Reviews (26)

Success!
This is one of the best transfers of a hit Broadway musical to movie musical. Everyone is superb! From Michelle Lee
to Robert Morse to Rudy Vallee to Ruth Kobart--all re-creating their Broadway Roles! Robert Morse's brilliant performance alone is worth the price of the dvd. Maureen Arthur's sexpot defines the word and is hilarious. Okay you can gripe that a few numbers from the Broadway Musical were left out--but overall this is a major success.

Concerns a window washer who reads a book "How to Succeed in Business" and within about a week, goes from
mail room clerk to Chairman of the Board . And he get's the girl in the end.

Fosse's Broadway choreography was recreated by an assistant for the film. Frank Loesser's Score is classic and singable.

And it shows how using the original Broadway Cast can make a film work incredibly well. (Take note those people who cast Lucille Ball in Mame and Peter O Toole in Man of La Mancha to terrible outcomes)

I don't think this film was a huge hit when it came out but it surely deserved to be. I watch it over and over. I sing the songs. It's a keeper.

It's Good! It's Very Good!
I haven't seen the Broadway play, so I can't make any comparisons in that regard. What I can say of the movie is: WELL DONE!! This is by far one of my favorite movies in the musical genre. What can I say? The cast is outstanding; every character is unique, expressive and played to virtual comedic perfection. I won't take time to list all the actresses and actors, or all the songs, as I'm sure others have done a good job of that in their reviews. Well, ok, I'll mention Robert Morse: he plays J.P. Finch without flaw. Innocent, sincere, devious, ambitious and lucky, Morse combines all these traits into an entertaining character. I instantly became a Robert Morse fan. I went out and rented all the Robert Morse movies I could find. Unfortunately, strangely, in all Morse's other starring roles he displays nary a hint of the comedic originality or aptitude he does in this film, ah well.

As might be expected, I have a number of favorite parts, here are two: 1) Morse as he "walks the dance" down a New York street--real life, good stuff, wish it were a longer scene. 2) I have to laugh when, during the song "Brotherhood of Man," Mr. Biggley's secretary suddenly rises up on the desk behind the men and starts belting it out. These are not particularly significant scenes in terms of the whole story, nor do they tell you anything at all about the plot, but they are, perhaps, representative of the lively and light-hearted humor this movie serves up so well. Highly recommended!

Wonderful Re-creation of the Musical
This musical transcends time. What was true in the 1960s - and before - is still true today. That is why this musical is a true mockery of the corporate world, which is in turn why it made my musical-mocking husband laugh out loud and physically turn away from the computer to watch.

Before I bought the DVD version of How to $ucceed, I had seen it performed live. I loved it and subsequently purchased the soundtrack featuring Matthew Broderick.

So, as you can see, it was with an already deep affection for (and prejudiced mind) that I bought the movie version. It surprised me greatly that this vision of How to $ucceed met up to my already high standards. Only a few songs from the musical were not included. But the movie is 2 hours long, so it was necessary to do some cutting.

If you like musicals, if you like big business, if you like to make fun of big business, this movie will make you laugh.

As far as the DVD goes, there were not a lot of special features, which is to be expected from an older film. It did include the trailer, which was amusing in its retro-style, and it's nice to be able to go back and play the scene of a particular song I liked here and there. The widescreen version really enhanced the film for me, especially when my cats decided to nap lazily on the television and dangle their limbs about while I was watching.

Good movie!

A great musical saved by letterbox
Oh, wow! This is a marvelous production that I saw as a one-day-only offering in a theater eons ago when I was a college student (in West Texas of all places). I loved it then, and other feedback does a decent job of saying "why."

All I can add is this outstanding Broadway musical translated to the big movie screen extremely well, and then it almost disappeared from broadcast/cable TV -- and for reason. To much theatrical action and choreography was lost through cropping for the TV screen, and the magic was lost. (I only saw it listed once for TV before letterbox, and it was a mega disappointment).

Even if you've never heard of it before, please consider this late 1960s-era musical comedy if you want to enjoy some solid entertainment.

It's Not What You Know, But How Well You Brownnose
The 1967 musical comedy "How To Succeed In Business Without Really Trying" is based upon a 1962 Broadway musical of the same name, as well as the similarly titled novel that was written by Shepherd Mead. The story begins with J. Pierpont Finch (Robert Morse) who works as a skyscraper window washer. He finds and begins to read a self-help book entitled "How To Succeed In Business Without Really Trying". Following advice from the book and while washing windows outside, he sneaks into of an office of the World Wide Wicket Corporation (WWWC). Quickly stripping out of his orange window-washing coveralls, Finch wears a smart business suit beneath and quickly endears himself to the company's president, J.B. Biggley (Rudy Vallee), one of the secretaries, Rosemary Pilkington (Michelle Lee), as well as a host of yes-men vice presidents. Impressed, J.B. sends Finch to the personnel office to be promptly hired to work in the company's mailroom. There, Finch meets J.B.'s nephew, Bud Frump (Anthony Teague), who also works for WWWC in the mailroom. Continuing to follow advice from the self-help book, Finch finagles and brownnoses his way up the corporate ladder in record speed and develops a love interest with Rosemary, but not everyone is happy with Finch's rise within the company. J.B. also hires a very attractive 'friend', Hedy LaRue (Maureen Arthur), who has little experience working in an office, but has a lot of experience with men.

The engaging, original music in the film, which was written by Frank Loesser, includes the songs:

* "How To" (sung by Robert Morse).
* "The Company Way" (sung by Robert Morse).
* "A Secretary Is Not A Toy" (sung by company employees).
* "Been A Long Day" (sung by company employees).
* "Rosemary" (sung by Robert Morse).
* "Grand Old Ivy" (sung by Robert Morse and Rudy Vallee).
* "I Believe In You" (sung by Michelle Lee).
* "Brotherhood Of Man" (sung by company employees).

Though some of the activities shown in "How To Succeed in Business Without Really Trying" are dated and chauvinistic by today's business standards (and discouraged by the Labor Department and the EEOC), the basic message of the story regarding nepotism, brownnosing, favoritism, scapegoating, affairs between employees, people hired for their appearance, backstabbing and mismanagement within corporations is just as relevant today as it was over 40 years ago. Creative employees are summarily fired for their ideas, others with more corporate clout get those same ideas approved by management. People who went to the right schools or joined the right clubs move up quickly, as well as people who easily agree with superiors and/or dress as well as possible. It's not what you know, but who you know, how well you brownnose, how good of an appearance you make and how well you avoid trouble that makes one successful in the corporate world.

Robert Morse is hilarious in the film, as are Rudy Vallee, Maureen Arthur and Michelle Lee. The film was well scripted and the sets are appropriate for a late 1960's office building. It is likely that the film inspired Michael J. Fox's 1987 film, "The Secret of My Succe$s". Overall, I rate the film with 5 out of 5 stars. So sit back, get a bowl of popcorn and see whether you want to do things the company way. ... Read more

Amazon.com

After more than a decade of false starts and several potential directors, the popular Andrew Lloyd Webber-Tim Rice musical finally made it to the big screen with Alan Parker (The Commitments) at the helm and Madonna in the coveted title role of Argentina's first lady, Eva Perón. A triumph of production design, costuming, cinematography, and epic-scale pageantry, the film follows the rise of Eva Perón to the level of supreme social and political celebrity in the 1940s.Like Madonna, Perón was a material girl (she was only 33 when she died); she was instrumental in the political success of her husband, Juan Perón (Jonathan Pryce). But Eva was also a supremely tragic figure whose life was essentially hollow at its core despite the lavish benefits of her nearly goddess-like status. The film has a similar quality--it's visually astonishing but emotionally distant, and benefits greatly from the singing commentary of Ché (Antonia Banderas), who serves as a passionate chorus to guide the viewer through the elaborate parade of history. --Jeff Shannon ... Read more

Reviews (168)

A great adaptation of the stage musical
Sir Andrew Lloyd Webber's and Tim Rice's musical telling of the life of Eva Peron successfully makes the leap from stage to screen. Alan Parker ably directs a fine cast, which includes Antonio Banderas as Ché, Jonathan Pryce as Juan Peron, and Madonna as Eva Peron. The acting and the voice work are very good, and Madonna surprises you with her talent.

