Reviews (39)

Peter O'Toole: A god, a genius, a maniac
I just finished reading a (german) biography about Peter O'Toole and came here to see which movies are available on DVD. Unfortunately this one isn't.
Peter O'Toole was (pardon: still is) an outstanding actor and "Becket" is one of his best movies. He and Richard Burton team up to give the performance of their lives. O'Toole as King Henry II and Burton as his friend and boon-companion and later archbishop Thomas Becket.
Both were nominated for an Academy Award in a leading role and luckily neither of them won it. They both would have deserved the award equally.
Kate Hepburn once called Peter O'Toole a "lousy picker". To often did he choose to do the wrong (=bad) movies and not even his superb acting could save these movies. This time he was right, perfectly right.
Becket is a great movie and I would love to have it in my DVD library.

I Love Being King!
Peter O'Toole says "I love being King," in the so called sequel to Becket. However he might as well mean it in this movie for his performance is so real as to make one think he actually is the king. Richard Burton does a fantastic job as the martyred Archbishop Thomas Becket. Burton's performance reminds one of his another great film (The Robe) where his character was also transformed from a self serving playboy to a pious saint. The scenery, script, dialogue, and direction are all academy award material. The film was so well done it gives one the illusion of being in 12th Century England, the history errors not withstanding. O'Toole is every inch King Henry II in "Becket" as Burton is every inch King Henry VIII in "Ann Of A Thousand Days." This movie is must see for any Anglofile and a must for any video library. It was truly one of Hollywood's greatest movies.

Will this EVER be on DVD??
What a wonderful movie buta horrific version on VHS. Some of the scenes are so dark you have to really stretch to even make out basic facial features. It's sad indeed, with one of the best films by both Burton and O'Toole.

Rendering unto Caesar...
"Becket" explores the question put to Christ two millenia ago of whether man owes his primary loyalty to his monarch or to God. The search for the resolution of that question, and how it was answered, makes "Becket" one of the best historical dramas ever made. Peter O'Toole and Richard Burton are in top form as the young Henry II of England and his partner-in-mayhem Thomas Becket, whose primary interests are wine and women and not necessarily in that order. England in the 12th century was devoutly Roman Catholic, and the Catholic hierarchy enjoyed a level of power and prestige equal to, if not higher than, the king himself. But when the old archbishop dies and Henry needs to appoint a successor in his place, Henry outfoxes everyone by doing an end run around the bishops and naming Becket as the new archbishop. The bishops are upset; they believe Henry intends for Becket to be a puppet figure to be used to further the king's own ends. But to everyone's surprise, Becket takes his job more seriously than Henry ever intended. No one could be more stunned and shocked at this development than Henry himself.

The confrontation between Henry and the clergy is set immediately following the old archbishop's death, when Henry informs the assembled bishops that there will only be one head honcho in England, and that is the king. The bishops are not used to having their power abrogated by anyone outside the church; they answer only to the pope and to God. The king and clergy are on collision course, and Henry, to his chagrin, finds that Becket is solidly on the side of the Church his king has appointed him to represent. There will be no compromise here. The stage is thus set for a fateful confrontation.

One has to wonder: when Henry blurted out his petulant rhetorical question "Will no one rid me of this turbulent priest?", did he really not expect to be taken at his word? He's made it clear over and over again that he is the king, and the king is the law. So it's hard not to feel a sense of disgust at Henry's hypocrisy as he undergoes a ritual flogging in the cathedral crypt to expiate his guilt at having instigated Becket's murder, and immediately afterwards announces on the church steps that Becket will be venerated as a saint. Power-hungry to the last, Henry has abrogated to himself the privilege of an announcement that should have come from the new archbishop, or from the pope who alone has the power of canonization.

The film has everything going for it: a great plot, two excellent performances by Burton and O'Toole, terrific direction and cinematography, and fine historical accuracy. The Gregorian chant running through the scenes in the cathedral transport the viewer 700 years back in time. For two unforgettable hours, we're part of 12th century England.

And finally, let me add my request to those of the other reviewers of this excellent movie: Will someone please hurry up and release this film on DVD? I'll be first in line to buy it.

Dual Portraits: Monarch and Martyr
Peter Glenville's direction of this film in no way diminishes the quality of acting among members of the cast, notably Burton and O'Toole, both of whom were nominated for an Academy Award for best actor in a leading role; however, Glenville allows a somewhat sluggish pace which reduces the dramatic impact of the plot, and especially of the multi-dimensional relationship between Thomas Becket (Burton) and his monarch, Henry II (O'Toole). In fact, Edward Anhalt received an Academy Award for his adaptation of Jean Anouilh's play. I wish Glenville had made better use of his cast as well as of Anhalt's screenplay. That said, Burton and O'Toole are magnificent. They portray youthful best friends who share a commitment to hedonism...and to little else. Later, Henry II selects an obviously reluctant Becket (by then a priest) to serve as Archbishop of Canterbury. Becket's acceptance marks a defining moment which he recognizes but his king does not: Henceforth his highest loyalty will be to Almighty God, not to the occupant of the English throne. Opinions vary as to whether or not the historical Henry specifically ordered Becket's assassination but all agree that he would never have authorized it to be done in Canterbury Cathedral. Nonetheless it was.

This is a visually stunning film, perhaps even moreso than (for example) The Lion in Winter (1968) in which O'Toole also appears as Henry II. Granted, the relationship between Henry and Eleanor in that film is quite different from Henry's relationship with Becket. Also, The Lion in Winter covers only a few days during one Christmas season whereas the timeframe in Becket extends over several decades. However, both films focus on conflicting as well as congenial relationships. In Becket, Henry (in effect) finds himself competing with God for Becket's loyalty and devotion. He loses. The supporting cast is first-rate. Notably John Gielgud (Louis VII), Donald Wolfit (Bishop Folliot), Martita Hunt (Queen Matilda), and Gino Cervi (Cardinal Zambelli). The role of Queen Eleanor (Pamela Brown) is minor when contrasted with Eleanor (Katherine Hepburn) as she is presented in The Lion in Winter.

Question: Why is there no DVD version of Becket?

Those who share my high regard for this film are urged to check out the aforementioned The Lion in Winter as well as Cromwell  (1970), Elizabeth (1998), A Man for All Seasons  (1966), Anne of the Thousand Days (1969), and Mary, Queen of Scots  (1971). ... Read more

Amazon.com essential video

Ranked 34 on the American Film Institute's list of the 100 Greatest American Films, To Kill a Mockingbird is quite simply one of the finest family-oriented dramas ever made. A beautiful and deeply affecting adaptation of the Pulitzer Prize-winning novel by Harper Lee, the film retains a timeless quality that transcends its historically dated subject matter (racism in the Depression-era South) and remains powerfully resonant in present-day America with its advocacy of tolerance, justice, integrity, and loving, responsible parenthood. It's tempting to call this an important "message" movie that should be required viewing for children and adults alike, but this riveting courtroom drama is anything but stodgy or pedantic. As Atticus Finch, the small-town Alabama lawyer and widower father of two, Gregory Peck gives one of his finest performances with his impassioned defense of a black man (Brock Peters) wrongfully accused of the rape and assault of a young white woman. While his children, Scout (Mary Badham) and Jem (Philip Alford), learn the realities of racial prejudice and irrational hatred, they also learn to overcome their fear of the unknown as personified by their mysterious, mostly unseen neighbor Boo Radley (Robert Duvall, in his brilliant, almost completely nonverbal screen debut). What emerges from this evocative, exquisitely filmed drama is a pure distillation of the themes of Harper Lee's enduring novel, a showcase for some of the finest American acting ever assembled in one film, and a rare quality of humanitarian artistry (including Horton Foote's splendid screenplay and Elmer Bernstein's outstanding score) that seems all but lost in the chaotic morass of modern cinema. --Jeff Shannon ... Read more

Reviews (220)

EVERYONE SHOULD SEE THIS MOVIE
Truman Capote's influence is felt everywhere in both the book and film versions of TO KILL A MOCKINGBIRD, Harper Lee's classic, beautifully haunting story of childhood, innocence lost, and of the cruelty that exists in people everywhere. Yes, Gregory Peck is Atticus Finch, and all of the players here inhabit their roles with grace, humor and gravity, but it is Mary Badham as Scout who steals the show, as it should be. The simplicity of a father's touch, of a rapist's grimace, of the wind gently blowing through the trees at dusk -- everything in this movie evokes, from Scout's point of view, a time we each have in our lives that transforms us into adults. There comes with it an aching sadness -- as if saying goodbye to a comforting old friend -- but the revelation carries with it a profound joy. Elmer Bernstein's score realizes each emotional chord of the film, and transports us without ever lambasting us -- it is the best kind of movie score. You will be hooked from the opening credits, which are creatively brilliant -- those crayons, the haunting and beguiling theme softly begins on the piano -- through to the closing credits, at which point there will be well-earned tears softly falling down your cheek.

