the local Squire (the ever-loveable Nigel Bruce) and from the ignorant masses (don't worry-they grow to love her), but still bravely ploughs on to introduce the town to the joys of Shakespeare, the benefits of arithmetic, and the charms of good grammar. She takes a young lad (Dall) under her wing and in him recognizes the seeds of a genius, so sets about gaining him a scholarship at Oxford. The picture ends on a good note with a little melancholy thrown in for good measure. It is actually a very thoughtful story, that set me thinking about sacrifice, servanthood and dedication. Production values are generally high, and the whole thing is played out with a good sense of humour and at a nice pace.

A COMPELLING DRAMA WITH A GIFTED CAST...
This is a great, old style drama which sees Bette Davis in the role of L.C. Moffat, an English school marm who has inherited a house in Wales. Highly educated for her time, Ms. Moffat, moved by the squalor, poverty and ignorance of an illiterate people, takes pains to start up a local school, much to the consternation of the local yokels. Soon her efforts bear fruit, as she comes upon a diamond in the rough in the form of Morgan Evans, an orphan who is struggling to survive in the mines, but is gifted with a native intelligence and sensitivity which belies his surroundings. Well acted by John Dall, Morgan has glimpsed the world outside his rural village through the magic of the books provided by Ms. Moffat. It is she who is enlarging his world view. Enlisting the aid of the local squire, she grooms Morgan for a scholarship at Oxford.

Ms. Davis gives a compelling performance, as does the rest of the cast. The movie is a wonderful portrayal of the relationship that has formed between a very special teacher and a gifted student, who, but for that teacher, may never have realized his potential. Ms. Davis always plays strong, stalwart women with a cutting edge to them, and in this role she plays true to form. She is absolutely magnificent. John Dall is superb as the coltish Morgan Evans. Nigel Bruce is perfect as the pompous, but kindly, local squire who is manipulated by Ms. Moffat to sponsor Morgan in his bid for Oxford. Joan Lorring is wonderful as the sly and lascivious cockney girl, Bettie Watty, who almost derails Morgan's future when she become pregnant with his child. Rosalind Ivan is marvelous as Bessie's mother, Mrs. Watty. Rhys Williams and Mildred Dunnock are superlative in their roles of the assistant school teachers, Mr. Jones and Ms. Ronberry. This is truly a movie well worth having in one's collection.

Another look at a great actress
It is only when an actress takes the risk of portraying a character whose persona does not already reside wholly within her but must be constructed from experience and talent, can one be classified as a truly great actress. Davis's portrayal of the caring school teacher is believeable and touching, in part because she has an edge to her that makes one believe that she could live this rather harsh existence in Wales with pride and dignity. I find it refreshing to see a performance which is risky for the perfomer because everyone grows from it and the fan gets a new glimpse of real talent. I will always hold this performance of Davis's as a most special one because, although one senses she can bite if needed, the dialogue is not her typical "chip on the shoulder" jargon. Lovely movie, great story, refreshing performances. ... Read more

Reviews (46)

The Ultimate Woman's Picture
At a time when Hollywood paid more attention to its female audience and made films for them, this may be the best of the bunch. A padded Bette Davis stars as Charlotte Vale, an overweight, unattractive spinster bullied by the mother who never wanted her. On the verge of a nervous breakdown, her sister-in-law arranges for her to meet a psychiatrist played by Claude Rains, and after spending time at his "hospital", she emerges thinner, beautiful, and more prepared to face the world, a world which include Paul Henreid, a married man that she falls in love with while on a post-recovery cruise. It's the kind of role an actress must love, and Davis plays it with restraint and class. Rains is good as usual, and Henreid delivers one of his best performances. The supporting cast is excellent, with Gladys Cooper pulling out all the stops as the tough mother and Mary Wickes bringing a gentle humour to her role as a nurse. The musical score by Max Steiner is excellent, and of course, there are the famous moments of Henreid lighting two cigarettes at once, something that wouldn't work in today's movies, but is quite effective in this film. With it's Ugly Duckling/Cinderella angle and it's sense of romance, this has to be the ultimate woman's picture. It knows its audience and delivers.

One of Bette's Best
I can never decide whether VOYAGER is the best Bette Davis
movie or DARK VICTORY. She is fantastic as a spinster who
is dominated by her monster mother, beautifully played by Gladys
Cooper. After her nervous breakdown she begins a new life
and meets Paul Henried who of course is married but later she
is able to help Paul's child. This is the movie where he lights
two cigarettes and gives her one and ends with "Oh Jerry, let's
not ask for the moon, we have the stars" Fabulous score by
Max Steiner. Fine acting from Claude Rains, Bonita Granville,
Ilka Chase and in a very small role, Lee Patrick. They don't make 'em like this anymore so thank God for home video. The
DVD transfer is terrific.

Overwrought and Only Somewhat Convincing Melodrama
Davis plays nice with middling results. The acting is fine, to be sure, but I miss the feistyness of her better movies. A hapless neurotic woman breaks free of her tyrannical and hateful mother. She seeks therapy and begins to live her own life. She learns that life can't be perfect but it can always be better & happiness s not impossible. Could be seen as encouragement to wallflowers.

Now Voyager - Bette at Her Best
Bette made some terrific films.... this is my personal favorite along with "Mr. Skeffington"... the ONLY criticism is the biographies of the cast ONLY work with Ms. Davis.. the others on the menu do not function.... still.. the plus side is the stunning transfer of the film to DVD. It is fresh and few flaws are visible on this version. I saw the new version of "Sunset Blvd." just after seeing this film, and though "Voyager" is 8 years older, it looks far cleaner and crisper than "Sunset" does. Bravo to the restoration crew here! The film itself, is of course, a masterpiece and well worth the purchase price. A true gem!

A Classic for the Fans
'Now, Voyager' tells the story of hapless introvert Charlotte Vale (Bette Davis), her near-nervous breakdown machinated by her domineering Mother (Gladys Vale) and her subsequent recovery with the help of the dashing J.D. Durrance (Paul Henreid). Directed by Irving Rapper (Another Man's Poison), 'Now, Voyager' is another glorious slice of early forties melodrama, and a total Davis vehicle.

Not that that's a bad thing, actually. Her performance as Charlotte Vale is excellent, she's emotional and deep enough to be believable, and her private exchanges with JD and her Mother are excellent illustrations of the power of Ms. Davis as an actress. Henreid, too, is wonderful as the stiff and faithful JD, stern enough to cause Charlotte frustration yet likeable enough to generate sympathy from the audience.

The supporting cast are a credible bunch - Gladys Vale is an excellent Matriarch (where are the actresses of this calibre today?) and Ivisible Man Claude Rains is hugely charismatic as Dr. Jaquith, a Vermont-based psychologist who all-but saves Charlotte from herself. Comic relief is supplied in the shape of the always-entertaining Mary Wickes (the crotchety nun in the Sister Act movies) as Dora.