The music is equally wonderful, keeping the rock opera feel of the original stage show. Also, the new song "You Must Love Me," written by Sir Andrew and Tim Rice, flows nicely with the original music and won a deserved Academy Award for Best Original Song.

Costumes, acting, sets, visuals and music all combine to create a great movie experience. A note of caution to some, though: this is sung through with very little spoken dialoque. I remember seeing this in the theater and listening to some people complain about it and walk out of the movie. Stick with it, and you will definitely enjoy it!!

Flawed, but still excellent, adaptation.
Watching the movie of Evita was my first real experience with the musical, and that puts it in a different light for me, I suppose, than with many others. The points I make, though, I still think are valid.

The casting of this movie was quite good...the stars of the show pulled off their roles magnificently. Antonio Banderas, in the lead as the narrator, Ché, sung surprisingly well. He also acted out the part superbly. While he's no Colm Wilkinson, there's an undeniable charm to his portrayal. Even with the abbreviated material he's given to work with, he pulls it off with style, which says something for a role with magnificent performances by Colm and by David Essex. He's not vocally better than either, but he plays the part to a T, and his songs seem HONEST. Also, he's a better Ché than Mandy Patinkin, but I suppose anybody who tried to actually play the part would be.

Madonna is the surprise of this movie. She sings quite well, and given the rock feel of the show, is fairly appropriate for the part of Eva Peron. She's also visually very similar to photographs of Eva, and looks very convincing after the scenes where she is supposed to be young. However...the point of the musical is that Eva Peron is a manipulative (rhymes with witch). Madonna scared me here by seeming VERY sympathetic to her character. Still, her performance is excellent, if not up to Antonio Banderas's. Jonathan Pryce put in an outstanding performance as Peron, too.

A caveat emptor: the musical was actually made less harsh for the movie version, so that it could be filmed in Argentina. It was very nearly worth it...not entirely, mind you, and the addition of "You Must Love Me" seemed entirely out of place in a musical about a man and a woman who mutually USE each other. Still, her "Don't Cry for Me Argentina" was manipulative to the audience just as the speech was meant to be to the crowd. And the two Ché tours de force, "Oh What a Circus" and "High Flying, Adored" are more or less in tact, and done wonderfully. The re-adaptation of "The Lady's Got Potential" was excellent, and "And the Money Kept Rolling In" was toned down a lot, but Banderas had a LOT of fun in the number.

The movie's worth seeing if you like Evita, or are thinking you might be getting into it. Don't watch for Madonna's big numbers, watch for her and Banderas performing, for once, like they really mean it.

Madonna did fine...admit it!
Don't Cry for me Argintina was the song that got me into musicals and so I have always loved Evita. In my opinion Madonna did quite an excellent job playing Eva. Most of you have a problem with her because she is Madonna. I am not a fan of what she does outside this movie, but I will defend her performance in this movie. She was not off-key at all and I have never heard Elaine Paige or anyone else sing "Don't Cry for me Argintina" with such emotion and clearness. She was Eva standing up singing that song. "You must Love Me" was another beautiful song that I have never heard been done better. When I heard Elaine Paige wailing these two songs on PBS I had to shut it off, she wasn't bad and she is a good singer, but when it comes to Evita no one can top Madonna. This movie was unfotunately hammered by critics and got a bad wrap.

Don't Cry For Us at the Ocars
Now first let me state that this one of my favorite movies. I have also researched into the life of Eva Peron. The movie is about 95% true. Madonna stars in movie as the title role of Evita. This movie is the story of Argentina's former first lady, Eva Peron. This film starts from the end and then goes from beginning to end. It shows how she went to Buenos Aires with a tango singer. It shows hows Eva took on lovers to get jobs, and even helped her husband, who is played by Jonathan Pryce, get the presidency for 2 terms. She and her husband did have 2 weddings, one was in a church and one was a civil ceremony. Eva also traveled while she was first lady. She got woman the right to vote. She also did start a foundation. She did help build houses, hopitals, and schools. When her husband went for his 2nd term as president, the people rallied for her to be vice-president. Eva Peron did had many Christain Dior, over 100 furs, and a jewelry collection comparable to Cleopatra's. Sadly, Evita died when she was just 33, of uterine cancer. This movie won some Acadmeny awards and a gloden globe, I believe

Wonderful to watch but unfulfilling
One of the interesting sidelights to this movie is the fact that Oliver Stone wrote part of the screenplay. While watching it I kept wondering what part? Stone, whose edgy, over the top indictments of oppression, corruption and especially military stupidity, wouldn't seem to be one to celebrate the elevation of Eva Peron to something close to sainthood, which is what this movie does. Maybe all his work ended up on the cutting room floor. Or maybe it was obscured by Andrew Lloyd Webber's music. Certainly we do not see the decamisados (Peron's version of his friend Mussolini's Blackshirts) torturing anyone, and although the "disappeared" are mentioned in passing, there is no retrospective that allows us to see just how widespread and horrific were the murders committed by the Peronists.

Anyway, Madonna, who certainly fits the part like a glove, stars as Evita, and she gives the performance of her life. Yet somehow it is unconvincing, or I should say, somehow the film doesn't really get to the essence of the woman who rose from poverty to the pinnacle of power in Argentina, a woman extravagantly loved by the common people of Argentina even while she was a party to the fascist oppression. I don't think this is Madonna's fault. Her voice is good, not great, of course, but her dramatic skills are very much in evidence, skills that have always been underrated, although I'm not sure why. If you watch her in this and in Desperately Seeking Susan (1985) you can see that she has a range easily exceeding that of most actresses. I think that ironically it is the very quality of common origin and common appeal that the Argentines so loved in Evita that the critics hold against Madonna.

Antonio Banderas plays Che, who narrates and attempts to objectify the events while symbolizing both Evita's alter-ego and the man who would really be her proper mate were it not for her rapacious political appetite. Che's character and his dramatic role (from the play by Tim Rice) is perhaps the most important artistic achievement of the musical after Webber's beautiful and inspiring music. Banderas is winning and enormously vivid in the part, and he sings well and expressively.

Jonathan Pryce plays Peron with more dignity and humanity than history might allow. His sensitivity as an actor combined with a modest demeanor seemed to me so unrealistic as to be almost a miscasting. Yet he is perhaps as compelling as anyone on the screen and he certainly looked the part. Interesting is Jimmy Nail as the cabaret singer Magaldi. He combines sleazy good looks with a kind of vulnerable persona that seems exactly right.

Well, what can be said about the music except that it is one of Webber's great triumphs and so very typical of his work. It is beautiful, stirring, moving, enchanting and memorable. Who can forget the haunting, plaintive refrain of "Don't Cry for Me, Argentina" or the gorgeous simplicity of "You Must Love Me"? While Madonna's voice would not fill up a concert hall or take her by itself to the Broadway stage, she does an outstanding job with Webber's songs. A natural performer (Madonna's key talent), her expressive interpretations range from the ordinary to the transfixing. I very much enjoyed her efforts and predict that critics in the future will be kinder to her than today's critics.

The ending seemed too drawn out and then when the screen faded to black and the credits began to run it seemed almost abrupt and without resolution. I also did not like the way that Madonna (38 at the time) seemed no younger in the earlier scenes with her hair dyed pitch black. I think director Alan Parker should have given us more of an illusion of youth, perhaps spared her some of the closeups and fuzzed out the lines under her eyes. Strange how the golden blonde hair and exquisitely applied makeup in the remainder of the film made her look younger. All directors should know what Madonna learned many years ago: blonde hair usually makes a woman look younger because those with naturally light-colored hair are their blondest as children. Like big eyes and relatively big heads, blonde hair is a signal of youth that arrests our eyes.