The Summer We Discovered Life
Every so often, as surely as night follows day, a film comes along that manages to transport us from our everyday lives and into a time and place that is recalled through memories of better and in a reversal of fortunes, turbulent times. To Kill A Mockingbird is such a film.

In a Pulitzer Prize winning novel by Harper Lee, the small town of Macomb, Alabama is portrayed in the summer of 1932, during the deepest depression that the United States had ever experienced. Over the course of the next year and a half, events will burrow inside this sleepy southern town and the lives of its residents will be transported by actions, ideas, perceptions and convictions that will influence one and all in ways that will ring true for years to come.

Atticus Finch (Gregory Peck) is a lawyer and widower, raising two small children, Scout (Mary Badham) and her older brother Jem (Phillip Alford). Into their lives enters a visitor, Dill (John Megna) from Meridian, Mississippi, come to spend two weeks with his Aunt Stephanie (Alice Ghostley). Macomb is a town with nothing to do and if there were, no money to spend on it. The stage is being set for a life shattering episode that will not go quietly into that good night.

Childhood holds its fascinations, its myths, its coming of age and through the eyes of the three children, the audience is allowed to peer into the adult world around them as perceived through the minds and souls of innocence that will be all too easily shattered as time whistles down the track. One of the stories woven so masterfully within its covers is the local urban legend of bogeyman, Boo Radley (Robert Duval), who lives on the same block as the Finch family. In a narration, rather like playing telephone, his persona takes on all the familiar attributes of a raving lunatic, a monster out for blood. His aura becomes the end all for Scout, Jem and Dill as they seek to master the mystery surrounding Boo and the ability to live to tell the tale!

Into this world of innocence, a shattering crescendo of complexity wraps itself in the lives of the townspeople in the form of an alleged rape of a white woman, Mayella Violet Ewell (Collin Wilcox) by a black man, Tom Robinson (Brock Peters). Atticus Finch is called upon to act as counsel for Robinson and in doing so, the stage has been set for a dance with race relations and the exemplary lengths that are gone to in order to allow justice to prevail in the face of malcontent.

The performances throughout To Kill A Mockingbird are stunning. Gregory Peck, as the gentleman lawyer, mired in small town attitudes and thoughts that were so representational in the southern gothic sphere, has collected and held a restrained order to his character, and in the process, he has allowed us all to be on the receiving end of hate as conveyed through the actions of small minds and small people. The children, especially Mary Badham, are siblings of more than a movie making venture. They show the absence of preconceived notions, and the guile of beings before the actions of adults can render their world as lost and gone with the shedding of time.

James Anderson as Tom Ewell is the complete representation of oily slime as Mayella's father. He embodies all of the hate and prejudice that continues to be harboured to this day in the souls of those who would attempt to wield their vision of the way things should and ought to be. He has a foul baseness that lingers like a bad rash as he attempts to invoke his arguments through drunken bullying and hatred. Collin Willcox as Mayella is excruciatingly convincing as the bored, housebound white woman who tries to tempt Tom Robinson into kissing her and through her actions sets in motion a rollercoaster of tragedy to come. Her speech to the assembled courtroom is superb and as the audience, you feel her anger and resentment at having to be put in such a position, having to lie to save face and what little position she has in the town. Brock Peters as the aforementioned Robinson is equally sure in the allotted time he spends on the screen. There is a noble demeanor to his bearing, and yet we are aware of the restrictions that blacks were held to in their relationships with whites at the time.

Robert Mulligan, the director and Horton Foote, the screenwriter, have presented us with a look into our pasts and faithfully etched a portrait of quiet and artfully rendered proportions that draw us into the canvas and the lives of those assembled. We have walked a mile in their shoes and been under their skin. Foote worried about being able to do justice to Lee's novel, but he worried for nothing. He has completely evoked an era that now rests behind clouds of dust, blown by the winds of time into oblivion.

The cinematography by Russell Harlan and the set decoration by Oliver Emert carry us back through the courtesy of black and white to a depiction seen only in old photographs and clouding memories of those who lived in those precarious times. Black and white films seem to have had a curse thrust upon them by the younger generation today, as boring and tedious, but through the courtesies extended by Harlan and Emert, we are richer for those perceptions that would harken back throughout the pages of history.

Elmer Bernstein's film score carries us like an old friend and helps us to make our acquaintances with the characters held within this framework. He has achieved much with a simple theme and persuades us that said simplicity is fulfilled with less rather than more.

To Kill A Mockingbird is beautifully haunting and having been made in the 60's, at the height of the Civil Rights movement, it garners our attention to stop and take the time to truly 'see' what the human race is all about and what it can and should be, if taken over the bumps in the road and onto a path of sincere honesty and purpose. No special effects were needed, no huge Hollywood budget, no splashing of a story that had a happy ending for everyone involved. It is an open book into the realities of a world tilting temporarily off its axis, and being brought back on track through the goodness that sits in the hearts, minds and souls of mankind, if given half a chance.

See it and be amazed at what real moviemaking is all about.

Destruction of the innocent by the evils of the society
Destruction of the innocent by the evils of the society
Kuldip Kumar Garhwal

"Mockingbirds don't do one thing but... sing their heart out for us. That's why it is a sin to kill a mockingbird." The movie 'To kill a mockingbird' depicts the destruction of the innocent by the evils of the society. Mockingbird is a symbol of innocence, characterized by Tom Robinson and Arthur Radley (Boo) where racial prejudice and ignorance are the symbol of evils in the society.

Tom Robinson, an African-American is accused by Mayela, a white woman, of sexual molestation. Atticus, a prominent lawyer of the town Maycomb, has proved that Tom Robinson is innocent but still the "all-white jury" convicts Robinson of the guilt. Tom Robinson, a "quite humble respectable Negro", becomes the victim of racial prejudice. Arthur Radley (Boo) has been emotionally destroyed by his father, as his father did not let him step outside the house. Boo is one of the "mockingbirds" in the story, who is the victim of ignorance; evil of the society which is trying to kill the good. Boo had a deep affection for children, which is later displayed in the story, when Boo saves Jim and Scout from Bob Ewells.

"There are some men in the world who are born to do unpleasant jobs for us; your father is one of them", said Maudie to Jim after his father (Atticus) lost the case of Tom Robinson. Atticus helped his children to learn values of life and he showed them how to live life by the values; preaching by practicing. Atticus allowed his children to call him by his name instead of 'father'. He wanted his children to explore freedom, but also taught them to stay in limits. Jim is brave, intelligent, and caring. He learns courage, dignity, and value of life from his father. He is transforming into adulthood.

Scout is still a kid; she does not know anything about the existence of evil in the society. She is learning about evils from the real life example of the victims (Tom and Boo) of the evils in the society. By the end of the story Scout's perspective on life develops from that of an innocent child into that of a near grown up. "Mr. Tate was right", said Scout to Atticus, after Mr. Tate, the town Sheriff explained Atticus indirectly that whatever Boo did was correct and he is not supposed to be punished for that. "It would be like shooting the mockingbird, wouldn't it." Scout shows a high level of ability to comprehend at the age of five, and understands the whole situation and judges what is right and what is wrong.