Direction is beautiful, with noir-esque interiors and excellent lighting techniques employed to best suggest the sense of Charlotte subsisting in a grim dictatorial household. Rapper's style is a strange contrast to the script, too - it's got a more organic flow about it than the sometimes-stilted dialogue. The score is provided by the genius Max Steiner and is, as one would expect from a man of this legendary reputation, exactly perfect for the tone of the piece.

DVD Quality is excellent, perhaps a little worn in places but on the whole, it's fantastic, and certainly better than a lot of other later DVD conversions. The extras are perfunctory (and indeed, as one reviewer pointed out below, half seem to be missing!) but they don;t make the picture.

On the whole, 'Now, Voyager' is definitely one for the fans. It seems to have established all of the trademark Davis moves (cigarette, EYES, clipped accent, constantly jiggling arm) and is very stilted in some scenes, approaching Camp (see Charlotte's exchanges with the dreadfully annoying Tina Durrance for proof of this!). While it is an endearing and oftentimes emotionally-involving story, one can't help but feel that it will win no new fans to the genre.

Still, if you're fan, you can't go wrong with this. ... Read more

Reviews (14)

A delicious little devil!
Claude Rains was one of those unique creatures in Hollywood--a charactor actor who became a star by his obvious talent, fascinating character portrayals and chameleonlike ability. In these respects he was, acting wise, a male Bette Davis, and in this film we are treated to two of the best who know they are good, know the other is good, and are in their element opposite one another. Rains is at his nasty best as scoundrel extraordinaire Alex Hollenius, a world-famous maestro with an ego out of this world. Bette Davis plays Christine Radcliffe, Hollenius' protegee and lover who has spurned him to marry Karel Novak (Paul Henreid), a talented but high-strung violinist who has returned from WW2 traumatized and emotionally fragile. The fun really begins after the marriage, when a cat-and-mouse situation ensues with Christine's desperate but ultimately futile attempts to prevent the cruel, taunting Hollenius from revealing their past affair to an extremely jealous and violence-prone Karel. All this comes to a head in an over-the-top, wildly entertaining scene between Davis and Rains, which only two grand masters of acting such as they could manage to pull off well. Utterly fascinating to watch these two spitfires send verbal sparks flying off one another throughout the film; poor Paul Henreid does the best he can and his performance is quite good in his (for the most part) restrained way, but unfortunately he gets lost in the fireworks between Davis and Rains.

Excellent Claude Rains fare. Melodrama at its best.
I'm collecting Claude Rains films and recently bought this video, Deception, and viewed it today. I agree the music sound is rather shaky at times so that could be improved upon. I'd consider it one of Rains' best acting performances - so suave, always a 'bon mot' at the right moment, thoroughly enjoying the role he is called upon to play, executing it with a flamboyant style particularly the scene of ordering dinner. Who could top that? It's a delight. I will treasure this film. Also, I've grown to appreciate Bette Davis movies as I got older and feel she gave a heart-rending performance, thoughtful and, thank goodness, not so overwrought. Paul Henreid does well but in my opinion cannot keep up with the other two fine actors. Do see this one!

idiotic
I checked this out of the library on the recommendation of Julian Lloyd Webber (in his "Travels with my Cello"). I didn't expect it to good; I expected it to be good fun, like the equally idiotic but inadvertantly hilarious "Humoresque" (another 1946 movie having to do with the fledgling career of a string player, promoted by a dark, emotionally unstable, woman caught between two lovers). Well, I was disappointed. It's idiotic, all right, but it isn't any fun--or, rather, it wouldn't be except that the cello concerto depicted within was written (in real life) by Erich Korngold, and it's brilliant! Six stars for the music; zero stars for the movie.

I adore Claude Rains
The quintessential Rains dominates this flick about a pianist and a cellist (yes, Henreid plays a CELLIST, not a violinist, as so many reviewers here seem to think) who really don't stand a chance up against Rains's wicked wit. There is a truly diabolical scene in which Rains treats the cutesy couple to a potentially magnificent gourmet meal--if only he'd let them get TO it!

Good food, good wine, good music, great Rains. Frankly I'd take Claude any day over Paul, yes even in Casablanca.

Subtle It Ain't
Looks like I'm going to go against quite a few of the other reviewers for this film by not praising it wildly. The story is quite basic. Pianist Bette Davis reunites with former love Paul Henreid, a cellist, hiding from him her love affair with composer and musical genius Claude Rains. Of course, one lie naturally leads to others, until she finds herself backed into a corner trying to save her marriage and her husband's future. All of this is played against a backdrop of unreal sets and dramatically charged classical music. The whole premise is a difficult one to believe, although it is buried beneath lots of bravado acting, interesting dialogue, and sometimes laughable bits of conflict and action. Rains seems to be having a great time as the flamboyant, manipulative composer, biting into the dialogue and exploiting it for all its worth. He overpowers his co-stars, but he and Davis are good together. Henreid attempts to give more of a performance than I have seen in other films, but he never stands a chance with this cast. For me the grand gestures, the grand acting, the grand music, the grand dialogue was ... well ... too grand! Director Irving Rapper needed to get a better handle on the film. It seems a little out of control. It's not a horrible film, but by the end I found myself thinking, "What was that all about?!?!?" ... Read more

Reviews (15)

Natalie Wood and Gene Kelly Shine in Adaptation of Novel
Natalie Wood is stunning as the young woman who seeks to become a Broadway star and to marry the love of her life. Gene Kelly also gives a heartwarming performance as the older man who captures her heart with his flamboyant lifestyle and immense talent.

Unlike the book which was set in the 30's, the film is reset to the post-war 50's and avoids the political implications of Hilter's rise to power on the Jewish Marjorie. The movie does, however, maintain all the futility of her search for stardom and her tumultuous love affair with Noel Airman. My only criticism of the movie might have been that the ending was completely changed. However, after feeling so sad at the realistic ending of the novel, I finished watching the video smiling at its happier conclusion.

Gene Kelly is unquestionably an actor, but his one dance number and his beautiful singing of "A Very Precious Love" lit up the screen. Martin Milner shines as the friend besotted with love for Marjorie, Carolyn Jones is wonderful as her outspoken friend, and Ed Wynn is charming as the uncle, particularly in a campy scene dressed as a bullfighter. Watch also for 60's heartthrob Edd "Kookie" Byrnes as one of Marjorie's first boyfriends.

If you've never read the novel, you will still be enchanted with this classic love story. If you have read the novel, you will be mesmerized as Wouk's characters come to life.

A romance to touch your heart
Natalie Wood is luminous in the celebrated film version of Herman Wouk's novel MARJORIE MORNINGSTAR.

Entranced by the magic of the theatre, and the dashing composer Noel Airman (Gene Kelly), Marjorie enters the acting world.

The film tells of the affair with Noel that changed her life, but it also tells of the struggles that a young Jewish girl has to go through in order to be in complete control of her life.

A moving film, which features the Oscar-nominated song 'A Very Precious Love'.