Despite the flaws this is an engrossing cinematic experience, and for Madonna fans, Banderas fans, and in particular fans of Andrew Lloyd Webber, it is a film not to be missed. ... Read more

Reviews (291)

'The Rocky Horror Show' Movie
There is one reason why everyone should see "The Rocky Horror Picture Show": it is the best cult film ever made. There are also three reasons why everyone should want to watch it: 1) It is one of the only 'R' rated musicals in existence. 2) It has strong science-fiction overtones. 3) It is very funny. The movie starts Barry Bostwick and Susan Sarandon (before they were stars) as the recently engaged Brad and Janet. However, they are upstaged in nearly every scene by Tim Curry who plays Frank N. Furter, the mad doctor. The cast delightfully performs many memorable songs including "Over at the Frankenstein Place" and, of course, the "Time Warp". To fully enjoy RHPS, one must not be closed minded or the picture could prove to be quite offensive. Don't think it's gratuitously violent- it isn't. Merely, the situations the characters find themselves in could shock or appall overly sensitive viewers. If you think you won't enjoy RHPS, going to a midnight screening might be your best bet. The live audience participation will guarantee you a good time, despite your opinion of the actual film. So overall, RHPS is quite a good adaptation of Richard O'Brien's original concept, which always honors its roots on the stage.

DVD = Perfect format to truly experience "Rocky" at home
I loved going to "Rocky Horror" when I was in college, but watching on home video just wasn't the same. I'm probably committing heresy but there's a reason why this sci-fi, horror, B-movie satire, rock musical didn't really make it big until theaters started showing it as a midnight movie and fans started attending in costume and talking back to the screen. The 25th anniversary DVD, with several audience participation options, really is the next best thing to being there.

For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control.

Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!"

So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc.

The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live."

The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all.

What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.

Mesmerizing film.
This is a very outrageous movie. The rock is the background to tell us a horror movie but also spiced with sex , ransvestism and above all a splendid tribute to the movies specially King Kong .
One couple strands in an old house full of weirdos . This movie (here between you and me)could have inspired for Tim Burton in Beetle juice .
In this decade there were great visuals films too . Sherman built a magnificent story absolutely free , intelligent and sarcastic, irreverent and bitter . You might state that Fellini's influence (dressed of english manners and clothes) is present all along the film .
Inmediatly after its release this one acquired the status of cult movie.

The original is still the best!
Don't bother with the play, or the music from the play. The original is still the best. Nobody can fill the shoes of Sarandon, Curry, etc. They originated the roles and have been associated with them for far too long for anyone else to come in try to change them so many years later and attempt to redo them. Stay with the best.

Those Gold Shorts!
Ahhhhh...Rocky had such a lovely outline showing in his gold lame shorts. ... Read more

Amazon.com

The third and final entry in Laurence Olivier's Shakespeare triptych, Richard III (1954) is an audacious portrait of a man determined to prove himself a villain. As the personification of evil impudence, Olivier portrays the Duke of Gloucester with such aplomb that he brings the audience onto his side. This is true even as Richard engineers plots to murder his brother Clarence (John Gielgud), betray his cousin Buckingham (Ralph Richardson), and seduce his niece Lady Anne (Claire Bloom). From the play's famous opening lines ("Now is the winter of our discontent"), Olivier delivers every speech with truly Machiavellian splendor, and his superb staging of the climactic battle rivals his work on Henry V. Regrettably, this would be Olivier's last Shakespeare film, as a planned adaptation of Macbeth was abandoned for financial reasons. Olivier justly received an Oscar® nomination for his performance; and believe it or not, this film was the inspiration for the original Blackadder! --Kevin Mulhall ... Read more

Reviews (19)

One of the greatest Shakespeare films...
Only two of Orson Welles' Shakespeare films rival "Richard III" for the title of greatest Shakespeare movie ever made. That said, Olivier's film may contain the most sheerly enjoyable performance any actor gave on film. His Duke of Gloucester is the definitive performance. Elia Kazan once said Olivier had a certain girlish quality, and that quality is used in the film: His Richard is seductive--a prancing, charming monster whose voice sounds like "honey mixed with razor blades." But one look into his black eyes, framed by false hawk nose, violently angled eyebrows and fright pageboy wig, will tell you that he's also stone-cold pure evil. Richard enacts all our homicidal, plotting fantasies as he cheerfully knocks off all his stuffy relatives and rivals.

Olivier emphasizes the black comedy and wittiness of Shakespeare's play, which he cut and refashioned into a star vehicle for himself. Though Sirs Gielgud, Richardson and Hardwicke co-star, they don't make much of an impression. (Blame that on Shakespeare too) Interestingly, Olivier later regretted not having cast Orson Welles as Buckingham.

You experience two major innovations concerning the filming of Shakespeare: the first is Olivier's old custom of using extremely stylized, artificial sets, thereby making Shakespeare's stylized, artificial verse fit in with the settings. The second is the source of Olivier's triumph: he delivers his soliloquys directly to the camera. This daring move destroys the fourth wall and takes true advantage of what the movies offer. He becomes our friend and confidante and we become complicit in his mounting evil. The production values are top-notch: we get deliriously vibrant technicolour, William Walton's pompous, irresistible music of pageantry, and the book-of-hours sets. And through those sets Olivier's camera subtly glides and skulks like the snake Richard himself is. Olivier is still an underrated director, and his grasp of the frame's spatial properties is excellent: he knew how to move the camera into and out of the frame for maximum impact. For an example, look at the moment Richard finally becomes King, and his satanic powers become unbottled: He slides down the bell rope to greet his minions, and expecting to shake his hand they approach, only to fall on their knees when Richard silently demands they kiss it. As they sink downward, the camera flees backward until the awful composition is complete, with half a dozen men in black on their knees as Richard presides all in the center of the frame: on twisted and bent legs as the bells announce the triumph of evil.

Machiavellian cunning and ingenius
In what I deem Laurence Olivier's finest Shakespearean performance, Richard III is quite simply an absolute must see for any true Shakespeare aficionado. Having just read the play and viewed the movie subsequent to the reading, I was afraid I might be somewhat disappointed after such an enjoyable read. Not the case.

From the word go, or rather the words "Now is the winter of our discontent," Olivier adroitly plays a most egregiously evil, yet sinfully likable, villain. Olivier's skillful mastery of the soliloquy is readily manifest as he conspiratorially confides in the audience his countless connivances and sordid schemes as he maniacally murders and manipulates all of those unfortunate enough to be in his way on his morbid quest for the crown. He's so good you'll find yourself rooting for the dastardly villain that is Richard III. Pop some popcorn and sit back and enjoy.

Excellent acting but overrated as a film
I must disagree with the reviewers who praised this as one of Shakespeare's best movie adaptations. Sorry, it's not. The main strength of the movie is the acting, and for that alone it's a must-see. Yet, as a movie it has many stylistic and visual flaws.

The camera shots are very long and there are very few shifts in angles, there are almost no close-ups, the settings, costumes and makeup are overdone and look too fake and low-budget (perhaps on purpose?), and it's done almost entirely in a studio (the outdoor battle scenes feel like a Western..). The result is that you feel that you're watching a two-dimensional play. Perhaps black-and-white would have been a more suitable vehicle.

I'm also annoyed with the liberties the movie has taken with the text, shifted scenes around, chopping lines, etc. I didn't like that it begins with a scene from Henry IV. The Bard's original structure is better. Stick with it!

Also, for the first half of the movie I felt distant from Richard, possibly because until then we almost always see him from a distance and rarely up close. That changes once he become king. Overall, the second half is much better.

If you want to see a truly great Shakespeare adaptation, watch "Julius Caesar" with Marlon Brando and James Mason, even though the play itself is not as good as Richard III.