The Music Director of the movie has done an excellent job. Music plays an important role in the movie, by setting the mood for what is been screened. The movie starts with a musical note, which seems like it is played by a kid, one note at a time. The movie also has gothic music to create the horrifying or thrilling environment, when Jim and Scout were walking home after the Halloween Party and they had an encounter with Bob Ewells. Most of the places the movie has melancholy music to produce the feeling of thoughtful sadness. The pleasant arrangements of musical notes in the movie create an atmosphere where we feel that we are a part of the movie, and we go back into our nostalgic memories and look back into our childhood. The movie itself seems like a mockingbird song.

My favorite scene in the movie is when Atticus is walking out of the courtroom after the trial is over and all the "colored" people sitting in the balcony stands up to pay respect to Atticus, a white man, who tried his level best to save a "Negro." The Reverend says to Scout who was sitting, "Stand up Jean Louise. Your father is passing." The scene says it all, there is not much dialogue but the expressions on the faces of the black people was marvelous, with a slow melancholy music at the background. As it this situation there is nothing left to say, because everyone knows in the courtroom that Tom Robinson is not guilty but still the jury has convicted him of the rape, just because of racial prejudice.

_____________________________________________

Kuldip Kumar Garhwal(...)

To Kill a Mockingbird is like a sin
'To Kill A Mockingbird' is of course the movie adaptation of Harper Lee's movie with the same title. Gregory Peck is a lawyer in rural Mississippi who is asked to defend a black man accused of raping a white woman.

The movie starts however with a seemingly unrelated event, the lives of Atticus Finch's two children. His daughter is a tomboy and his son is trying to keep her from getting into more trouble. The stumble upon some strange items and look at the house of a strange man called Boo Radley.

Then the movie goes into the court case. It is of course very obvious that the black man is innocent, but this is 1930's South with an all white jury...

Then the two parts of the movie come back together again...

The acting in this movie (in black and white) is superb. I recall that Gregory Pecks perfomance was voted the best of the century. Even the little girl is superb, she even got a nominatation for an oscar. Boo Radley is played by Robert Duvall, though he says next to nothing and is only in the movie for a few minutes. He of course 10 years later would play Tom Hayden in The Godfather. For Star Trek fans: Tom Robinson, the black man accused, is Sisko's Father of DS9

Its children¿s world that evolves with racial prejudice
We shall say "To kill a mockingbird" is a classic of the century that unfolds reality into film with profound simplicity. Its character development along with the approach of realism supersedes many contemporary works of literature and film. The historic flavor of the film creates an impression of a southern community of America during the great depression. Apparently the quintessential theme of the movie is the social stigma and prejudice. We see conflicts between the blacks and whites in the same community where justice has upheld my one of the central character called atticus.

Tom Robinson, a black guy living in the same town called Mayconb was one of the central characters in the movie has been accused of raping a white woman. However, eventually he was convicted as guilty of charge and subjected to unfair justice system by the ignorant majority that have taken part in the jury. But there were other themes that also have significance to its crafts also. Its amazing reality of children's life that is so universal. It created a reality of vividing contention that helps the viewers to understand how the children see and think about the world. It also calls into attention of the activities that children by their vary nature involve in a family. For instance, Scout and Jem who are the central characters have enormous interests in scary yet joyful venture to Boo Radly's house even after being forbidden by their father. It was also important to observe how the children have collected gifts from the tree given by a isolated guy who they never been acquainted with.

The phenomenal curiosity of children is almost inescapable from the viewer's notice in the movie. They were inquisitive in every detail of what has been happening around them. That gives us the idea of their emotional reopens to the world and family relationships. As you will see, if you watch the movie, their father atticuls who has been a significant moral authority to them. He has great influence on how they develop the ideas of people and differences of good and evil that remain in their fantasy world.

The story of the movie has a unique way to tell you about a community and what is going on to its families. It takes us to the journey to reflect on our own childhood fantasy world and the adventures that still remains in our mind a thrill. ... Read more

Amazon.com essential video

They call it Giant because everything in this picture is big, from the generous running time (more than 200 minutes) to the sprawling ranch location (a horizon-to-horizon plain with a lonely, modest mansion dropped in the middle) to the high-powered stars. Stocky Rock Hudson stars as the confident, stubborn young ranch baron Bick Benedict, who woos and wins the hand of Southern belle Elizabeth Taylor, a seemingly demure young beauty who proves to be Hudson's match after she settles into the family homestead. For many the film is chiefly remembered for James Dean's final performance, as poor former ranch hand Jett Rink, who strikes oil and transforms himself into a flamboyant millionaire playboy. Director George Stevens won his second Oscar for this ambitious, grandly realized (if sometimes slow moving) epic of the changing socioeconomic (and physical) landscape of modern Texas, based on Edna Ferber's bestselling novel. The talented supporting cast includes Mercedes McCambridge as Bick's frustrated sister, put out by the new "woman of the house"; Chill Wills as the Benedicts' garrulous rancher neighbor; Carroll Baker and Dennis Hopper as the Benedicts' rebellious children; and Earl Holliman and Sal Mineo as dedicated ranch hands. --Sean Axmaker ... Read more

Reviews (62)

The quintessential Texas epic loaded with stars!
This 202-minute slow-paced drama exemplifies the lives of three generations of cattlemen on a grandiose west Texas cattle ranch at the onset of the oil boom. Being a native Texan with relatives living close to the area near Marfa, Tx where GIANT was filmed, I LOVE this movie for the sheer drama and myth of our state. (and yes, there ARE some exaggerations) But it's also a well-crafted movie with exemplary performances by Rock Hudson, Elizabeth Taylor, James Dean, and a very young Dennis Hopper! Viewers seeking a fast-action adrenaline-pumping film probably will be bored by GIANT, but viewers who enjoy classical performances, historical sagas, (and old movies) will cherish this movie. It's sort of like a western "GWTW"! They don't make 'em like this anymore!

A gigantic screen presence
What about this movie isn't big? Big stars (Elizabeth Taylor and Rock Hudson); big state (Texas); big ranch (2 million acres of prime cattle land), and big length; at 202 minutes, this film runs about 45 minutes too long. The story is the familiar one about grandiosity run amok; the moral, which has been done to death, is that the simple life is the one best worth living. We've seen it all before. So why see this movie? In two words: James Dean. In his last film before his tragic death on the Freeway at the age of 24, Dean showed that he was what his legion of fans always claimed: a true genius. Try to imagine anyone else in the role of Jett Rink , and the character remains a cipher - lifeless, dull, nothing. It took Dean to bring it to life and make it his own. In this movie, James Dean and Jett Rink become indistinguishable from each other. And perhaps only an actor as brilliant as Dean could turn Rink from a character we love in the first half of the film, to a character we hate at the end. His drunken tirade near the movie's end is a tour de force. Dean's magnificent performance doesn't take away from the very creditable acting by Rock Hudson as the millionaire rancher Bick Benedict, Elizabeth Taylor as his wife Leslie, the young Sal Mineo, and especially Mercedes McCambridge as Bick's bitter, sexually frustrated sister with an unrequited passion for Jett Rink; but next to Dean's knockout performance, they pale into mere adequacy. Forget everything else; this is Dean's movie.

This is Texas?
I recently decided to view this film. Let's see - a reference to Neiman-Marcus - some wide open spaces, some cattle and oil wells. O.K. - but this film does not really tell about Texas and Texans. Thankfully, Chill Wills (from Seagoville, TX) was in it. He was the most Texan thing about this film. I wish I had something more positive to say - but I don't.

Giant Is Not A Widescreen Film
The product information here should be carefully read, as it reveals that this edition of Giant has been transferred in a 1:1.66 letterbox transfer. This is a travesty. Giant was filmed and released in the classic 1:1.33 "Academy" aspect ratio, which also happens to be the aspect ratio for NTSC analog television. George Stevens disliked widescreen processes, although he was forced to use them by studios on later films.
The time has come to put a stop to these unnecessary, phoney "restored" versions of classics. It's just a marketing ploy to squeeze more money out of old warhorses. Going back to the good old days of the laserdisc, I never much cared about the extras that were first introduced by Criterion and later imitated by the major studios. I've always responded to a high quality video transfer taken from the best film elements available. Getting the aspect ratio wrong and mutilating the images of Steven's classic film makes everything else irrelevant.
Thank goodness I still have my laserdiscs. Failing that, grab a copy on VHS.