So Bad It's Good
My wife and I laughed so hard we GUFFAWED at this sublime example of cheesy 1950s film-making at its cheesiest. Gene Kelly blowing his stack at a trio of Broadway producers is so off-the-wall and over-the-top it's worth the price of admission by itself; all that's missing is his stepping out of character at the end of the scene and exclaiming "ACTING!" a la SNL's classic "Master Thespian" gag. We truly did not want this movie to end -- and never for a moment believed it was what Herman Wouk had in mind.

WHY aren't movies like this being remade . . .
instead of perfect or near-perfect, towering classics like "Planet of the Apes," "The Manchurian Candidate," "Psycho," "Charade," etc.? Don't get me wrong, I liked this film, even after reading the Herman Wouk magnum opus on which it's based, but in comparison to the novel it's an indisputably flawed film with some bad miscasting and its omittance of many key events and situations, which causes the film adaptation to lack much of the substance and soul which the book possessed.

"Marjorie Morningstar" stars Natalie Wood in the title part, a role she lobbied heavily for in her (ultimately) successul attempt to transition from a teen star/ingenue to a bona fide leading lady. The film starts off with Marjorie (then Morgenstern, her real last name; "Morningstar," her 'stage' name, comes later) fresh out of high school and a at a crossroads: Her traditional, conservative-minded parents (Claire Trevor & Everett Sloane) want her to attend college and marry her rich, great catch of a boyfriend, but the dreamy, yearning, starry-eyed, somewhat spoiled Marjorie disdains the conventional plans laid out for her, although she is unsure of what she wants to do. That uncertainty is resolved when her fun-loving, man-crazy best friend Marsha Zelenko (Carolyn Jones) persuades her to become a counselor at an all-girls summer camp, which just "happens" to be across the lake from an upscale grown-up resort where all sort of racy things occur. It is there that Marjorie will develop her serious aspirations to become an actress (and hence adopting the more harmonious, not to mention less ethnic, stage name "Morningstar") and where she will meet two young men who will play a pivotal part in her life: a stable, talented, aspiring playwright Wally Wronkin (Marty Milner) and the gifted but volatile Noel Airman nee Ehrman (Gene Kelly), the great love of her life. The latter man will (albeit intentionally or not) put her through hell but she ends up growing and maturing as a result; whereby the former, Wally, remains patiently to the end as a lighthouse does on the dunes, a comforting, stable, safe presence, as it appears to a ship navigating troubled, tumultuous waters, which is analagous to Marjorie's relationship and experience with Noel.

As mentioned earlier, this is a good enough film if one hasn't read the book, but if one has, the movie is at best acceptable and at worst deplorable. I tend to take the former view. Regarding the casting--I can't really think of an actress of the time that would immediately come to mind as epitomizing Marjorie, but Natalie Wood did well enough in the part. She certainly was of the right age, convincingly emoted the vulnerable uncertainty yet heady excitement of a girl on the cusp of womanhood, and what's more, had enough of the "look" to be convincing. I've often heard it said that Natalie was miscast in "ethnic" roles such as the part of the Jewish beauty Marjorie in this movie, the mulatto in "Kings Go Forth" and the Puerto Rican Maria in "West Side Story," but I've always found that view inexplicable. While Wood has always had a sort of 'wholesome' quality in her persona and appearance, to me there was a slightly exotic cast in her face (most evident in her large, expressive, enchantress-like dark eyes) which made her acceptable in more exotic-ethnic parts.

The always reliable Claire Trevor and Everett Sloane were solid in their parts as Marjorie's concerned, conventional parents, and though I have not mentioned him, so was the delightful Ed Wynn as Samson, Marjorie's lovable, understanding whale of an uncle (despite his performance sometimes bordering on this side of being hammy). The big sour note here is Gene Kelly, with Carolyn Jones as Marsha running a close 2nd and Marty Milner as Wally not far behind. Noel in the novel is 29 years old, very tall, lanky, blond, blue-eyed and handsome, like a Greek God. Kelly is the complete physical antithesis--46 years old, short, overweight, brunette. Even in his young and handsome days he still would be inappropriate, not only lookswise but performance as well. His acting is acceptable and in some parts even good, but doesn't quite hit the mark. If the similarly short and dark-haired, explosive and phenomenal actor John Garfield had still been alive and been cast in this part, he would have done a spectacular job as Noel (see him in a similar type of role in "Humoresque").

Then there is Carolyn Jones as Marjorie's best buddy Marsha, another complete miscast. Whereas Jones is good-looking, slender, sexy, vivacious and well-groomed, her character is supposed to be very unattractive (with glasses, too!), fat (in fact, this is mentioned over and over again!), of course not sexy in the least, ill-tempered and slovenly (another fact which is mentioned or inferred to countless times). She does turn in a warm, likable performance; however, she's supposed to be just the opposite. As for Marty Milner as Wally, as with Kelly, Milner is physically miscast--he is very tall, blond, blue-eyed and attractive when he should be the complete opposite. In fact, Kelly and he could have switched parts! Also, Milner's performance is too upbeat; his character should be more solemn.

But overlooking the inexplicable miscasting, in my estimation the film adaptation left out the heart and soul and substance of the novel, which spanned many decades and touched upon some important and uncomfortable events and issues. The book starts with Marjorie at 17 and eventually ends off with her at middle-age--this is very crucial because it not only captures the painful, heartrending passage of time but also a nostalgic, reminiscent, almost aching yet loving fondness mixed with unflinching objectivity for things, places, events and people bygone, a perspective that can only be reached when a lot of time has gone by. The most important situation and event the movie leaves out concerns the Jewish individual's and community's place and struggle for acceptance and assimilation in what still was then a very Anglo-Saxon, WASP era, and the impending circumstances and eventual arrival of World War 2. The movie also fails to really capture the theme of the traditional vs the un-traditional, the "old ways" vs. the "new ways" in Marjorie's youthful defiance to be everything her parents are NOT.

All in all, "Marjorie Morningstar" is a somewhat entertaining, somewhat poignant coming-of-age romantic soap-opera fare amidst the background of Bar Mitzvahs, Summer Camps and Broadway, and while it tends to leave off the hot-button issue of the characters Jewish heritage and completely omits any mention to WW2 and instead transfers the era to well after the war, it does effectively present a portrait of stirring sexuality and young love in the vein of other such similar movies like "A Summer Place," "Splendor In The Grass," etc. But if you're interested in a movie which perfectly delivers what Wouk does in his novel--about how young love doesn't always last and how we can still end up quite happy when making practical choices, see "The Umbrellas of Cherbourg."

A fairly good late-late night movie
I used to watch this movie over and over again off a VHS copy that was recorded off of late night TV. I bought the DVD hoping to rekindle my youthful fascination with this movie. I found that my mind had mercifully edited out some of the movie's failings, which the DVD brought rushing back.

First, technical stuff. Absolutely no effort was put into the DVD conversion. There are no special features. There were no efforts made to correct some of the visual flaws in the movie (bad edits, discolorations, etc.). So don't buy this expecting anything but your VHS copy unceremoniously burned onto a DVD.