In spite of all this, I recommend it. Certainly worth seeing Olivier in action.. and it has some great moments.

A must see!!
I won't rehash the plot. Suffice to to say the Olivier's performance is magnificent. Also magnificent in this Criterion collection edition, is the addition of a top notch commentary which explores both Shakespeare's structure of the play and Olivier's decisions in bringing the character to the screen. Also interesting is a 1960's era interview with Olivier that reviews his acting career.

Even More Impressive in the DVD Format
Those who criticize Laurence Olivier and Alan Dent -- co-authors of the screenplay -- for taking certain liberties with Shakespeare's play should also criticize Shakespeare for taking certain liberties with the historical material on which he often relied so heavily. In this instance, Holinshed's Chronicles of England, Scotland and Ireland, Vol. 6, and various Tudor Historians. In my opinion, such quibbling is a fool's errand. This much we do know about the historical Richard III. He was born in 1452 in Fotheringay Castle, Northamptonshire, the youngest son of Richard, Duke of York. He was created Duke of Gloucester by his brother, Edward IV, in 1461, accompanied him into exile (1470), and played a key role in his restoration (1471). Rewarded with part of the Neville inheritance, he exercised vice regal powers, and in 1482 re-captured Berwick-upon-Tweed from the Scots. When Edward died (1483) and was succeeded by his under-age son, Edward V, Richard acted first as protector, but within three months, he had overthrown the Woodvilles (relations of Edward IV's queen), arranged for the execution of Lord Hastings (c.1430-83), and had himself proclaimed and crowned as the rightful king. Young Edward and his brother were probably murdered in the Tower on Richard's orders, although not all historians agree. He tried to stabilize his position but failed to win broad-based support. His rival Henry Tudor (later Henry VII), confronted him in battle at Bosworth Field (August 22, 1485), when Richard died fighting bravely against heavy odds. Though ruthless, he was not the absolute monster Tudor historians portrayed him to be, nor is there proof he was a hunchback.

Cleverly, this film begins with the final scene of Henry IV, Part III, the coronation of Edward IV (Cedric Hardwicke). Locating himself at a strategic distance from the throne, the Duke of Gloucester (Olivier) carefully observes those around him. He shares with those who see this film or read the play his most private thoughts and feelings, many of which are as deformed as his body. Gloucester's "winter of discontent" will soon end. With a systematic tenacity unsurpassed by any other of Shakespeare's villains, Gloucester's coronation as Richard III (his own "glorious summer") will be the fulfillment of his royal ambition. The acting throughout the cast is outstanding. I do not recall another film in which Olivier, John Gielgud (George. Duke of Clarence), and Ralph Richardson (Henry Stafford, Duke of Buckingham) all appeared together, joined by Claire Bloom (Lady Anne Neville) and Stanley Baker (Henry Tudor). Special note should also be made of Otto Heller's cinematography which is integrated seamlessly with their performances. It is a pleasure to have this film now available in a DVD format, one which offers much sharper images and much clearer sound. Other special features of this DVD version include high-definition digital transfer; newly discovered footage; a commentary by playwright and stage director Russell Lees and John Wilder, former Governor of the Royal Shakespeare Company; 1966 BBC interview with Olivier hosted by Kenneth Tynan; a 12-minute television trailer; a theatrical trailer; and an essay by film historian Bruce Eder. ... Read more

Reviews (88)

One of the Most Energetic Musicals of all Time
1954's "Seven Brides for Seven Brothers" is rough around the edges and that's just what the doctor ordered. Stanley Donen directed this rough and tumble highly acclaimed musical, set in Oregon in 1850. It was adapted from Stephen Vincent Benét's story "The Sobbin' Women" (based on Plutarch's The Rape of the Sabine Women) and perfectly integrates song, dance, and storytelling. Russ Tamblyn as one of Howard Keel's brothers and Julie Newmar as one of the potential brides are very memorable. Besides Michael Kidd's brilliant choreography (which almost goes without saying) is Cinematographer George Folsey's CinemaScope photography that captured both the grandeur of the land (shot on MGM's back lot!) and the brilliant and bawdy dance numbers. Unfortunately it was shot in Ansco Color and not Technicolor which makes the images less vivid. Yet it does not hinder the film. I saw a recent interview with Jane Powell and she believed that MGM thought they had a real dud on their hands. Boy, were they wrong. Of the DVD versions I prefer the original MGM issue which had a 2.55 to 1 aspect ratio. The Warner Studios version is 2.35 to 1. Both DVD versions remastered the original 4-track magnetic soundtrack to 5.1 Dolby Digital discrete channels. I find this sound remastering very annoying especially to stereophonic films made in the 50s and 60s. The sound on the hi-fi VHS tape is actually truer to the original film.

Singin' & dancin' & sobbin'
A "sleeper" when it was released in 1954, "Seven Brides for Seven Brothers" is still one of the freshest musicals ever made. With a pretty, spirited score by Gene de Paul and Johnny Mercer and rambunctious but carefully-controlled choreography by Michael Kidd, this modestly-budgeted movie surprised everyone by becoming an enormous hit, even being nominated for Best Picture. Based on a short story by Stephen Vncent Benet called "Sobbin' Women" (which was the film's working title), it tells the story of a frontier woman Millie (Jane Powell) courted by a backwoodsman Adam (Howard Keel). He takes her off to his rustic home, neglecting to tell her he has six untamed brothers to care for. Undaunted, Millie sets about domesticating the household, complete with readings from classical history, including the story of the Sabine women, which the boys take to heart. The musical was filmed in AnscoColor and CinemaScope, and the wide screen is utilized to great effect, especially in the barn-raising sequence. Letter-box is mandatory. DePaul and Mercer wrote some effective songs ("Wonderful Day", "When You're in Love", "Sobbin' Women") and the numbers blend into the story perfectly under Stanley Donen's smooth direction. Dresden-doll coloratura Powell and strapping baritone Keel make such an attractive couple it's odd M~G~M never co-starred them again. (Evidently a musical version of "Robin Hood" never got past the drawing board.) The brothers include New York City Ballet star Jacques d'Amboise and a non-dancer, the mysterious Jeff Richards, who may have been the handsomest man ever to appear on the screen, Rock Hudson notwithstanding. Among the brides is Julie Newmar, who a couple of seasons later would stupefy Broadway in "Li'l Abner".Bright and pleasantly aggressive, "Seven Brides for Seven Brothers" is right up there with Metro's best musicals.

Fun movie!
The movie Seven Brides for Seven Brothers is an excellent, fun, family movie with singing, dancing, romance, and even some action. It tells the story of seven brothers who all live together way out in the country. When the eldest brother, Adam, comes home from town one day with a wife, the other six brothers decide they want brides too. They have to battle the townsmen, however, who have already "spoken for the girls." This movie is full of fun and laughs, and I would highly recommend it.

Seven Brides for Seven Brothers
This is a great film, two wonderful singers. Good story line as well. My kids, my husband and myself all like this one! It is a good family film everyone will enjoy.

I LOVE THIS FILM SO MUCH
I mean who wouldnt love, not like, but love this incredible film. This was the first film that I watched when I was growing up. It is similar to pretty woman but reverse because here are 7 rough western thugs that in need of brides to tame them, after their oldest brother got married. Not only did the film have good actors and actresses that were too funny to ignore, but the music and dancing were just as good. I love it and can you believe all but one brother are still alive today? Wow!!!! ... Read more

Reviews (39)

And we'll have a real good time!
I've seen countless versions of Gypsy from movie to stage and have never been disappointed in any of them. For the film version Rosalind Russell, one of my all time favorite actresses shines bright as Mamma Rose. Critics tore her apart but they are nothing but want-to-be actors anyway. I know enough about theatre to see that Rosalind had everything it took for this part and next to Angela she is my next choice.For Louise, Natalie Wood also shines and has given this role all the class of a great Broadway performance. She's beautiful and next to West Side Story the role of Gypsy (Louise) is what i'll always remember her for.The movie production itself isn't bad. I would have liked it more if they stayed closer to the stage version but considering Hollywood they did do a wonderful job. The Stereo 5.1 Sound is breathtaking, the colors are sharp and the extras are very much appreciated but don't know why they just didn't edit them into this production.You won't be disappointed, you'll enjoy all the wonderful songs, wonderful production numbers and see really fine actors of yesterday at their very best. "And you'll have a very good time."