FANTASTIC!
The DVD is superb -- I do not know what all the complaints about sound, etc. are all about! My goodness, this film is almost 50 years old -- and I think it is in wonderful shape!

I purchased this video because I have become a big James Dean film, but the acting of Elizabeth Taylor, Rock Hudson, Carol Baker, and Dennis Hopper were splendid.

To think that Hudson was a mere 29, Taylor 23, and Dean 23 and could play characters who age 30 years with such reality is a true testament to their genius! Of course, the makeup artists must also receive recognition.

The most disturbing portion of the film to me is when Hudson confronts "Sarge" the restaurant owner in a fist fight and when "Sarge" lands into the juke box, "The Yellow Rose of Texas" begins to play. However, this epic film is full of irony and subtle twists and nuances -- to really grasp the entire message this film needs to be viewed more than one time.

The irony of the Mexican children singing The National Anthem during the funeral of Angel (played by a very young Sal Mineo) touched me. Little Angel was a person who died for the United States and yet was the focus of bigotry from his impoverished birth until his death.

Or course, in my opinion, there was and never will be another James Dean -- it is heartbreaking to watch this dramatic genius in the final film performance before his untimely demise. Like Buddy Holly, I will always wonder where Dean's career would have gone.

Carol Baker is fantastic in her first film role and the very young Dennis Hopper's performance is equally memorable.

This film speaks to the injustices of racial bigotry that unfortunately will always exist except in a utopian world.

The additions to this DVD make it a must-buy!

Please don't hesitate to purchase -- this DVD is worth every penny -- and then some!

Oh, the editorial review refers to Elizabeth Taylor as a Southern Belle and this is incorrect. Leslie Benedict is from Maryland and even makes the comment to Hudson and his crownies that she was from the "Center of Politics" when Hudson tries to push her aside so the men can talk "Business and Politics". ... Read more

Amazon.com essential video

There's no getting around a simple, basic truth: watching Lawrence of Arabia in any home-video format represents a compromise. There's no better way to appreciate this epic biographical adventure than to see it projected in 70 millimeter onto a huge theater screen. That caveat aside, David Lean's masterful "desert classic" is still enjoyable on the small screen, especially if viewed in widescreen format. (If your only option is to view a "pan & scan" version, it's best not to bother; this is a film for which the widescreen format is utterly mandatory.) Peter O'Toole gives a star-making performance as T.E. Lawrence, the eccentric British officer who united the desert tribes of Arabia against the Turks during World War I. Lean orchestrates sweeping battle sequences and breathtaking action, but the film is really about the adventures and trials that transform Lawrence into a legendary man of the desert. Lean traces this transformation on a vast canvas of awesome physicality; no other movie has captured the expanse of the desert with such scope and grandeur. Equally important is the psychology of Lawrence, who remains an enigma even as we grasp his identification with the desert. Perhaps the greatest triumph of this landmark film is that Lean has conveyed the romance, danger, and allure of the desert with such physical and emotional power. It's a film about a man who leads one life but is irresistibly drawn to another, where his greatness and mystery are allowed to flourish in equal measure. --Jeff Shannon ... Read more

Reviews (278)

DVD the best looking version yet
Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.

The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.

The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

Arabian Winner
Lawrence Of Arabia is one of the biggest and grandest films ever made. Director David Lean crafted a stunning epic that tells the tale of World War I British soldier T.E. Lawrence. Lawrence joined the various desert tribes of Arabia against the Turks and the desert battle scenes are breathtaking. Peter O'Toole is amazing as Lawrence in what would be a star-making turn for him. Omar Shariff, Anthony Quinn and Alec Guinness provide strong support, but this is Mr. Lean's film through and through. His direction provides sweeping shots of the desert vistas and gives the film its big look, but he also allows the story to flow and we really get inside the complicated head of Lawrence and see his psychological foibles. The film is beautifully transferred to DVD and it brings justice to the film that had previously suffered on video transfers. The movie was a major success as it swept through the 1962 Oscars winning Best Picture and Best Director, but Mr. O'Toole lost out on what would be the first of his of his seven unsuccessful Best Actor nominations.

Conservatives support slavery? This movie makes the case
Hi. My name is Steven Thulen. You might know me from such reviews as "Bowling For Columbine" and "My Life." I am here today to talk to you about "Lawrence of Arabia." While this may shock and astonish you, I will offer a long-winded review without actually discussing this film.

I am that good.

First, a history lesson. In the year 1492 Columbus sailed the ocean blue. He landed in Haiti and raped the native there, then enslaved them. Later, many Africans were captured and made slaves by white people. White people continued to terrorize other races throughout the latter half of the 19th Century.

Finally, World War I took place. During that war, many people died, including white people. Some people who were too cowardly to serve in the world fled to California, where they became subpar sports writers. Later, World War II took place. In that war, white people dropped atomic bombs on Asians.

Peter O'Toole was probably gay and acted really well in this movie.

STEVEN THULEN
AUTHOR OF "JIMMY KEY: BASEBALL'S BATMAN"
(...)

The Greatest Historical Epic Ever
LAWRENCE OF ARABIA is, without a doubt, the greatest historical epic ever filmed and the crowning achievement of David Lean's career. It's also the film that makes best use of the majestic desert landscape with shots of extraordinary rock formations, dunes, shimmering "mirages," and caravans making their way across seemingly endless sands.

LAWRENCE OF ARABIA tells the story of T.E. Lawrence and his adventures in the Middle East during World War I as he led the Arab revolt against the Turks. It is loosely based on Lawrence's book, THE SEVEN PILLARS OF WISDOM.

Even though there are battle scenes in LAWRENCE OF ARABIA, this film is, first and foremost, a character study of Lawrence who was, by anyone's account, a fascinating figure. Even the battle scenes serve to enhance the character of Lawrence rather than detailing the horrors of war and we see Lawrence's dark, embittered side as well as his heroic one.

Although Peter O'Toole wasn't David Lean's first choice to play Lawrence (both Marlon Brando and Albert Finney were offered the part), I can't imagine anyone else in the title role.

Omar Sharif is impressive as Sherif Ali Ibn El Kharish. Prior to this film, he was a virtual unknown, but LAWRENCE OF ARABIA launched Sharif on a long career that made him instantly recognizable the world over.

Even though O'Toole and Sharif weren't well-known when they starred in LAWRENCE OF ARABIA, the film's supporting case is certainly stellar: Alec Guiness, Anthony Quinn, Jose Ferrer and Claude Raines.

Although I think LAWRENCE OF ARABIA is best viewed on a large theatrical screen, this doesn't mean anyone should pass up the DVD. It's just too good for that, especially the Director's Cut (but do make sure you get the widescreen edition; this film demands it).

Don't watch LAWRENCE OF ARABIA expecting to get a history lesson. Watch it to learn more about the fascinating man who was T.E.Lawrence. If you do, I can't see any way you'll be disappointed.

Read the book, then watch again in awe.
I have seen this masterpiece many many times, but only after reading T.E. Lawrence's book "The Seven Pillars of Wisdom" this year do I now begin to understand. This movie is a product of two of the century's greatest minds, one an author and soldier, the other a film maker. The power of Lawrence's descriptions of the desert matches the great cinematography. No film could fully project the power of the inner thoughts of this most introspective man; for that you absolutely need the book to fill in the gaps. Many of the scenes take on a much deeper meaning once you have read the book in detail. The Columbia Tri-Star two-DVD edition is faultless, something I will always treasure. I find it hard to believe that someday a better movie could possibly be made, but we can hope against hope. ... Read more

Reviews (2)

GREAT MOVIE!!
I'm not a Tom Cruise fan but this gets two thumbs up! Saw it twice in the theater, and am gonna buy it on DVD and watch it again!!