Now content. I've never read the book, so I can't speak to the adaptation. However, the script leaves a lot to be desired. While there are large number of good points made about relationships and the nature of people, the script is often awkward, confusing and sometimes completely random. I think my favorite line is Noel's statement sometime after Wally's debut - "I seem to suffer from a fatal lack of central organizing energy." It's an odd spike of psychobabble in the middle of a sea of well-worn 1950s romantic dialogue. It's as if the writer was striving to encapsulate Noel's problem into one sentence. It's an example of just how bad the script can be sometimes.

The acting is passable, although both Gene Kelley and Nathalie Wood have been much, much better elsewhere. There are moments that fans of either would rather forget. Noel's dressing down of the show's investors comes across as a child's temper tantrum. Nathalie's ill-advised dance sequence is embarassing to watch. The chemistry between the two of them is mild at best.

My English teacher put this movie on a list of movies that one should watch to improve one's cultural literacy. I think that's the perfect recommendation for this movie - since it doesn't say anything about how good it is. ... Read more

Description

Bette Davis pulls out all the stops as Janet Frobisher, a devious, selfish vixen who will stop at nothing to get what she wants in "Another Man's Poison," a drama deliciously full of unexpected twists and turns. Frobisher is a rich mystery writer who falls in love with her secretary's fiance and lures him away. But her happiness is far from ensured. She first must deal with a long forgotten ex- convict husband who tries to blackmail her, and then she must scheme her way out of the clutches of her husband's ruthless partner, George Bates (Gary Merrill, Davis' husband in real life). Davis proves why she remains such an acting legend as she dominates the screen in the kind of part that only she could bring to life so vividly. ... Read more

Reviews (9)

Mediocre, disappointing
Bette Davis, as we all know, is an American icon, a legendary American movie star, a great American movie actress, winner of multiple Academy Awards and many Academy Award nominations. But this doesn't mean that the acting of the feisty, volatile, tempestuous screen star was always good. She was at her best in the 1930s and 1940s (and in 1950's All About Eve). In some of her work in the 1950s, she lapsed into Bette Davis playing caricatures of Bette Davis, and this is one of those unfortunate occasions (an earlier one is her performance in Beyond the Forest, 1949).

The vehicle here is a dated, stagy melodrama which must have looked tired even in 1951, and must have appealed only as a showy vehicle for Davis. She stars here with her recent husband Gary Merrill, after their successful collaboration in All About Eve. Davis still seems to be playing the part of Margo Channing here; it's a very actressy performance. In addition to being over the top, she's over the hill for the part; she looks overweight and overripe (after all, she'd been making movies for 20 years at this point), hardly the femme fatale who could lure handsome young Anthony Steel away from his much more attractive young fiancee Barbara Murray.

Bette's overdone, actressy performance, replete with lots of eyeball rolling, cigarette lighting and smoking, and cocktail pouring and drinking, combined with a conventional performance from Merrill and the dated, stagy melodrama, cardboard characters, and obvious contrivances of this play, makes for an undistinguished film that is no credit to the Davis filmography. Even the cinematography (this is an independent British production) is bad; it's too dark and has the grainy look of an early TV kinescope. The only memorable feature is the polished performance of Emlyn Williams as an annoying busybody veterinarian constantly sticking his nose into his neighbors' business.

DULL DAVIS? I'M AFRAID SO.....
Dreary Davis vehicle which should never have been made. She's a famous authoress living in England who murders an inconvenient ex-husband. She's having it off with her secretary's boyfriend (who's much younger) and thinks she's pulled off the perfect crime (she's a mystery writer) until a former partner of the husband's shows up. He offers to cover for her but things get ridiculously out of hand and he kills her prize horse. This is not good. Then begins a game of wills that ends most ironically as Davis falls prey to her own schemes. She hams it up in this one and leaves no co-star unscathed. Murky b&w photography doesn't help either. It's slow and very stagy throughout. Her then husband Gary Merrill plays the partner and even he seems at a loss over how to cope with the script. If a Davis film can be called a total waste then this is it. Even she can't save it from sinking into tedious boredom. Stick with her other films instead and forget this turkey.

THIS MOVIE IS POISON...BUT BETTE DAVIS MAKES IT PALATABLE...
This film, based upon the play "Deadlock" by Leslie Sands, is not one of those films that will make the viewer stand up and cheer. Were it not for Bette Davis, it would probably not even merit a viewing, so improbable is the script with which she has to work. The other cast members, as well, have thankless roles.

Davis lights up the screen as mystery novelist, Janet Frobisher, who lives in isolated splendor on the Yorkshire moors in England. Her nearest neighbor is the local busy body and veterinarian, Dr. Henderson, a role gamely played by Emlyn Williams. Frobisher, a selfish, amoral vixen, falls in love with her secretary's fiance, Larry (Anthony Steele). One little problem stands in her way of eternal bliss. She, herself, is married to a man with a criminal past, one with whom she has had little contact in recent years. In the first few minutes of the film, it is revealed that she has single handedly and cold bloodedly dispatched her husband, who has had the misfortune to show up unexpectedly, to the great beyond. Unfortunately for her, she gets an unwelcome, surprise visitor on the heels of her murderous act, when her husband's partner in crime, George Bates, shows up looking for him.

The improbable storyline that follows is kept afloat by Ms. Davis alone. Gary Merrill, the real life husband of Bette Davis at the time, stoically and woodenly plays the thankless role of George Bates. He, as well as the rest of the cast, fades into the background, when on screen with Ms. Davis. Even Ms. Davis, however, is unable to keep this clunker totally afloat. Stagey, with leaden dialogue and a ridiculous premise, this film would have immediately tanked, were it not for the Ms. Davis. Struggling valiantly with this turkey, Ms. Davis smokes, drinks, kills, and loves, as only Ms. Davis can, with over the top acting that manages to make the viewer stay with the film. Davis devotees will, undoubtedly, enjoy this film, despite its many flaws.

This no frills DVD offers little more than an extensive list of Ms. Davis' films by way of special features. The sound and picture quality of this ninety minute, black and white film, however, is good.

Bette is only the sweet thing in this poison.
To the point : There is no doubt that Bette Davis is the greatest actress in the world. She was at the right time and the right place, and above all she was talented. Meryl Streep have the same kind of success that Bette had,unfortunately we don't have too many great roles today for great actress like Streep. For you fans, I think you won't find any meat to sink your teeth in Another Man's Posion. If you really want to see Bette's best performance apart from the obvious like All about Eve, Dark Victory, Now Voyager, etc Maybe you should see Mr Skeffington, Dead Ringer, The Anniversary or even Beyond Forest Bette's last film with Warner which she thought was really bad.But, apart form miscasting Joseph Cotten, Bette can turned a bad film to a watch-able one. ...