3 Stars for the DVD
I really was looking forward to this DVD. I had only seen this film on TV or pan-and-scan video and thought it missing something. I previewed my new version by checking out the opening and a couple of the bigger numbers and thought it seemed pretty good. Now, unfortunately, I have been only been able to get through about an hour of the movie in two sittings. I have always liked Rosalind Russell and Natalie Wood, and Karl Malden. But, I'm sorry, the musical numbers are flat out -- flat! No oomph, no guts -- I guess I'm just too familiar with the original cast recording which I have been listening to since it was first released on LP, and although I saw the less-than-musically talented Tyne Daly onstage in the role, at least the production sparkled and kept moving. I give the three stars for the DVD because it is an extremely good transfer. The wide screen looks great and the sound is not bad at all, but, again, it just doesn't make it. As Auntie Mame, Ros Russell is out of this world, but as Mama Rose, she seems more like Hyacinth in "Keeping Up Appearances" -- just goes rolling right along not even realizing anyone else is around. Maybe that's the way she and/or the director thought she should be. Oh, well!

You gotta get "Gypsy" if you wanna get ahead!
Buy this wonderful DVD issue of the 1962 "Gypsy" NOW! Fantastic color, film quality, sound...it's like seeing it for the first time. Wonderful stars and music. The two numbers "You Gotta Get a Gimmick" and "Let Me Entertain You" alone are worth the price. When Natalie takes those long legs to the runway, circling the stage performing the latter - whew - TOO hot to handle! "That's how burlesque was born!"

Gypsy -- A Disappointing Pleasure
As a longtime fan of the musical "Gypsy", inspired by the memoirs of the infamous stripper Gypsy Rose Lee, I was ecstatic to come across a copy of the 1962 movie version on DVD. Though the acting was superb and charming, the one of the key words in a movie-musical is "musical", which this movie certainly wasn't.

First off: hats off to Rosalind Russell, an excellent Mama Rose. Miss Russell portrays Rose as the ruthless but lovable dominating stage mother that she is. She gives an marvelous performance as Rose. Though there is controversy on whether her vocals were dubbed by another performer (a rumor which Russell vehemently denied until her death), who really cares? Even if it isn't her singing, you can clearly see her put in emotion into whatever song she is belting(or lip-synching).

Karl Malden, as the bumbling Herbie, Rose's boyfriend and manager for her two daughters, Louise and June, gives his all. He is extremely believable in his role, as well as comfortable. Though unfortunately most of his singing scenes were cut for the final movie, they can still be seen in two additional bonus tracks that were cut from the final product. His talents as a vocalist are clearly displayed, along with his happy-go-lucky stage presence.

The last true musical charmer in this movie is that of the character of Tulsa, who gave a charming and whimsical performance in the song and dance splendor of "All I Need Is The Girl". I became a true fan of this number after seeing him flit across the screen.

Though these few people bring a great musical quality to this movie, not much can be said for the others in it. Natalie Wood, who plays Louise, the awkward teenager who ends up becoming the stripper Gypsy Rose Lee, definitely made her evolution believable. Though her acting was fantastic, I can't say the same for her singing abilities. Let's just say that I finally realized why someone dubbed her vocals for "West Side Story". "Gotta Get a Gimmick", possibly one of the best showstoppers I've seen on stage (about three strippers that give Louise tips on how to become a stripper), was pathetic on screen. There was more shouting than singing, and I kept counting the seconds until the end of the number so I could pretend it never happened. June was somewhat talented as a singer, but didn't give much of a performance.

Though most of the acting was splendid, the music was not. I have to give this one a 3 for the movie overall, but a 4 for the acting.

Everything's Coming Up Rose!
I loved this version of "Gypsy." I was a part of a school production of the musical, so I decided to see what the movie version was like. There are several differences, but this movie has the same flare that the stage production does. The DVD has the two songs that are missing from the movie (they are located in the bonus features area) which I enjoyed very much. I only wish that they had been in the movie in the first place!

Rosalind Russell is WONDERFUL as Rose, a mother who wants to make her children, mainly her youngest, June, a star. She travels, along with her other daughter Louise (played by the wonderful Natalie Wood) and Herbie (Carl Malden). All three characters gave great performances. I always get a lump in the back of my throat when Herbie leaves Rose after she refuses to set a date for their marriage and tries to make Louise the star.

After Louise discovers that she is very successful in her new profession--stripping, she changes her name to Gypsy Rose Lee and leaves her mother behind. Rose then goes on to sing the greatest song of the movie, 'Rose's Turn.' Rosalind Russell does a great job with the song, even if her voice is a little scratchy. Her acting was superb. I have always loved the ending (which I will not give away for those who have yet to see the movie). If you're a musical fan, rent this movie. You will not be disappointed! ... Read more

Reviews (15)

Start spreading the news... New York, New York is good!
Martin Scorsese's "New York, New York" is a good attempt at an epic movie musical. Liza Minnelli and Robert de Niro carry the movie's long storyline with outstanding performances that is to be expected from Minnelli and de Niro. The only flaw is that it does not seem the movie turned out as well as it was envisioned to be. It could have been better, but by no means was it bad. "New York, New York" could have been snipped a little more in ye ole editing room, for it is a tad too long. All the two and some hours are worth it in the end, however, with Liza's showstopping rendition of Kander and Ebb's "Theme from New York, New York," later made famous by Sinatra; but no one, not even the Chairman himself belts it out better than Liza! The soundtrack is great, a nice trip back through the Big Band era. Liza in her "period" costume and long hair make her resemble mother Judy Garland more than ever, but by the end of Liza's rendition of New York, New York, you'll be asking yourself, "Judy who?"

A Hidden Gem!
I am suprised every time I talk to someone about New York, New York, they tell me they havent seen it! I know I come from a different generation being the young age of twentythree, but I am a devoted fan of Martin Scorcese and Robert DeNiro. Being another collaboration from these two cinematic greats should lead you to believe more of the younger movie buffs should have seen it by now. We all talk about the usual Scorcese pics and gawk over how amazing Taxi Driver or Goodfellas is. On that note I just want to brag about the beautiful and touching picture about two creative people and their struggle to love each other and at the same time be creatively successful. Liza Minnelli is brilliant as Francine Evans and does nothing to bring the picture down. In fact after Caberet, this is the only other role I've seen her in. In any case she doesnt disappoint and actually comes off very sexy! Her eyes glow throughout he entire picture and especially in the opening ballroom scene. Robert DeNiro is always great as we all know but he really suprised me here with the character Jimmy Doyle. His razor-sharp toungue spits out the mostly improved dialogue with such fury that it sets the screen on fire. He is also very, very funny. Its also a very personal film obviously to Scorcese considering that it practically mirrored his personal life at the time of filming. Im not going to go into details but if you are a Scorcese admirerer, you will know exactly what I'm talking about. All in all, this is a movie that every movie lover, young or old, should get aquianted with. Scorcese's deft direction, along with the trancendant art direction and performances and with all the music including the title track, this is one gem you shouldnt miss!

A Great Epic Musical
This movie is a trully underated musical. The poor script and imprudent editing are its only flaws. But the performances, the direction, the story,the costuming, the art direction, cinematography and the music make those flaws virtually unoticable. Im sure if this had been the success it should have been back in 1977, Im sure the film, the art direction, the cinematography, the costuming, Scorcese, and above all else Minelli(who never looked or sounded better)and Deniro would all have gotten Oscar nods. The one that I truly cant beleive is that the title song didnt win the oscar. It has become such a standard it should have one. Overall a great film trully an underated classic.