Micheal Mann will do it again
I know this movie will be awesome this is a Micheal Mann movie. Just look at the list of movies he's made Manhunter, Heat (one of my all time favorites), The Insider (another one of my all time favorites), and Ali. In all Micheal Mann's movies there are alway's awesome plot's, plot twists and performances. Ten years ago Tom Cruise was an awesome bad guy in Interview with the vampire, and again Tom Cruise will be awesome as a bad guy. I know Jamie Foxx who is always good, and Mark Ruffalo will put on good perfomances. So be ready for a night on the town. ... Read more

Reviews (1)

A simple masterpiece
Whoopi Goldberg gives an unbelievable performance in this film. I have never seen her do anything that holds a candle to this. Oprah Winfrey as well. Danny Glover is outstanding. This is a very sad story... the tears will pour early on, but it is well told. An excellent script, terrific performances. This is a must see. ... Read more

Reviews (74)

A subtle movie! A Dynamite Cast! A Gorgeous Score!
This is a subtle and rewarding film. The cast is magnificent--the performances great! One of my favorite film scores too!

A hint for watching the movie. With each viewing, I find I have been concentrating on a different actor. Kim Novak is definitely at her peak; William Holden is remarkable; Rosalind Russell is at her very best, with a fantastically varied and difficult part; Susan Strasberg is wonderful indeed. All of the supporting actors are super too! And this IS primarily a story of individuals' lives, and how they are changed.

The film gives a remarkably accurate picture of life in 1950's rural Kansas. But onto this background is thrust a love story of great interest and appeal. The film has super color and fine sound (for its era anyway).

The film is, quite simply, astounding. Don't rent it....buy it, bucause it just gets better and better with repeated watchings!

Dripping with lust!
Picnic is one of those films that just transports the viewer into another time and era and that's the sign of a truly great film. Holden has the daunting task of playing a loveable hustler with big dreams that he just can't make happen. So he decides to go back to familiar grounds and falls for kim Novak. Novak is a treasure in this movie her exotic beauty and shaky voice highlights her characters uneveness to conform into the town's perfect beautiful young woman. This film at it's time was billed as too sexy due to the dance that Novak and Holden share at the picnic and till this day the scene holds up great. The lust in both their eyes and Novaks raw sex appeal against Holden's rugged good looks is a sight to be hold. But the back story which I won't give a hint of is the true tale of this flick and shows how human nature is always determined by the role society wants you to play based on your looks! This film still holds up today as a work of pure sexual energy and raw human emotions.

William Holden & Kim Novak are OUTSTANDING in Picnic
I saw PICNIC during its release in 1956 in India when I was in
school. I was crazy about English films and never missed a good
film.one of my class mates saw the film before me and remarked
about the energetic dancing of Holden as spellbinding.I was not
that keen in the beginning to see the film due to its title which meant lightweight and fun. But when I saw the film the experience was tremendous, I had just seen a masterpiece. William Holden and Kim Novak were just outstanding. Holden

brought a breath of fresh air as soon as he appeared, and Kim
Novak was not just a small town beauty queen, she oozed raw sex
and hidden desires exposed to the full by carefree but passionate William Holden. Although, without doubt the highlight of the film was the picnic and the dancing where all the principal players of the film are envolved emotionally and the finale to the story builds up, there other memorable scenes notably the swing scene where Holden gets hold of the swing where Novak is sitting, he begins playing with it unintentionally and realises for the first time that he has fallen for the fiancee of his best friend. Then there is that passionate scene beside the waterfall where both Holden and Novak admit their love for each other and kiss intensly, Holden with torn shirt. After this Holden runs and catches the running train and finally Novak follows him, her true love in the Greyhound. The execution of all these scenes and the whole story is nothing less than perfect. James Wong Hoe's technicolor photography is outstanding. Needless to say I have seen this film many times since and found it always charming.

Holden Sparks, Novak Smolders, Kansas Burns
In a decade of conformity and great prosperity William Inge and Tennessee Williams tackled subjects ahead of their time. Of course they in some cases had to veil the subject matter but that lead to some wonderful revelations in writing and reading between the lines. In this DVD from Colombia of Inge's Pulitzer Prize winning 'Picnic' we have one of the best films of this genre of sexual repression, animal heat, and desperation in small town America.
Most reviewers of this film might begin with the leads but I must start of with the wonderful Verna Felton as Helen Potts the sweet old lady who is caretaker of her aged mother and lives next door to the Owens family. This gifted and now forgotten character actress sets the tone of the picture as she welcomes drifter Hal Carter (William Holden) into her house. At the end of the film she glows in tender counterpoint to the dramatic ending. She is the only person who understands Hal, even more than Madge (Kim Novak). Her speech about having a man in the house is pure joy to watch. It is a small but important performance that frames the entire story with warmth and understanding.
Betty Field turns in a sterling performance as Flo Owens, Mother of Madge and Millie. She is disapproving of Millie's rebellious teen and smothering of her Kansas hothouse rose Madge. A single Mom trying in desperation to keep Madge from making the same mistakes she did. She becomes so wrapped up in Madge's potential for marriage to the richest boy in town she completely ignores the budding greatness that is bursting to get out in her real treasure. Millie.
Susan Strasberg creates in her Millie a sweet comic oddball. She is the youngest daughter who awkwardly moves through the landscape nearly un-noticed, reading the scandalous "Ballad of the Sad Café" being the only one who is different and can't hide it. Her yearning to get out of the smallness of small town life is colored with the skill of a young actress with greatness her.
Rosalind Russell nearly steals the show as the fourth woman in the Owens household boarder, Rosemary, a frantic, hopeless and clutching spinster. In the capable hands of Miss Russell we have a real powerhouse of a performance. She imbues Rosemary with all the uptight disapproval of a woman who knows that her time has past and there are very few options left. She is electric in her need for love. Every nuance of her emotions is sublime in her presentation. Just watch her hands alone.
Floating above all of this is Madge Owens, the kind of girl who is too pretty to be real. The kind of girl who in a small town like this is not understood to have any real feelings or thoughts other than those that revolve around being beautiful and empty. Enter Kim Novak, who is just such a girl. Who could ever expect such a beauty to be anything more than just pretty? But Miss Novak, a vastly underrated actress in her day paints a knowing and glowing portrait of Madge. Her explosion of sexual heat upon meeting Hal for the first time is internal and barely perceptible until she looks at him from behind the safety of the screen door the end of their first scene. That screen door is a firewall protecting her from the flames. She fights in the early part of the film to keep her sexual desire for Hal in check. That night she loses her fight at the picnic and we watch as she opens to reveal a woman of feelings and dreams so much deeper than the prettiness of her eyes or the luminosity of her skin. This is one of Kim Novak's early great roles and one she fills out with lush and deep emotion.
The lives of all of these women of Nickerson Kansas are changed one Labor Day when Hal comes steaming into town. William Holden gives a raw and wounded portrayal to Hal, a man at the edge of his youth and on the verge of becoming a lost man. He lives as he always has, on the fading glow of his golden boy charm and his muscular magnetism. Holden was 35 when he made Picnic, a real golden boy at the edge of his youth. He was perfect for the part. Some reviewers say he was too old to play Hal, but I disagree. Without being thirty-five in real life as well as in the story Rosemary's "Crummy Apollo" speech would not be so effective or devastating. Hal is a man who never bothered to grow up, a man who never let anyone get too close for fear they might see through is bravado and discover his fears of feeling something, anything before it's too late.
Holden also brings a sexual heat to the film that is eons beyond the time it was filmed. He is presented almost like a slab of meat. He struts around in a pre-Stonewall dream of sexy hotness. Not only the girls in town notice him but a few boys too. (There are several layers to Nick Adams paperboy if one bothers to look.) When finally Holden sparks with Novak they blow the lid off of the uptight code bound studio-strangled world of Hollywood in the Fifties.
The film is photographed magnificently in lush color and cinemascope by famed cinematographer James Wong Howe. The famous score by George Durning is classic not only for the famous reworking of the old standard "Moonglow" but for his virtuosity in dramatic power. This is a giant of a score from the silver age of film music. The direction by Josh Logan is perfect in every way and stands among the best of his work.

Moonglow moments
You know it's good:

1. It's the look on William Holden's face when he first catches a glimpse of Kim Novak coming down the stairs in that pink dress. ("Madge is the pretty one"--she sure is)
2. It's the way she shimmies up to him. Revealing her intentions, she never loses eye contact or says a word.
3. It's the moment he takes her into his arms to dance close--he gives a little sigh of pleasure.
4. It's the look on his face when he's dancing--that criptic smile of pleasure and sensuality--all the while knowing that she's totally off limits.

and of course the song itself. This scene in itself makes the movie and with DVD you can play it over and over and over... Not many dance scenes have stood the test of time. I loved it. What can I say--I'm a chick. ... Read more

Reviews (7)

MUST SEE
The subtle passion of this film is remarkable. It is a Martinez tour de force - every movement on screen is full and rich. There are few films that are as romantic as this one. For any one who is a fan of Olivier Martinez this is a MUST SEE movie; For anyone new to Martinez, THIS is the one that shows you he is a true icon of sensuality and the ultimate in French film today.