HIGH CAMP DAVIS
Celebrated mystery writer Janet Frobisher (Davis) - who lives in a secluded mansion on the Yorkshire moors - is in love with Larry (Anthony Steele), a young engineer engaged to marry her secretary (Barbara Murray)..........It is fascinating watching Bette Davis, a superb screen actress if ever there was one, play everything in a blaze of breathtaking absurdity. The melodramatic gamut seldom has experienced the workout it is given in ANOTHER MAN'S POISON, a wild and fanciful saga where Davis, queen of the vixens, combs her hair, lights cartons of cigarettes, snaps her fingers and bites her consonants! No one has ever accused Davis of failing to rise to a good script; what this shows is how far she could go to meet a bad one. It's obvious that director Irving Rapper let Bette basically direct herself, for the same zealous overplaying isn't evident among the other cast members. Not to be missed by Davis fans! - it's safe to say that there are few things in the cinema quite like it. Based upon the play DEADLOCK by Leslie Sands, this little flick from 1952 was made in England and was, interestingly enough, produced by Douglas Fairbanks, Jr. ... Read more

Description

During the war of 1812, a young nun leaves the convent to search for a series of romantic adventures, and during her journey the statue of the virgin Mary descends from the pedestal and takes the young nun's place until her return. ... Read more

Reviews (11)

the Divine Mercy can touch us, too
When I was a young boy I remember seeing this film in black and white and was fascinated that the world of the supernatural could take such a personal interest in ordinary mortal life. I also was intrigued by its plausibility since it is based on an ongoing legend. I think the movie is best seen and taken in with profit as a sort of modern parable that can go on speaking to us. Although beautiful with a bit of sentiment yet it presents all of us as a blur of good and evil, and not just so cleanly one or the other, and in need of redemption. And....that redemption is in itself something wonderful and a marvel. Both of the chararcters, Teresa and her beloved played by Roger Moore demonstrate that we all in one way or another seek that Divine Love...whether in its human face or in its purity.

the 1959's Miracle
I must have been 10 Years old when I saw that movie and it was the first and only time. Never found it after that. I remember the soldier (Moore) and Baker with her black hair instead of blonde. I remember tears and sadness and wanted to see it again but couldn't find it anywhere.

Great Entertainment
This is one of those Hollywood dramas that escaped most peoples attention over the years and I found it hard to get on video and I never seen it on TV. Despite the critics panning of the movie (religious tones etc)it has superb production values,great score and the storyline broken into vignettes make it a must see. I'll hold on to this video for future viewing and hopefully it will be released sometime on DVD

the miracle
I saw this film as a teenager in South Africa and that was the best film I ever saw .Since seeing that movie I was a Roger Moore fan. I am trying to find the video VHS for UK as I am living now in the UK. Is it available?

AN UNUSUAL DRAMA
Based upon a well known stage production of the same name, this is an unusual film about a postulant nun, who has a life defining decision to make. It is a choice between a secular life and a religious one. Her decision is to have consequences for many.

The film takes place in Spain, sometime in the early nineteenth century. At the Convent of the Valley of Milaflores stands a statue of the Madonna. Legend has it that since the statue has been there, the region has been prosperous. This is the convent where seventeen year old Teresa (Carroll Baker) is a postulant nun. One day, a group of English soldiers, sent to help Spain ward off invasion by the French, come by the convent. Led by young, impossibly handsome Captain Michael Stuart (Roger Moore), who cuts a dashing figure, Teresa falls in love at first sight. He, too, is smitten by her. As luck would have it, they fall in love, and Teresa agrees to meet him in town in order to get married.

Unfortunately, timing is everything. Teresa gets into town just as the French are invading. Believing that Michael has been killed, she leaves to wander about the world, after joining a band of gypsies. In the meantime, the statue of the Madonna literally leaves her pedestal, becoming flesh and blood. No one in the convent knows that Teresa is gone, as the Madonna has taken Teresa's place and assumed her visage.

Meanwhile, Teresa becomes a famous gypsy singer and dancer, traveling around the country and having adventures. Whenever a man falls in love with her, however, the recipe is usually disaster. One day, her faith is renewed, when she gets her dearest wish. She then finds herself making a promise that causes her to find herself back at square one. It is a life defining decision. It is a miracle.

Carroll Baker is unexpectedly moving as the angst ridden young woman. She does a wonderful job with the role of Teresa, as she evolves from an innocent, wide-eyed seventeen year old to a world weary, somewhat bitter, young woman. Roger Moore is a joy to behold as the English Captain, so very handsome is he, and so in love with Teresa. The rest of the supporting cast is equally good, with a stormy, passionate performance by Katina Paxinou as La Roca, Queen of the Gypsies. Vittorio Gassman gives a fine performance as Guido, Teresa's gypsy lover, as does Gustavo Roja with his portrayal of Cordoba, the broodingly handsome and intense matador who loves Teresa. Walter Slezak adds a sly comedic touch as the Spanish gypsy, Flaco, who befriends Teresa.

The only discordant note in the film is the superimposition of Carroll Baker's visage over that of the Madonna, when the statue first becomes flesh and blood. It looks odd due to the fact that the visage is clearly superimposed in a garish yellow color that stands out like a sore thumb. I suspect that the film did not always have this garish superimposition. Other than that, the movie is an enjoyable one for those who like this genre of film. Those viewers who enjoy films such as "The Miracle of Our Lady of Fatima", "Song of Bernadette", and "The Miracle of Marcelino" will, undoubtedly, enjoy this one, as well. ... Read more

Reviews (3)

They say the lights are bright on Broadway...
It's William Holden night, here at Chez Sixpack... Here, Holden stars as a brash, principled playwright who hitches his star to a famous-but-fading broadway star, played by Ginger Rogers. Rogers's Beatrice Page is an interesting character -- she's at the top of her game, but only for as long as she can keep up appearances and fend off her younger rivals. Among these is a chirpy, headstrong, would-be starlet (played by Pat Crowley) who attaches herself to Holden's coattails, at first out of mere opportunism, and then for true love. The Holden character is a bit too mannered -- too anchored in the old, pre-'60s fixation with The Moody Writer as a great dramatic character; Crowley is herself a bit irritating as well -- this was supposed to be her big breakout role, but she's a bit too perky and Annette Funicello-ish, and may get on your nerves. At the heart of this film, then, is Ginger Rogers, along with Paul Douglas as her ex-husband, a Broadway producer who's still not-so-secretly in love with her. His career is in limbo because he can't move on, and he continues to pick plays based solely on whether they'll serve as vehicles for Bea's continued fame. Their relationship is deeply layered and consistently interesting, as is the underlying theme of how female actors must keep up appearances and pursue an impossible ideal of youth. Plus, Paul Douglas is such a great character actor -- I love watching him in just about anything! -- and seeing Rogers star in a relatively unsympathetic role is pretty unusual as well. The portrayal of the vanity and backstage whispering that makes up the theater scene is territory that's been covered elsewhere, but it gets a pretty good airing here, in this well-paced, entertaining film. Recommended.