Great music but not so deep emotions
Liza Minelli is great in this film that is a manifesto for New York jazz and Broadway musicals. She has a deep and mysterious voice and her songs are highly poetic. Robert de Niro is an aggressive lover and a very self-centered musician, music-doubled by Auld. In fact he looks like a remake of Fred Astaire in his courting techniques, but without the light humorous dimension of Fred and with a deeply egotistic and melo-dramatic dimension. But the film goes beyond this and shows how two artists could work together if they accepted to step beyond the small difficulties of life. Small is a way of speaking since it is a pregnancy that does not come at the right moment, breaking up a band and endangering a career. Robert de Niro just rejects the problem and saves his own career by dumping the wife he had had so much difficulty to conquer. Liza Minelli recaptures her own career after this event with her talent and also with her easy-going friendliness. The film becomes sad and has no Happy Ending because the two hesitate to recapture the past and meet again for reasons that are not really made explicit in the film, but that we can imagine to be the fear to go back to a cannibalistic relation on the side of Liza Minelli and the fear to get penned up into limitations on the side of Robert de Niro, in spite of the attraction his own son exerts on him. This shows how difficult it is for two great artists to live together and to work together, especially when one is tyrannical and the other diplomatic. Napoleon meets Queen Victoria in some way. But the film is too much centered on the music and not explicit enough on the love affair and sentimental experience if not experiment the two go through. It makes it a litle bit cold and unsensitive. We have to imagine too much about the relations between the two. So it makes the film slightly shallow and slow, in a word long.

Dr Jacques COULARDEAU

Robert DeNiro's character-the most unlikeable character ever
Robert DeNiro's character of Jimmy Doyle is, without a doubt, the most unlikeable and downright despicable character in film history.

He (DeNiro's character) does absolutely nothing in the film's nearly three hour running time to in ANY way ingratiate the audience to himself. He's an absolutely horrendous human being in every single scene. (Honestly, Hannibal Lechter is more likeable than this guy...at least Hannibal had some charm and an occasional sense of humor.:)

Liza Minnelli is wonderful, however, as is the set design, cinematography and music. But you can't have a successful film when the audience despises one of the two main characters. ... Read more

Reviews (7)

Temple's template?
This look at the British rock'n'roll scene, circa 1959, HAD to have inspired Julien Temple's "Absolute Beginners", right from its opening nightime shots swooping through London's Soho coffee bar/club scene to its depiction of naive show biz beginners with stars in thier eyes and savvy talent agents' hands in thier wallets. The late great Laurence Harvey portrays the classic success-hungry hustler/"manager" stereotype with the kind of cheeky chutzpah that remained unmatched until Ray Sharkey's astounding performance in 1980's "The Idolmaker". The elfin Cliff Richard plays it straight as Harvey's "discovery", the hilariously named 'Bongo' Herbert. Great footage of the original "Shadows" group, including guitar whiz Hank Marvin (whom Jeff Beck and Jimmy Page have cited as a seminal influence). The smart, bitchy dialog is better written than most U.S. "youth" films of the era ("The Girl Can't Help It" and "Rock Rock Rock" may contain priceless performance footage, but tend to sport somewhat sophmoric scripts). DVD notes: The Kino release has the best picture I've ever seen of the film, but the oversaturated sound makes much of the dialog unintelligable and some of the "brassier" songs unlistenable. A real hoot for music geeks.

Sharp Showbiz Satire.
WOW ! Talk about mixed reviews ! I gather from some of the reviewers that certain parts of the original film--apparently Laurence Harvey had some songs--are missing in this version.
Sorry--I find it difficult to miss what I have never seen in the first place. As long as the Cliff Richard numbers are included, I suspect most people will be satisfied.

This is a highly entertaining film, and while Laurence's singing may be "missing in action", his acting as the ultimate hustling, unethical, desperate showbiz manager is terrific. Whether it's 1959, when the film was made, or 2003, one suspects that success in the world of pop music does dictate that "nice guys will finish last". Harvey's character is certainly not a "nice guy", but his brash, "silver-tongued" persona becomes, thanks to a great actor, sympathetic to the viewer. As his long-suffering girlfriend, Maisie the Stripper, Sylvia Syms matches Harvey's performance as the only type of woman who would stick with this manic guy for more than five minutes !

An incredibly young Cliff Richard is "Bongo" Herbert, Harvey's big "discovery". This was not Cliff's first film, but it was his first major role, and he was well-cast as a naive young singer who just performs "for kicks", until he learns the ways of a ruthless world. One more point for music fans--you will also see Cliff Richard's legendary backing group, the Shadows, in the coffee bar scene, before they became big stars in their own right.

The film captures the atmosphere of London's more sleazy areas, circa 1959, as well as the excitement created by a new force in music--rock n' roll. Of course, if there is one ingredient that lifts this movie over many others of the same type, it is the script--this one really crackles !

The picture is widescreen, black and white and the quality is good, rather than great--sound, of course, is mono.

Overall, a classic satire on the music business and the exploitation of artists. Recommended.

Expresso Bong.....Oh
An on target black and white satire of the 1950's pop music scene with only one problem. The music isn't all there. As I remember it , there was at least one other song in the original cinema release and it's omission removes some of the bite from the whole. Overall, a bit of a let-down considering that there wasn't much music to start with, although Cliff Richard does get a reasonable look-in. (Can you believe that he was really nineteen at the time ? He only looks about fourteen here.)Anyway, it is still worth having a look at but I imagine that those expecting to see the same film that they saw all those years ago are going to feel disappointed.

The Same Shoddy Piece of Goods
Forget about stars. Kino's DVD of "Expresso Bongo" is the same mangled version that appeared on VHS a couple of years ago. Three
songs performed by Laurence Harvey are missing. I e-mailed Kino about this abridgement at the time. Mr. Gonzalez is quite correct in calling Kino's cut a "Reader's Digest" version of the film.I was hoping Harvey's numbers would be restored for the DVD version but I see I will have to make do with my murky off-the-air video recording.

Bohemian Madness
Laurence Harvey as Johnny Jackson is appealing, cool and wild. This movie is just one great period piece of a time and place long gone. What a ride in 50s London! Spellbinding. ... Read more

Reviews (56)

Many Songs are missing...but still great
Ok, when a movie stars Zero Mostel, Phil Silvers, Jack Gilford and Buster Keaton, you know it is going to be an outrageously funny movie. As is the case with "A Funny Thing Happened on the Way to the Forum." "Forum" was adapted from the highly sucessful, extremely comical Broadway musical of the same name. The show, the first show featuring the music AND lyrics of now legendary composer/lyricist Stephen Sondheim, was a huge hit.

When it was made into this movie version, many of Sondheim's songs were dropped. In fact, at some points it doesn't even seem like a musical. However, the movie is still extremely hilarious. Mostel played the role of Pseudolous, which he originated on Broadway. When filming began, he was just done wih a little musical called "Fiddler on the Roof". Mostel is great in this , as is the great Phil Silvers.

This movie is highly comical, seeming almost like a Monty Python movie. If your a fan of wild antics and very funny songs including "Comedy Tonight" and "Everybody Ought To Have a Maid", than you'll love this movie. By the way, it also features a very young Michael Crawford, who many years later would win a Best Actor Tony as The Phantom of the Opera.