C'EST tres bon!

"It would be wonderful to die of love."
In the film, "The Chambermaid on the Titanic" French factory worker Horty (Oliver Martinez) wins the company's annual contest of strength (once again), but this year, the prize is a bit different. Horty is sent to Southampton, England to watch the launching of the Titanic. At first, Horty's wife, Zoe (Romane Bohringer) is thrilled because she thinks she will go too, but the prize is for Horty alone, so he leaves for Southampton, and Zoe stays at home.

Horty goes to the Southampton hotel where he is supposed to spend the night, and once inside his room, a beautiful young woman knocks on the door and asks if she can spend the night. Horty, at first refuses, but the young French woman appeals to his chivalrous side. The woman, Marie (Aitana Sanchez-Gijon), says she is a chambermaid on the Titanic. Since she's due to sail tomorrow and just needs a place to sleep for the night, Horty lets her stay....

Upon returning to France, Horty is greatly changed. His wife notices his altered demeanor, and soon a sulkily distracted Horty is down at the pub with his fellow workers. Someone notices that he has a photograph of Marie, and soon everyone wants to know who she is and exactly what Horty's relationship is with this beautiful mystery woman. When news that the Titanic has sunk reaches the factory workers, they frenziedly request Horty's story about Marie over and over again--and the situation becomes intolerable for Zoe.

The story is really about the blending of fantasy and truth. Horty and his fellow workers have no glamour or fantasy in their bleak lives until Horty begins entertaining everyone with his stories. Soon it isn't even important if the stories are true or blatant lies. What's important is the ability to weave fantasy. But there is danger in fantasy--as Horty discovers--fantasy has a way of getting completely out-of-control, and when fantasy take over your life, does fantasy then become reality?

This is a very clever and unusual film from Spanish director Bigas Luna. It is perhaps one of the most unusual foreign films I've ever seen--a very unconventional romance--packed with good, solid acting, a script loaded with surprises, and splendid cinematography--displacedhuman

Wonderfull movie.
A movie that you will no soon forget........extremelly romantic and sensual.

Fascinating and well played
I really recommend you this movie. It is refreshing, and fascinating. It transports you constantly between reality and fantasy. A beautiful story. To be recommended!

The authentic gem of cinematic Titanics
French films often depict life in far more realistic ways than Hollywood. This gem, which only incidentally deals with the Titanic tragedy, is an artistic and sensual protrayal of how the mind is even stronger than the bodily appetites when it comes to romance, passion, and perception. The film cleverly depicts how human emotions and behaviors are more influenced by imagination than by immediate physical action. Martinez has a gritty, sexuality that is rare in films today. He suggests that men might woo their women more successfully with words rather than more traditional machismo. The photography, screen play, direction, and acting are all first rate. This is one of the finest films to come out of France since Truffaut and Renoir. ... Read more

Reviews (47)

It's the Cheese!
Note: This movie is about Dr. Hunter S. Thompson. And for those of you who already know this, I've read that Thompson was not happy with the outcome of this production. Based on other things I've read, it is my interpretation that he was unhappy with the storyline and not the acting. What you must keep in mind is that this movie was made in 1980. It was meant as a comedy and starred a cast member of SNL. But then again, Blues Brothers was a huge hit. The movie met with crappy reviews and had a short lived theater run-time. I happen to be a huge Hunter Thompson fan and love everything Thompson. I know all of Thompsons books and as much as he doesn't want to admit it, this movie is pretty much the man. This is not for everyone. Many would find it silly. In fact it is silly. I suppose the question would be: Do you Fear you might Loath this film? If that question exists in you, you simply MUST find out for yourself. If you don't understand the question, you're too late. Me? I loved it.

"It never got weird enough for me"
Supposedly Hunter Thompson said he didn't like this movie although he said he thought Bill Murray did a great job of portraying him. Something like that. I loved this movie. I barely knew who Thompson was when I saw it the first time and now I have all of his books. I couldn't believe this was on The Book of Lists 10 worst movies of all times. Screw The Book of Lists! They have the 10 worst movie reviewers of all times. Thompson has had two movies made about him already and he's still going strong. That must be some kind of record. I liked this one better than "Fear and Loathing in Las Vegas" although Johnny Depp did a great job in that one. And it's really interesting to me how few people even know who Hunter Thompson is. If you're a biker (motorcyle variation) you got to read "The Song of the Sausage Creation" article that he wrote for Cycle World Magazine back around 1995. Bad Craziness! They should make a movie from that article.

the funniest movie i have seen in a long time
I am a hard critic when it comes to comedy movies. This movie was one of the best comedy movies i have seen in 6 months. You will want to c this movie over and over again

I agree. DO NOT Buy the Anchor Bay release of this film!
Anchor Bay bought the rights to this film and for some reason only included a couple of the original songs. And they still advertise on the package that there is music from Bob Dylan and Jimi Hendrix. This music was taken out! Curse their flagrant lies! The music they added is some horrible studio band. The original music is a key part to this film. Why would any respectable video release company change an origianl film, and on top of it boast an advertisement for something that is not there? Find an original version of this film and
BOYCOTT ANCHOR BAY!

Sorry, but this was a baaaaddddd movie...
First of all, I don't like Bill Murray, so the rating will automatically be dropped to three stars because of that factor. And second of all, it was just so boring! I was forced to watch this as a 'family time' event and I'll admit that I felt like poking out my eyes! Poor Hunter S. Thompson ~ I feel so bad for him for being portrayed by Murray. Had I been him, I wouldn't have been happy one bit. While it wasn't the WORST movie I'd ever seen, it was certainly on the bottom of my list. ... Read more

Reviews (44)

ALWAYS--An Unfairly Maligned Movie
A loose reworking of Victor Fleming's 1943 World War II drama A GUY NAMED JOE, ALWAYS has to rank as perhaps director Steven Spielberg's most unfairly maligned movie. Even though it has a very old-fashioned feel updated to the late 1980s, this is still a fine movie done with real poignancy. This is nowhere near the bottom of the Spielberg canon; that dubious distinction belongs to "1941" and HOOK.

Richard Dreyfuss stars as Pete, a dare-devil aerial firefighter with a penchant for taking a lot of unneccesary chances in his line of work. As much "fun" as he has, he is worrying not only his partner Al (John Goodman), but also his one true love Dorinda (Holly Hunter). After much pressure, including Hunter's threat to leave him, he agrees to settle down and become an instructor for up-and-coming flyers in Colorado after one last mission. But on that mission, in the process of saving Goodman when his plane catches fire, Dreyfuss loses his life when his aircraft explodes. Goodman is horrified, and Hunter devastated.

In heaven (or a burned-out section of forest), Dreyfuss is met by a guardian angel (Audrey Hepburn, in her final role). He comes back to earth as a spirit, to help a rookie fire-fighter (Brad Johnson) learn the tricks of the trade. Johnson does this and more; unfortunately, he also falls head over heels for Hunter, and Dreyfuss feels the pain of having to watch this, not being able to let go. But Hepburn gives him very good counsel, and he is redeemed by saving Hunter from a fiery death in a flight through a nightmarish firestorm.

One of Spielberg's most touching movies, ALWAYS was unfairly castigated by critics as being heavy-handed and manipulative. I, however, am extremely cynical of such critics who only analyze certain films and don't really FEEL anything. This is a film of pure emotions, ranging from comedy, both dark and slapstick, to tear-jerking drama to a suspense and terror-laden climax. The cinematography and the special effects are typical for Spielberg--convincing and top notch. Spielberg, however, wisely, does not stint on the drama. Dreyfuss and Hunter are excellent, as are Goodman and Hepburn. Johnson, often heavily trashed, does a fairly good job with his role, complete with his John Wayne imitation (specifically borrowing a line from John Ford's THE MAN WHO SHOT LIBERTY VALANCE).