ALL ABOUT PAT.
Bill Holden plays a young supermarket employee who writes a play about a young girl and her forceful mother; later it is produced by Paul Douglas for his ageing actress wife, Ginger Rogers. Lots of bright lines - with inside jokes for show people - coupled with snappy supporting performances by Patricia Crowley, James Gleason, George Reeves and, in an entertaining cameo, Marjorie Rambeau - playing herself - make for an entertaining 93 minutes. The then 42 year-old Rogers overacts a tad, but not enough to make the viewer wince. In an excellent portrayal, Patricia Crowley seems to play Eve to Ginger's Margo in this fast-paced and funny adaptation of Sir James Barrie's play ROSALIND. Modernised to 1953 standards and given several twists, it seems purposely reminiscent of ALL ABOUT EVE - in a harmless, light-hearted way.

Crowley's the real star
While Holden and Rogers, the established stars of the picture, do well in their parts, it is Pat Crowley as the ingenue who really shines. This is one of those films in which you just shake your head while you watch a dumbkopf like Holden's character totally lose interest in Sally for the glamour of Beatrice. He not only ruins his love life, he ruins his art as well. A terrific love story and a well-made film. ... Read more

Description

CBS-TV. "Pontius Pilate," with GERALDINE FITZGERALD, CYRIL RITCHARD, FRANCIS L. SULLIVAN. 59 minutes. ... Read more

Amazon.com

This family favorite, a south-of-the-border variation of the classic boy-and-his dog story, stars Michel Ray as Leonardo, a young Mexican boy who appeals to the president of Mexico to spare his beloved bull from death in the bullfighting ring. Does the bull meet a grisly fate at the hands of a sombrero-topped matador? We're not telling, but charming performances and some gentle tear jerking make The Brave One an agreeable movie for kids. The film is also known for an interesting footnote of Hollywood history: When it won the Academy Award in the now-defunct category of best original story, screenwriter Dalton Trumbo (using the pseudonym "Robert Rich") was unable to accept the Oscar due to the infamous Hollywood blacklist. He officially claimed the award in 1975. --Jeff Shannon ... Read more

Reviews (2)

A BOY AND HIS BULL
Earnest, Disney-like film about a boy who tries to save his bull from the matador's ring in Mexico City. The ride atop an old farm truck into Mexico City is a beautiful scene suggesting a "Wizard of Oz" affection and the only drawback is the kid's unremarkable ability to show expressions of joy, sadness, excitement, etc., as the camera focuses in on his face. The bull makes for a unique, likeable hero. The film won an Oscar for Best Original Screenplay of 1956.

A family adventure for all
This is a beautiful movie of a little boy in Mexico, his pet bull and the adventures that bonds them both. This movie has a great sound track that compliments the scenery, the story and the people. ... Read more

Amazon.com essential video

In this 1942 melodrama, founded on the novel by Olivia Higgins Prouty (who also wrote the novel on whichStella Dallas was based), Bette Davis stars as Charlotte Vale, a dowdy, repressed woman who, overwhelmed by her domineering mother, is on the verge of a nervous breakdown. She finds help at a sanitarium from a kind psychiatrist (Claude Rains), who turns her into a beautiful, confident woman. As a new person, she takes a pleasure cruise, where she meets Jerry (Paul Henreid), an architect trapped in an unhappy marriage, saddled with a troubled daughter. The two fall in love, but, of course, the romance is doomed. Yet their paths cross on occasion, and, despite their feelings, Charlotte finds satisfaction in helping Jerry's depressed child. The film will seem familiar to new viewers--the campy style was the pattern for many tearjerkers to come, and its most famous line has been oft repeated ("Don't ask for the moon--we have the stars"). But the heartstrings are tugged, and as Paul Henreid chivalrously lights two cigarettes and hands one over to the doleful-eyed Davis, pull out the box of tissues--you're gonna need 'em.--Jenny Brown ... Read more

Reviews (46)

The Ultimate Woman's Picture
At a time when Hollywood paid more attention to its female audience and made films for them, this may be the best of the bunch. A padded Bette Davis stars as Charlotte Vale, an overweight, unattractive spinster bullied by the mother who never wanted her. On the verge of a nervous breakdown, her sister-in-law arranges for her to meet a psychiatrist played by Claude Rains, and after spending time at his "hospital", she emerges thinner, beautiful, and more prepared to face the world, a world which include Paul Henreid, a married man that she falls in love with while on a post-recovery cruise. It's the kind of role an actress must love, and Davis plays it with restraint and class. Rains is good as usual, and Henreid delivers one of his best performances. The supporting cast is excellent, with Gladys Cooper pulling out all the stops as the tough mother and Mary Wickes bringing a gentle humour to her role as a nurse. The musical score by Max Steiner is excellent, and of course, there are the famous moments of Henreid lighting two cigarettes at once, something that wouldn't work in today's movies, but is quite effective in this film. With it's Ugly Duckling/Cinderella angle and it's sense of romance, this has to be the ultimate woman's picture. It knows its audience and delivers.

One of Bette's Best
I can never decide whether VOYAGER is the best Bette Davis
movie or DARK VICTORY. She is fantastic as a spinster who
is dominated by her monster mother, beautifully played by Gladys
Cooper. After her nervous breakdown she begins a new life
and meets Paul Henried who of course is married but later she
is able to help Paul's child. This is the movie where he lights
two cigarettes and gives her one and ends with "Oh Jerry, let's
not ask for the moon, we have the stars" Fabulous score by
Max Steiner. Fine acting from Claude Rains, Bonita Granville,
Ilka Chase and in a very small role, Lee Patrick. They don't make 'em like this anymore so thank God for home video. The
DVD transfer is terrific.

Overwrought and Only Somewhat Convincing Melodrama
Davis plays nice with middling results. The acting is fine, to be sure, but I miss the feistyness of her better movies. A hapless neurotic woman breaks free of her tyrannical and hateful mother. She seeks therapy and begins to live her own life. She learns that life can't be perfect but it can always be better & happiness s not impossible. Could be seen as encouragement to wallflowers.

Now Voyager - Bette at Her Best
Bette made some terrific films.... this is my personal favorite along with "Mr. Skeffington"... the ONLY criticism is the biographies of the cast ONLY work with Ms. Davis.. the others on the menu do not function.... still.. the plus side is the stunning transfer of the film to DVD. It is fresh and few flaws are visible on this version. I saw the new version of "Sunset Blvd." just after seeing this film, and though "Voyager" is 8 years older, it looks far cleaner and crisper than "Sunset" does. Bravo to the restoration crew here! The film itself, is of course, a masterpiece and well worth the purchase price. A true gem!

A Classic for the Fans
'Now, Voyager' tells the story of hapless introvert Charlotte Vale (Bette Davis), her near-nervous breakdown machinated by her domineering Mother (Gladys Vale) and her subsequent recovery with the help of the dashing J.D. Durrance (Paul Henreid). Directed by Irving Rapper (Another Man's Poison), 'Now, Voyager' is another glorious slice of early forties melodrama, and a total Davis vehicle.