Classic Funny Men enliven this trip to the FORUM
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM is one of those shows that you just have to let go of all disbelief, in order to accept the broad and wacky humor. Using the 2 stars from the original cast (Zero Mostel & Jack Gilford), this film is a fun and silly romp for everyone to enjoy. Mostel leads the pack as the crafty slave plotting his way to freedom, while Gilford is perfect as his VERY nervous cohort. Buster Keaton is a gem as the befuddled, blind-as-a-bat, old man searching for his long-lost children, while Phil Silvers is oily perfection as Lycus, the buyer & seller of the flesh of beautiful women. Leon Greene is vanity personified as the roman soldier, Miles Gloriosus. Richard Lester directs using his trademark quick-cuts and cinema tricks, and while they don't always work, they keep the film from dragging too much. Fans of the stage show will be disappointed to see some of the musical numbers cut, as well as the liberties with the script. (The part of Lycus is expanded in the film to accomodate Silvers.) However, the chance to see these old pros of burlesque humor strut their stuff makes this trip well worth taking. Be aware, however, that this film is NOT for the PC inclined. This is a "Comedy, Tonight" worth recommending.

Overall not great, but has its good isolated moments
I do not claim to have a broad knowledge of Broadway musicals, and so this, Richard Lester's film version of Stephen Sondheim's A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, was my first experience with this musical.

Mr. Sondheim is certainly something, isn't he? In such classic musicals as GYPSY or WEST SIDE STORY, his lyrics always seem to sparkle with such exhilarating wit. It's the same here, at least in the few numbers the filmmakers retained from the Broadway show in the film, particularly with the catchy opening tune "Comedy Tonight" (a tune that's still stuck in my mind right now).

As for the stretches without music---well, for me it's a mixed bag. Having not seen Richard Lester's more famous previous films (like A HARD DAY'S NIGHT), I can't say whether the frantic editing style he employs here is a trademark of his or not. Mostly it works here, giving the material a welcome screwball farcical edge. Lester, though, pursues this chaotic style at the expense of clarifying the story, resulting in a movie that eventually becomes a mess in terms of plot (since so much seems to be going on at once). Perhaps the climactic chase scene towards the end is the prime example of this fault: Lester and his editor John Victor-Smith hardly bother to clarify at certain points who's chasing whom---it's simply chariots and horses flying by, in a visceral whizz of fast motion. That's basically the problem with the storytelling overall. In short, the style is mostly effective but self-conscious (although perhaps it is a forbear of the blitzkrieg comedy style of later movies like AIRPLANE!).

Still, the movie has its moments, although most of those moments come in the witty songs and Zero Mostel's likably over-the-top performance as Pseudolus (a precursor to his classic portrayal of Max Bialystock in THE PRODUCERS). It's not a great film, but for the most part, it's good entertainment.

Schizophrenic; and hardly a MUSICal
This movie is schizophrenic. It is not funny. It is just half-funny slapstick gags delivered as if by a schizophrenic on drugs. Example: the Chariot race... What the hell is going on during that scene? It looks like everyone is just chasing everyone else and has no idea where they themselves are going. It's frightening. Another example: choreography for "Everybody's Gotta Have a Maid"... what the hell is going on during that scene? Rapid cuts from totally different settings and really random choreography make this one of the most bewildering stagings I have ever seen.

I've seen this stage musical, and it is far funnier than the film. Firstly, because it retains the music. Sondheim's music is absolutely hilarious, in many ways funnier than the book. Songs like "That'll Show Him", "Dirty Old Man," "Pretty Little Picture", "Love I Hear", and of course, the fabulous "I'm Free" are all missing. Why? For the love of God, why? And secondly, because the director did not replicate the good pacing of the musical. The musical itself is fast-paced but funny. Apparently, while making the transition to film, the director figured "I can do even more with a film" and thus WAY overdid it. Seriously, this film could give you a heart attack.

Also, other than Zero Mostel (who arguably is not at his best) the performers are not very good, except for the "Lovely (Reprise)" which was the highlight of the film. And the Captain has a good voice too.

Horribly Dated
With apparently no faith in the pretty strong material, the filmmakers decided to do away with most of the aspects that made the musical charming in the first place (like, oh, most of the music!) and replace it with groovy 60's trickery that looks like something right out of Benny Hill (look, the action is sped up to make everyone look like they're running really, really fast...isn't that funny?)

Zero Mostel does what he can, but he can't salvage this. No one else even registers.

I saw this on stage, and that version blows the film version out of the water.

Grade: D ... Read more

Reviews (172)

Rice & Lloyd Webber's Operatic Passion Play on Film
After the bizarre Broadway staging of Tim Rice and Andrew Lloyd Webber's rock opera, the film version of "Jesus Christ Superstar" had to be a more traditional offering. Producer-Director Norman Jewison filmed on location in Israel, using natural settings and sparsely constructed sets for what is essentially a string of music videos (since it was written as a studio album first, the music presents problems for moving from one scene to the next). The framing device for the film is the cast arriving/departing by bus. Ted Neeley's voice is suited to the role, but certainly he is the shortest Jesus I can recall seeing in films. Yvonne Elliman and Barry Dennen remain from the original studio album and Broadway production as Mary Magdalen and Pilate, which is perfectly all right. However, it is clearly Carl Anderson as Judas who gives the best performance in the film. The film version suffers from the inadequate voices of several of the supporting cast members (most notably Josh Mostel as Herod) and the grossly reduced chorus of singers which never comes close to matching the number of bodies on screen, and there are a few unintentional laughs (as when Israeli tanks come over the dune and chase Judas). But the use of paintings depicting the crucifixion and the final shot of sheep being herded past the cross the cast leaves behind on the hill, are particularly effective. Of course as with most movies, if you want to watch it you want to get a hold of the widescreen edition, otherwise you cannot appreciate the Last Supper tableau or just enjoy the compositional elements of the shots. Every Easter weekend I watch this film, even if I do not have time to do all of "Jesus of Nazareth" or "The Greatest Story Every Told." The only thing radical here is the music, but I still have to think it qualifies as the requisite joyful noise.

Controversial Rock Opera
Jesus Christ Superstar was Andrew Lloyd Webber and Time Rice's first major success. The rock opera was first a concept album that exploded on the charts hitting number one and spending almost a year in the top ten and unleashed Murray Head on the world. It was then made into a successful Broadway play starring Ben Vereen. In 1973, respected director Norman Jewison (In The Heat Of the Night, Fiddler On the Roof) brought it to the big screen. The film was shot on location in Israel and that gives it an authentic feel. There is no dialogue in the film, everything is sung in true opera fashion. It kind is like a forerunner of the music video in that fact. Mr. Jewison mixes the biblical setting with modern nuances such as guards carrying machine guns, tanks and planes appear and at the beginning of the film, the cast arrives by bus and at the end it leaves on the same bus. The beginning of the film shows the cast setting up what appears to be a play. They get into costumes and set up for the play. The movie focuses on the last seven days of Jesus and Ted Neeley appears in the title role. The movie focuses on Jesus' relationship with Judas, who is played by Carl Anderson. The plot likens Jesus to a modern-day rock star, who rises above all the other prophets due to the hype-machine. Judas thinks that Jesus is believing the hype and moving away from his humble roots. He turns traitor in the belief he is helping the nation. At the end, we are left wondering if this was just a play or was it real as all the cast members get on the bus except Mr. Neeley. The movie fades out quite powerfully in the sunset on the cross. The movie moves along through the series of songs and is well choreographed. The album, play and film were highly controversial due to its take on the Passion of Jesus, but putting religious beliefs aside, it is an excellent film.

Most powerful movie ever produced!
Too many people miss the point. This movie was not made as a literal portrayal of Jesus' last days...it was (and remains) a figurative interpretation of the last days of one who would inspire a new branch of religion.

From the opening moments of the movie when Carl Anderson (Judas) sings ("...my mind is clearer now, at last, all too well, I can see, what we all, soon will be...") through Ted Neely (Christ) during "Gethsemane" ("Allright! I'll die, just watch me die!") the viewer is mesmerized by some of the most powerful music, lyrics, and staging ever written and performed. This particular sequence (when Jesus is climbing the mountain, fairly crying out for God's explanation of things to come ~ "Show me just a little of your omnipresent brain") still brings tears to my eyes and I've seen this movie at least 100 times!