A typically fine score by John Williams, which presages his work for Spielberg's controversial 2001 sci-fi drama A.I.: ARTIFICIAL INTELLIGENCE, tops off ALWAYS, one of the most misunderstood movies of recent times. For poignant romantic drama, this is an essential movie, a true must-see.

An wonderful fantasy drama.
When a daredevil pilot (Oscar-Winner:Richard Dreyfuss), who died, after saving the life of his best friend (John Goodman) and leave behind his darling fiancée (Holly Hunter) until he comes back as a guardian angel to give advice to his Successor (Brad Johnson) but his Successor ended up falling in love with his fiancee, he still loves.

Directed by Four Time Oscar-Winner:Steven Spielberg (Empire of the Sun, Schindler`s List, A.I.-Artifical Intelligence) remade this from a 1947 film named A Guy named Joe. Dreyfuss is in Top-Form here. John Goodman is good in this supporting role, so is Holly Hunter as the second lead of the film. Two-Time Oscar-Winner:Audrey Hepburn (in her last film) is also great as Dreyfuss Guide. DVD has an sharp non-anamorphic Widescreen (1.78:1) transfer and an excellent Digitally Remastered:Dolby Digital 5.1 Surround Sound. This is a touching, funny, life-affrming and lightweight. Fine music score by John Williams (Fiddler on the Roof). Grade:A-.

One Of Williams's Most Enchanting Scores
John Williams has created a very beautiful score for, in my opinion, Steven Spielberg's most underappreciated film. Williams's score is very subtle and heavenly since we're talking about a dashing air firefighter (Richard Dreyfuss) who dies while trying to save his best friend (John Goodman), thus leaving behind the woman he loves (Holly Hunter).
After a string of good songs, -The Platters' 'Smoke Gets In Your Eyes' is included here, along with a very nice version by J.D. Souther -Williams's score begins with 'Among The Clouds', a lovely piece that has something like an overture before giving way to a full treatment of the main theme, itself repeated in cues like 'Pete And Dorinda', 'Saying Goodbye', and 'Seeing Dorinda'. There is also a fun moment with 'Follow Me' where Williams uses one of his trademark techniques: allegretto, if I'm not mistaken. We have also an element of suspense with 'The Rescue Operation', in which the fire flyers are getting ready to put out a big forest fire; in here what I call the "farewell theme" is heard for the first time when the Dreyfuss character is ready to say goodbye to his loved one. That "farewell theme" is better represented in the final cue 'Dorinda's Solo Flight'. However, we have sort of a "heaven-like motif", especially when the Audrey Hepburn character is present, and I'm not quite satisfied with it; somehow it makes the album feel a bit long.
In general, "Always" is a beautiful and touching score. A fine work by John Williams.

The air is full of surprises
Now this I stumbled across at the library. I didn't expect much of it, there were only three reasons I got it. One: I really like flying. Two: it had Richard Dreyfuss in it, one of my favorite underrated actors, and Three: An appearance by the lovable Audrey Hepburn. After watching it, I knew I had to have it. You'll like it too. The acting is superb by some of the greatest actors of our time. A surprising movie that will definitely keep your interest soaring.

Fires are raging out of control in the forest. As one of the particapants of the containing of the fires, Pete (the likeable Richard Dreyfuss) is torn between his true loves, his tomboy girlfriend, Dorrinda (the beautiful Holly Hunter), and his career. His choices would be made too soon. When his friend Al (John Goodman, hilarious as ever) is in danger when his plane engine catches fire, Pete heads for the rescue, only to get killed himself.

Not aware that anything has happened to him, he meets up with a strange yet kind angel named Hap (Audrey Hepburn's last role) who tells him what really happens. Pete has one more duty to do before leaving Earth. Hap gives gim an assignment, six months after his death, of helping a rookie fire fighter pilot named Ted (Brad Johnson in his first movie) in the ways of getting the job. Things don't go too well for Ted, for it is obvious he has a lot of work to do after dumping red fire retardent all over Al. Things begin to go for Ted, but bad for Pete as he begins to fall in love with Dorrinda. Pete soon realizes that he has to help Ted with his blossoming relationship with Dorrinda, his firefighting carrer, and that it's not his time anymore, and that life must go on, for them anyway.

I loved the movie from the start and immediately purchased it. Some people may not like it, but it is their choice. I will Always love this movie, and I suggest it to anyone who needs a little drama, and laughter rolled together in a movie. 5 stars to a great Spielberg movie once again.

Mr Spielberg, is that you?
"Always", starring Richard Dreyfuss as Pete Sandich, Holly Hunter as Dorinda Durston, Brad Johnson as Ted Baker, John Goodman as Al Yackey with a special appearance by the late Audrey Hepburn as an "angel" Hap. Dreyfuss plays a firefighter who lives life on the edge, flying his plane precariously into danger and causing his girlfriend much grief in the process. He soon comes to grief in a horrific accident and is sent back by an "angel" to help out a young pilot (Brad Johnson).

I really did not enjoy this movie. Being a Spielberg film and one that I was not familiar with, I gave it a shot. This was a fairly weak effort, Holly Hunter does not make a good leading lady at all. I like Richard Dreyfuss, but his creepy stalking of his old girlfriend was just that - creepy. I like Brad Johnson, he's an ok actor and he did well with the poor script he was given. The film was very melodramatic and Hunter delivered her lines as if she was in a high school play.

Audrey Hepburn was still as lovely as ever playing the character "Hap" who sends Dreyfuss' back. The writer's understanding of the afterlife and angels was very poor though, (I know it's only a fantasy film). I have seen the original with Spencer Tracey but did not find that memorable at all either.

Allow me to go up on my soapbox for a moment (cause I feel like it). Yes I know it's just a movie but it got me thinking. You will not learn anything of the afterlife from watching Hollywood movies. This one, like Ghost, show that if you are what the world considers a "good person", you will go to a good place when you die. In Ghost, the baddies got dragged of by demons when they died whilst the goodies went off to God. In reality, it's only through Jesus' death and sacrifice that we are made ready for heaven and those who live in wilful sin (such as Dreyfuss and Hunter shacked up in a fornicating relationship), show no true faith or repentance and would not enter heaven. As far as good or bad people, only Jesus was a perfect human being, everyone else is sinful and needs God's forgiveness which is available to all who will sincerly come to Him and ask Him for it, (you don't need to go through a priest either, there is only one go-between, his name is Jesus). All of us have broken God's ten commandments, (the first one is to love Him with all our hearts, who has done that?).

In conclusion, Always is a mediocre film that could have been great had the script been more interesting and even theologically sound (...)that everyone goes to heaven and that there are many ways to God. Check out a christian movie "escape from hell" if you want to see a film that is based on fact and that shows the afterlife as it could be. (...) ... Read more

Amazon.com

Ziad Doueiri established his credentials as the assistantcameraman on Quentin Tarantino's early films, but his feature debut,West Beirut, belongs to the more European strain ofcoming-of-age films than Tarantino's cool crime wave. Tarek is a rebelliousclass clown and aspiring filmmaker, a restless Lebanese teenager who railsagainst European colonialism with little acts of defiance at the FrenchHigh School of Beirut. It's 1975. Fighter jets ominously screamoverhead, soldier convoys rumble through the streets, and the tensionsthat grip the city explode when a violent terrorist attack sinks Beirutinto civil war.

Tarek, played by director Doueiri's younger brother Rami in a spirited,charming performance, becomes Ziad's cinematic alter ego and aspiritual cousin to François Truffaut's Antoine Doinel. When amilitary blockade splits the city in half, cutting Tarek and hisfriends off from their school, the war zone becomes their playground.Doueiri never slights the danger of their situation and fills thebackground with telling detail (from snipers and booby traps to theincreasing racial and religious intolerance), but his heart is with theadolescent adventure of his recklessly naïve kids. He captures anexcitement and energetic curiosity only possible in the innocence ofyouth as they dodge military patrols, sneak across checkpoints, shoottheir Super 8 movies, and fall in love in the shadow of war. FormerPolice drummer Stewart Copeland provides a funky rhythmic score with aMideast inflection, easily one of his best. --Sean Axmaker ... Read more

Reviews (23)

Funny and sad.
This is a great movie for anyone who has lived in Lebanon at the start of the civil war in 1975. The movie depictes the times and mood of Beirut in 1975 very well. The movie accurately depicts the Lebanese youth, their sense of humour, and unrelentless desire to live, and have fun. However this is a sad movie. This is a movie about war, people, and survival. The consequences that war has on the youth is also well depicted. Yes kids were happy that school was shut for a day, a week, a month at times, but the future was uncertain to them, their dreams were shattered, and they began to feel these consequences as the war progressed.