Not that that's a bad thing, actually. Her performance as Charlotte Vale is excellent, she's emotional and deep enough to be believable, and her private exchanges with JD and her Mother are excellent illustrations of the power of Ms. Davis as an actress. Henreid, too, is wonderful as the stiff and faithful JD, stern enough to cause Charlotte frustration yet likeable enough to generate sympathy from the audience.

The supporting cast are a credible bunch - Gladys Vale is an excellent Matriarch (where are the actresses of this calibre today?) and Ivisible Man Claude Rains is hugely charismatic as Dr. Jaquith, a Vermont-based psychologist who all-but saves Charlotte from herself. Comic relief is supplied in the shape of the always-entertaining Mary Wickes (the crotchety nun in the Sister Act movies) as Dora.

Direction is beautiful, with noir-esque interiors and excellent lighting techniques employed to best suggest the sense of Charlotte subsisting in a grim dictatorial household. Rapper's style is a strange contrast to the script, too - it's got a more organic flow about it than the sometimes-stilted dialogue. The score is provided by the genius Max Steiner and is, as one would expect from a man of this legendary reputation, exactly perfect for the tone of the piece.

DVD Quality is excellent, perhaps a little worn in places but on the whole, it's fantastic, and certainly better than a lot of other later DVD conversions. The extras are perfunctory (and indeed, as one reviewer pointed out below, half seem to be missing!) but they don;t make the picture.

On the whole, 'Now, Voyager' is definitely one for the fans. It seems to have established all of the trademark Davis moves (cigarette, EYES, clipped accent, constantly jiggling arm) and is very stilted in some scenes, approaching Camp (see Charlotte's exchanges with the dreadfully annoying Tina Durrance for proof of this!). While it is an endearing and oftentimes emotionally-involving story, one can't help but feel that it will win no new fans to the genre.

Still, if you're fan, you can't go wrong with this. ... Read more

Reviews (15)

Natalie Wood and Gene Kelly Shine in Adaptation of Novel
Natalie Wood is stunning as the young woman who seeks to become a Broadway star and to marry the love of her life. Gene Kelly also gives a heartwarming performance as the older man who captures her heart with his flamboyant lifestyle and immense talent.

Unlike the book which was set in the 30's, the film is reset to the post-war 50's and avoids the political implications of Hilter's rise to power on the Jewish Marjorie. The movie does, however, maintain all the futility of her search for stardom and her tumultuous love affair with Noel Airman. My only criticism of the movie might have been that the ending was completely changed. However, after feeling so sad at the realistic ending of the novel, I finished watching the video smiling at its happier conclusion.

Gene Kelly is unquestionably an actor, but his one dance number and his beautiful singing of "A Very Precious Love" lit up the screen. Martin Milner shines as the friend besotted with love for Marjorie, Carolyn Jones is wonderful as her outspoken friend, and Ed Wynn is charming as the uncle, particularly in a campy scene dressed as a bullfighter. Watch also for 60's heartthrob Edd "Kookie" Byrnes as one of Marjorie's first boyfriends.

If you've never read the novel, you will still be enchanted with this classic love story. If you have read the novel, you will be mesmerized as Wouk's characters come to life.

A romance to touch your heart
Natalie Wood is luminous in the celebrated film version of Herman Wouk's novel MARJORIE MORNINGSTAR.

Entranced by the magic of the theatre, and the dashing composer Noel Airman (Gene Kelly), Marjorie enters the acting world.

The film tells of the affair with Noel that changed her life, but it also tells of the struggles that a young Jewish girl has to go through in order to be in complete control of her life.

A moving film, which features the Oscar-nominated song 'A Very Precious Love'.

So Bad It's Good
My wife and I laughed so hard we GUFFAWED at this sublime example of cheesy 1950s film-making at its cheesiest. Gene Kelly blowing his stack at a trio of Broadway producers is so off-the-wall and over-the-top it's worth the price of admission by itself; all that's missing is his stepping out of character at the end of the scene and exclaiming "ACTING!" a la SNL's classic "Master Thespian" gag. We truly did not want this movie to end -- and never for a moment believed it was what Herman Wouk had in mind.

WHY aren't movies like this being remade . . .
instead of perfect or near-perfect, towering classics like "Planet of the Apes," "The Manchurian Candidate," "Psycho," "Charade," etc.? Don't get me wrong, I liked this film, even after reading the Herman Wouk magnum opus on which it's based, but in comparison to the novel it's an indisputably flawed film with some bad miscasting and its omittance of many key events and situations, which causes the film adaptation to lack much of the substance and soul which the book possessed.

"Marjorie Morningstar" stars Natalie Wood in the title part, a role she lobbied heavily for in her (ultimately) successul attempt to transition from a teen star/ingenue to a bona fide leading lady. The film starts off with Marjorie (then Morgenstern, her real last name; "Morningstar," her 'stage' name, comes later) fresh out of high school and a at a crossroads: Her traditional, conservative-minded parents (Claire Trevor & Everett Sloane) want her to attend college and marry her rich, great catch of a boyfriend, but the dreamy, yearning, starry-eyed, somewhat spoiled Marjorie disdains the conventional plans laid out for her, although she is unsure of what she wants to do. That uncertainty is resolved when her fun-loving, man-crazy best friend Marsha Zelenko (Carolyn Jones) persuades her to become a counselor at an all-girls summer camp, which just "happens" to be across the lake from an upscale grown-up resort where all sort of racy things occur. It is there that Marjorie will develop her serious aspirations to become an actress (and hence adopting the more harmonious, not to mention less ethnic, stage name "Morningstar") and where she will meet two young men who will play a pivotal part in her life: a stable, talented, aspiring playwright Wally Wronkin (Marty Milner) and the gifted but volatile Noel Airman nee Ehrman (Gene Kelly), the great love of her life. The latter man will (albeit intentionally or not) put her through hell but she ends up growing and maturing as a result; whereby the former, Wally, remains patiently to the end as a lighthouse does on the dunes, a comforting, stable, safe presence, as it appears to a ship navigating troubled, tumultuous waters, which is analagous to Marjorie's relationship and experience with Noel.

As mentioned earlier, this is a good enough film if one hasn't read the book, but if one has, the movie is at best acceptable and at worst deplorable. I tend to take the former view. Regarding the casting--I can't really think of an actress of the time that would immediately come to mind as epitomizing Marjorie, but Natalie Wood did well enough in the part. She certainly was of the right age, convincingly emoted the vulnerable uncertainty yet heady excitement of a girl on the cusp of womanhood, and what's more, had enough of the "look" to be convincing. I've often heard it said that Natalie was miscast in "ethnic" roles such as the part of the Jewish beauty Marjorie in this movie, the mulatto in "Kings Go Forth" and the Puerto Rican Maria in "West Side Story," but I've always found that view inexplicable. While Wood has always had a sort of 'wholesome' quality in her persona and appearance, to me there was a slightly exotic cast in her face (most evident in her large, expressive, enchantress-like dark eyes) which made her acceptable in more exotic-ethnic parts.