The movie was shot on location in Israel a few years after the 6 day war, and during the Vietnam war. These realities are not lost on the writers, and evidence of their beliefs and opinions are sprinkled throughout the movie (the tanks coming over the horizon and the F-16's flying over Judas' head were a nice touch). Their religious convictions are displayed in such moments as when the priests are on the scaffolding ("He is dangerous") and the crowd extols Jesus below ("Haysanna, hosannah, sanna sanna ho, sanna hey sanna hosanna; hey JC, JC won't you die for me...") watch Jesus' face at that moment....

Yvonne Elliman (Mary Magdelene) does a fine job of balancing the angst of Judas with the over-arching compassion of Jesus, and Barry Dennen (Pilate) captures a high point when he washes his hands of Jesus' plight. Bob Bingham's (Caiphas) bass rattles your soul with his deep melodic tonality.

While the acting is certainly not on par with the great actors of our times, one has to take that with a grain of salt. I was 7 when I first saw it and I still watch this movie at least once per year (can you guess which day? :) By far this is Andrew Lloyd Webber and Tim Rice at their best.

Who the Hell did they get to play Jesus?!
The guy who plays Jesus is an awful singer. He ruined the entire movie sounding like the lead from some punk band. Also, it's clear they did not cast the actors based on their looks (or even their talent for that matter). I tried very hard to like this. I love musicals but this ranks down there with Cats, Hair, and Nine. If you want a great musical based on the scripture, check out the amazing Godspell.

awesome
OK, granted this musical was done in the early 70's and therefore has some 70's overtones, but the acting and singing are magnificent. The relationship between Judas and Jesus is powerful, and Ted Neeley stares right into your soul. I first saw this movie when I was about 7 years old and it left a lasting, positive influence on me regarding Christ. ... Read more

Reviews (90)

The best contextual musical ever
Norman Jewison's "Fiddler On the Roof" is the story of a poor milkman living in tsarist Russia, which in the outskirts of Russia. This is one of the most original musicals, based on the stories of Sholom Aleichem. Played by Chaim Topol and Norma Crane as Tevye and Golde, the acting of this role of parents of five daughters in an orthodox Jewish family is done brilliantly. Tevye's misquotings of the bible is hilarious. The songs in the movie are outstanding and poignant. Starting from the beginning with "Tradition", with violinist Isaac Stern doing his magic, every song has its uniqueness.

Each of his three older daughters choose a different path. The first one refuses to marry the person chosen by the father as she in love with the tailer Motel. The way Tevye cons his wife into agreeing for this wedding is one of the funniest pieces of the movie. The characters chosen are unique and beautifully portrayed. The song before this, "Matchmaker, matchmaker" is beautiful. The way Yente, the matchmaker looks at the youngest daughters as though they were caravans wares is extremely funny. The second daughter Tseitel chooses the revolutionary who is against the Tsar and wishes communism. The song in the bar "To life, Le Chaim" is unusual and shows the way the Jews and the Christians can get along in a limited manner. The third daughter chooses a gentile.

Though this is a musical, the acting, story and the character portrayal is deep. Songs range from comic like "If I were a rich man", to haunting, "Sunrise, sunset", to sad and lonely, "Little bird". Though being Jewish will help one understand this movie better, it is not a necessity. The screenplay is wonderful. The particular one that I like is when Avraham comes and tells that there are bad things going on in the world. Another person says, "Why should I break my head about the outside world, let the outside world break its own head". Here Tevye says, "He is right, if you spit in the air, it lands in your face." Then the revolutionary says, "Nonsense, you cannot be blind to what happens outside." Then Tevye says, "You know, he is also right." At this time Avraham points to the revolutionary and the other person and says, "He is right and he is right, they can't both be right." Now Tevye looks at Avraham and says, "You know, you are also right."

When the Jews are evicted, it is extremely sad. They console themselves saying that their village Anatevka was not exactly the garden of Eden. This song, "Anatevka", is sad and heartbreaking. They have so little but still love it. It reminds one that happiness is something of the inside and has nothing to do with material possessions. This movie is a classic and a timeless masterpiece. It might be difficult for some people to understand due to the history of Tsarist Russia and its pogroms and the context, otherwise, to date it is my favorite musical.

One of the greatest musicals of all time...
Fiddler on the Roof is a cinematic masterpiece. Originally a musical, this movie is an amazing adaptation that remains faithful to the original, while at the same time not making it seem "theatrical" to the point where it looks contrived. The characters are played perfectly with Topol (who plays Tevye, the poor village milkman) taking the highest honors.

Fiddler on the Roof is simply a timeless story, even if it finds itself placed in czarist Russia. The story revolves around Tevye, a poor Jew living in Russia and his struggle to stay true to his faith (and ideals) in a world that is rapidly changing. This film follows Tevye in his journey to meld his rich Jewish past with the modern world that surrounds him. His arguments with himself ("On the other hand,...") are priceless and allow us to relate with Tevye as he struggles with his heritage (the pogroms), his financial status ("If I Were a Rich Man") and his family (his daughters are entering marrying age).

Ths music is wonderful. The songs are poignant and easily remembered. I guarantee that you'll wind up singing/humming "Tradition" or "If I Were a Rich Man" days after watching the movie. The movie itself is humourous at times, and sorrowful the next and the storyline is deep, but is not a damning social commentary. The cinematics are also extraordinary, with the film being shot "on location" in Zagreb, Yugoslavia.

This is an ideal family movie, and I can remember watching (and loving) this movie at an early age. I'm glad I purchased this movie for my DVD collection, as it will become one of my most watched (and sung to) films. The box comes with only a single DVD, but is double-sided and contains additional footage, an additional song (cut at production) and a commentary on the movie itself.

Fiddler on the Roof
IT was absolutely amazing. Everything about it! The backround and effects were amaxing and it was a very touching story with absolutely wonderful actors and unforgetable songs. SPECTACULAR!

An excellent film, except for the cover art
I love this movie, but was highly dissaponted with the ugly cover art design. They should have stuck to the original poster art. Anyways, the music is great, and it is good to see such movies being restored on DVD.

The best of all musicals.
I agree with HeadbangerDuh in every sense. This is the best of musicals. While some other musicals amy be corny, boring, and downright dumb, Fiddler shows humor, interest, and is educational. Although part one is funnier, part two I feel is richer, and more full, not as goofy. This is probably the best film of the century. ... Read more

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Baywatch alum David Hasselhoff stars in the dual title roles ofJekyll and Hyde: The Musical, Frank Wildhorn and Leslie Bricusse'sversion of Robert Louis Stevenson'sgothic horror classic. The story of the brilliant scientist who uncovers thegood and evil aspects of the human heart was a pay-per-view event on theBroadway Television Network, filmed on stage before a live audience. If thataudience had seen a lot of Broadway shows, they probably didn't see much theyhadn't seen before, but its familiar plot and accessible pop score give Jekyll andHyde a certain appeal, especially for musical novices.

Notable songs for Coleen Sexton and Andrea Rivette (as good girl Lucy and badgirl Emma, respectively) include "Someone Like You," "Once Upon a Dream," andthe duet "In His Eyes." Hasselhoff cuts an imposing figure but is somewhatunsteady in such anthems as "This Is the Moment," which are tailor-made for bigvoices (for example, LindaEder, Wildhorn's wife and the creator of the Lucy role). --DavidHoriuchi ... Read more

Reviews (141)

Does not do justice to this musical
I originally saw Jekyll & Hyde when it first was created here in Houston and have seen it live several times, before and after it went to Broadway and it is my all-time favorite musical, bar none.
So, even though this production had none of the cast I had seen, I figured the musical was so awesome that it would be good regardless.
Well, I was wrong. The songs I loved are there, but this cast doesn't begin to hold a candle to the ones I had seen liv