Pure Lebanon at time of war
This movie represents pure Lebanon at time of war. The anxiety of the parents, and the fun of the children. The way the movie is written is genuinely clever, it's not directly about the war, but it's about 2 guys from Muslim West Beirut that want to develop a porn movie in Christian East Beirut. The beauty is not about this small and trivial story, but the things that they got through while trying to get to East Beirut. Everything in there used to happen at times of war, like the behavior of the armed guys on the check point to East Beirut, and the hiding in the warehouses at time of bombing. Though the movie is presented in a comic way, you can't help but cry many times if you are a Lebanese, because it makes you remember the bad times. The acting of everyone is almost perfect, even though it's the first acting experience for most of them. The only bad thing about this movie is the translation to English. I highly recommend this movie for everyone who's interested in what really went on in Lebanon, and the true identity and personality of the Lebanese people.

Shrewd comdey
This movie is about the beginning of the civil war in beirut . The director did a great job portraying the life of teenagers , parents , and common people during this period. I had tears in my eyes while i was watching the movie... because i was laughing so hard. Ziad doueiri gathered a brilliant cast , that didnt need to act a role but rather paraphrase their lives in the movie. This movie is one the happiest dramas you can watch, and it will give you true insight on how it is to grow during wartime .

Innocense lost and real life sadness
This movie was amazing and when I watched it back in 1999, it really moved me. Eversince then I had begun to appreciate movies as forms of communication and not just hollywood entertainment. It was raw and real. As a Kiwi-Arab, I truly can relate to this, and recommend to all estranged Arabs as well as anyone interested in Arab society. i am only sad that I can't find anymore movies he had directed.

EXCELLENT - A MUST SEE!!!!!!!!!!!
Summary: EXCELLENT MOVIE!!!!!!!!!!!!!!

This is a WONDERFUL movie, it is a historical glimpse on Lebanon, 1975, through the eyes of a teenager. If (usually) U.S. citizens ask themselves "how can "those people" live in "those countries"? This is the perfect answer to it. When you have a LIFE, FRIENDS, FAMILY, when you don't believe that things can be changed, when life is LIKE THAT, you accept things that you cannot change.

The protagonist (EXCELLENT actor Rami Doueiri) goes through life as a happy go lucky teenager, used to living under such political changes, but untouched by them. In this movie of "coming of age", you can follow him in his seamless transition into adulthood: the realization of what life has became.

PLEASE DO NOT MISS THIS MOVIE - IT IS A MUST SEE - from any angle that you may want to look at it. You will gain different undertanding of things that you probably had before, if you are not a citizen from Lebanon, watch it and learn something. ... Read more

Reviews (30)

Even Doris Complained About It
Yes, in her autobiography, Doris Day complained that co-star Cary Grant just wasn't into his role here. I call this incarnation "Wink Cary" because towards the end of his movie career, Cary always seemed to be screwing up his eyes as though staring into the sun; I interpret this as his growing dissatisfaction with the movie roles offered him. "Wink Cary" never has proper interaction with his co-stars and is apparently waiting to be told to go home, as if he were on jury duty. In "That Touch of Mink", Cary plays a wealthy man whose limo splashes the dress of Doris Day. One thing leads to another, and he tries to launch an affair with her, only to be foiled repeatedly by various things, including her breaking out into a rash at the thought of fornication, even with Cary. Adequate supporting work by indignant Audrey Meadows and misidentified Gig Young, who keeps getting slapped by Meadows who thinks he's the guy trying to breach Doris' honor. There's better Doris and better Cary movies out there; see them first.

A delightful and witty sex comedy
"That Touch of Mink," directed by Delbert Mann, is a delicious 60's sex comedy about the romantic duel between Cathy Timberlake (played by Doris Day), an unemployed working girl with small-town roots, and Philip Shane (Cary Grant), a rich businessman. Along for the ride are Audrey Meadows as Cathy's fiercely protective roommate Connie and Gig Young as Philip's wisecracking employee Roger.

"That Touch" is absolutely hilarious and delightful from start to finish. Day is irresistible--wholesome and innocent, yet feisty. Grant is charming and funny. Meadows and Young get lots of comic mileage out of their marvelous supporting roles.

The film is also a joy to look out. The sets and costumes are marvelous (there's even a fashion show); the screen bursts with color. The script combines witty dialogue, zesty social satire and goofy physical comedy with a cleverly structured plot. There are also some fun cameos by recognizable faces--I won't spoil the fun by revealing them. And it's all nicely complemented by a playful musical score. "That Touch" is one comic battle of the sexes that really holds up after all these years.

Not bad, but not as good as the Hudson/Day/Randall comedies
Watching _That Touch of Mink_ is like watching something from an alternate universe where instead of the formulaic early '60s romantic comedy where you had Rock Hudson as the desirable yet unavaliable bachelor, Doris Day as the perpetual virgin and Tony Randall as the neurotic and closeted best friend you had Cary Grant as the desirable yet unavailable bachelor, Doris Day as the perpetual virgin (apparently no other actress approached Doris Day's iconic status as a virgin) and Gig Young as the neurotic and closeted best friend. Talk about "through a glass darkly"!.
All of this is very cute but the problem with Grant and Young is that they can't pull off the Rock Hudson/Tony Randall dynamic. Hudson had a boyish charm that Grant, a more substantial actor, didn't, and the dynamic between Hudson and Randall is a lot more playful than the one between Grant and Young, and of course when it came to playing neurotic closetcases no one can even hold a candle to Tony Randall. I mean really, if they had ever had an Academy Award for "Best Portrayal of a Neurotic Closetcase" they would have awarded it once, in 1961 for _Lover Come Back_ and then retired it forever.
Doris Day is of course virginal, amazing that someone with so little talent was able to make such a career out of the supposed possession of a hymen. You might dispute as to whether or not virginity is a good thing but regardless of your opinion you have to admire Day for making so much out of hers.

Sweet romantic comedy
Doris Day plays Cathy Timberlake, an unemployed girl next door from outta town. Cary Grant plays the suave and sophisticated Phillip Shane Managing Director of a successful company. On a rainy day in Manhattan Phillip Shane's car accidentally splashes Cathy Timberlake who is standing on the edge of a kerb. Later from his office he spots Cathy on the street and he sends his assitant Gig Young to apologise and to give her money to compensate for her ruined dress. Cathy is not impressed and says to Gig Young that she wants to throw the money back in Philipp's face so she goes up to his office but instead of telling him off she falls for his good looks and charm. She is then whisked off to a meeting of board directors, flies on his private jet, attends a UN speech and ends the day attending a baseball match. Cathy is thoroughly smitten by Phillip and he is really impressed by her so much that he asks her to go away with him for the weekend to Bahamas.

Being Doris Day, Cathy is of course all virtuous and is in a dilemma as to whether she should go away on her dirty weekend with Phillip. She decides no but is finally persuaded to do so because Phillip goads her into do so. She has a wonderful time until the night arrives and is faced by being seduced by Phillip at which point she is so stressed that she develops a rash all over. So poor Phillip is left playing cards on the terrace with another man who's wife "is not well". So Cathy returns to New York with her virtue in tact. She tries to lure Phillip away again and the second time is so drunk that she falls off her balcony. Phillip decides to not woo her any longer and finds her a job in a credit card company only for her to mess up the company's entire filing system. In the end, to win back Phillip, Cathy and her roommate, Audrey Meadows think up of a plan for her to go away with the sleazeball who works at the local benefits office and for Phillip to chase after them which inevitably he does.

This film is a bit dated ie Cathy