The always reliable Claire Trevor and Everett Sloane were solid in their parts as Marjorie's concerned, conventional parents, and though I have not mentioned him, so was the delightful Ed Wynn as Samson, Marjorie's lovable, understanding whale of an uncle (despite his performance sometimes bordering on this side of being hammy). The big sour note here is Gene Kelly, with Carolyn Jones as Marsha running a close 2nd and Marty Milner as Wally not far behind. Noel in the novel is 29 years old, very tall, lanky, blond, blue-eyed and handsome, like a Greek God. Kelly is the complete physical antithesis--46 years old, short, overweight, brunette. Even in his young and handsome days he still would be inappropriate, not only lookswise but performance as well. His acting is acceptable and in some parts even good, but doesn't quite hit the mark. If the similarly short and dark-haired, explosive and phenomenal actor John Garfield had still been alive and been cast in this part, he would have done a spectacular job as Noel (see him in a similar type of role in "Humoresque").

Then there is Carolyn Jones as Marjorie's best buddy Marsha, another complete miscast. Whereas Jones is good-looking, slender, sexy, vivacious and well-groomed, her character is supposed to be very unattractive (with glasses, too!), fat (in fact, this is mentioned over and over again!), of course not sexy in the least, ill-tempered and slovenly (another fact which is mentioned or inferred to countless times). She does turn in a warm, likable performance; however, she's supposed to be just the opposite. As for Marty Milner as Wally, as with Kelly, Milner is physically miscast--he is very tall, blond, blue-eyed and attractive when he should be the complete opposite. In fact, Kelly and he could have switched parts! Also, Milner's performance is too upbeat; his character should be more solemn.

But overlooking the inexplicable miscasting, in my estimation the film adaptation left out the heart and soul and substance of the novel, which spanned many decades and touched upon some important and uncomfortable events and issues. The book starts with Marjorie at 17 and eventually ends off with her at middle-age--this is very crucial because it not only captures the painful, heartrending passage of time but also a nostalgic, reminiscent, almost aching yet loving fondness mixed with unflinching objectivity for things, places, events and people bygone, a perspective that can only be reached when a lot of time has gone by. The most important situation and event the movie leaves out concerns the Jewish individual's and community's place and struggle for acceptance and assimilation in what still was then a very Anglo-Saxon, WASP era, and the impending circumstances and eventual arrival of World War 2. The movie also fails to really capture the theme of the traditional vs the un-traditional, the "old ways" vs. the "new ways" in Marjorie's youthful defiance to be everything her parents are NOT.

All in all, "Marjorie Morningstar" is a somewhat entertaining, somewhat poignant coming-of-age romantic soap-opera fare amidst the background of Bar Mitzvahs, Summer Camps and Broadway, and while it tends to leave off the hot-button issue of the characters Jewish heritage and completely omits any mention to WW2 and instead transfers the era to well after the war, it does effectively present a portrait of stirring sexuality and young love in the vein of other such similar movies like "A Summer Place," "Splendor In The Grass," etc. But if you're interested in a movie which perfectly delivers what Wouk does in his novel--about how young love doesn't always last and how we can still end up quite happy when making practical choices, see "The Umbrellas of Cherbourg."

A fairly good late-late night movie
I used to watch this movie over and over again off a VHS copy that was recorded off of late night TV. I bought the DVD hoping to rekindle my youthful fascination with this movie. I found that my mind had mercifully edited out some of the movie's failings, which the DVD brought rushing back.

First, technical stuff. Absolutely no effort was put into the DVD conversion. There are no special features. There were no efforts made to correct some of the visual flaws in the movie (bad edits, discolorations, etc.). So don't buy this expecting anything but your VHS copy unceremoniously burned onto a DVD.

Now content. I've never read the book, so I can't speak to the adaptation. However, the script leaves a lot to be desired. While there are large number of good points made about relationships and the nature of people, the script is often awkward, confusing and sometimes completely random. I think my favorite line is Noel's statement sometime after Wally's debut - "I seem to suffer from a fatal lack of central organizing energy." It's an odd spike of psychobabble in the middle of a sea of well-worn 1950s romantic dialogue. It's as if the writer was striving to encapsulate Noel's problem into one sentence. It's an example of just how bad the script can be sometimes.

The acting is passable, although both Gene Kelley and Nathalie Wood have been much, much better elsewhere. There are moments that fans of either would rather forget. Noel's dressing down of the show's investors comes across as a child's temper tantrum. Nathalie's ill-advised dance sequence is embarassing to watch. The chemistry between the two of them is mild at best.

My English teacher put this movie on a list of movies that one should watch to improve one's cultural literacy. I think that's the perfect recommendation for this movie - since it doesn't say anything about how good it is. ... Read more

Reviews (3)

Typical Forties Biography
Fredric March stars as the famous writer, who despite all the honours that would come his way, had the mud of the Mississippi River stuck between his toes and never got past the plain spoken humour and truth that were a part of him, whether the academics appreciated it or not. The film spans his whole life, taking highlights from various points and tying them together with his famous works and quotations often associated with him. March is quite good in the role, a challenge given the impression everyone already has of the famous writer. Alexis Smith plays his wife and biggest fan. There's not much to the role, and she does what she can with it. His early adventures are a lot more interesting than his later life, although March is more effective as the older Twain. I particularly enjoyed the early riverboat scenes. As with any biography from Forties Hollywood, it approaches its subject with reverence. That's fine, but it doesn't always make for exciting viewing. The film is directed without style or edge, and although it's easy to watch, it's not very inspired or engaging. I think Mr. Twain would have wanted a sharper script!

PLEASANT NOSTALGIA.
Twain was someone who lived a full life in his 75 years. He was a Mississippi riverboat man in his early years, and he experimented with gold mining in California. As a writer of growing stature, he courted and won the well-bred Olivia Langdon who traveled with Twain around the world. Twain was in deep bankruptcy after publishing disasters and he became exhausted by work in order to clear his debts. Entertainment derives from Twain's epigrams and comments on humankind; in later years, he became a kind of performing pundit: rather like a nineteenth century version of Will Rogers. Fredric March gives a genuinely spendid performance as the beloved American writer who lived from 1835-1910. A trivia note: Because he was born while it was in orbit, Twain once remarked that he expected to "go out" with Halley's comet when it reappeared in 1910 - and - amazingly, he did! Warners tried to cover too much territory in this film; THE ADVENTURES OF MARK TWAIN were too many, and the picture is forced to montage too much of his life. What saves this film is the uncannily brilliant performance given by March. In the episodes showing him as the elderly Twain, March achieves a truly remarkable portrayal; he was indeed a dedicated and convincing actor!

Mark Twain
This is a very interesting, and, as far as I know, accurate movie about Mark Twain. The characters are wonderful, as is the plot. Watching this movie inspired me to read Mr. Twain's books. ... Read more