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We have met the enemy, and it is us: when a Martian spacecraft with a terrifying link to the origins of humanity is unearthed beneath a London tube station, only the esteemed Professor Bernard Quatermass (a very British--and possibly mad--precursor to Mulder and Scully) can save London's suddenly murderous population from itself. One of the most intelligently paranoid science fiction films ever produced, this pessimistic masterpiece functions as a dark flip side to the relatively optimistic alien-induced evolution theory presented in the later 2001: A Space Odyssey. Nigel Kneale's brilliant script (which posits a surprisingly plausible, otherworldly rationale for the existence of the supernatural) was later appropriated by acknowledged fan John Carpenter for his underrated Prince of Darkness. In addition to boasting a flawless widescreen print, this marvelous tape also features a hilariously overdone original U.S. trailer ("Women will be defiled by the invaders from outer space!" it erroneously shrieks). A must-see for horror and science fiction aficionados. This film is also known as Five Million Years to Earth. --Andrew Wright ... Read more

Reviews (46)

Can't say enough about this exciting sci-fi flick.
This was the first of 7 films that Roy Ward Baker directed for Hammer. I also feel that it was possibly Hammer's finest moment. I have seen this movie at least 5 times and I still love it. This is a remake of a British television series entitled Quatermass and the Pit. The same writer was used on the film and much of the same dialogue is used. And maybe Hammer has some other moments as equally fine as this, but this is such a good movie.

While digging a new subway tunnel underneath London, a large, metallic object is discovered. Different experts are brought in and the official story from the military is that it is an experimental type of bomb from from the Germans from WW II that didn't work. Others aren't so sure, including Professor Quatermass (Andrew Keir).

A little bit of detective work by Professor Quatermass and his assistant Barbara Judd (Barbara Shelley) turns up that the area of London that the object was discovered at, Hobbs Lane, has had a history of strange phenomena going back centuries. In fact the name Hobbs as it turns out, is actually a medieval name for the Devil.

Quatermass proposes that the object is an alien craft that has been buried for centuries, if not millennia, despite the military's insistence that it is a German dud. And soon after the discovery of the object, workers start dying or start having psychotic episodes with visions of seeing aliens that look like insects (kind of like a cross between a praying mantis and a grasshopper actually). The military is trying every tool they can to drill into the object, but to no effect. A cover finally opens up and all hell starts breaking loose around Hobbs Lane. Winds are blowing and people are being driven mad by the visions they are seeing. There is also a giant apparition of an alien that appears in the sky above Hobbs Lane. The Professor figures out a way to bring the power in the spaceship to a halt by running a giant electrified crane into the apparition and save London.

If you have ever seen Lifeforce (1985), you'll notice the endings are somewhat similar. There are winds swirling around London with debris flying everywhere and sirens going off and some terrific noise all around. People are running through the streets either out of their minds or trying to get away from the madness. And one lone figure knows how to put a stop to all of it.

I hope my description of the movie doesn't turn you off, because despite the goofy sounding story it really is a well done movie. All of the principle actors do an outstanding job, especially Barbara Shelley and Andrew Kier. The first time I saw this movie on TV in the late 70's it was under the title 5 Million Years to Earth. It was probably 10 years before I saw the movie again on TV, and I was so excited to be seeing it again. Fortunately for all of us, Anchor Bay has released this movie on dvd in 1998. What is included on the disk is a commentary by director Roy Ward Baker and a World of Hammer episode entitled "Sci-Fi". I have only ever seen one copy in dvd stores and of course I bought it. So I know it is not a very common title to have in stock at most outlets. I highly recommend buying this for your permanent movie collection.

Brother, can you spare a Quatermass?
Quatermass and the Pit (1968) is the third in the Quatermass series, beginning with The Quatermass Xperiment (1955), and followed by Quatermass 2 (1957), all written by Nigel Kneale, and is certainly one of the better Hammer Studios releases. (That's a whole lot of Quatermass...)

The film starts out with an interesting find during the renovation of an underground subway station in the English town of Hobb's End. Seems the workers found some ancient skeletal remains, early primate man it appears, prompting the work to stop, allowing for Dr. Mathew Roney (James Donald), his assistant Barbara Judd (Barbara Shelley, yowsa, yowsa) and a group of anthropologists to catalogue this remarkable discovery. The situation soon turns from fantastic to frightening, as part of a large, metal object is uncovered, leading some to believe it may be an unexploded German bomb from the last world war. Professor Bernard Quatermass (Andrew Kier), a physicist and rocket scientist, along with Colonel Breen (Julian Glover, who later appeared in Indiana Jones and the Last Crusade) and the military soon arrive to deal with the situation, but further digging reveals the large object not to be a remnant of a past war. Turns out, it's not even an object of this Earth, as various attempts to penetrate the hull prove fruitless, as the object is of a material not recognizable to anyone. Not only that, but a secret compartment reveals child-sized inhabitants of a bug-like nature. As the scientists, the military, and the government grapple with this incredible find and all its' possible implications, the dissention amongst the parties involved begins, as not only of the origin of the object, and how best to disseminate information to the questioning public.

After Barbara, with the flaming red hair and beckoning green eyes (sorry...I got a little carried away) uncovers information about past odd happenings in the Hobb's End area, Professor Quatermass develops some interesting theories about the possibility of alien intervention in human development and reasons why. This opens a whole new can of worms, and to say Colonel Breen and various high-ranking government officials were less than receptive to these theories is putting it lightly. There position, akin to an ostrich putting its' head in the sand, is that the object and anything within was all a part of some German propaganda during the past war, designed to sow confusion and fear. This turns out not to be true, as everyone learns later. More scientific investigation reveals some truly interesting, and somewhat terrifying details. In the end, the terror becomes a reality, and the stuff really hits the fan as the object turns out to be much more than anyone had expected or could have conceived.

To me, this is an excellent example of a true science fiction film. The story is thick with rich, creamy flavor as elements are revealed, tying in not only with the present, but also the past. The conclusion to the story is satisfying, but one is left with any number of questions that may never be answered, due to the plot intricacies developed through the film. I really liked the portrayal of the powers that be in that they weren't trying to cover up some big secret, but just unwilling to face certain facts for fear that this information would have repercussions beyond the imagination, and most would probably not be able to even begin to wrap their minds around the possibilities presented with the alien object. There is a real depth to this movie, one that keeps drawing you deeper and deeper, heaping implications on top of implications, giving this viewer the sense that his mind was actually being blown. The whole affair was very intelligent and well put together, leading up to a very exciting climax. I would recommend this to any fan of true science fiction, as it exemplifies what can be achieved when all the pieces come together. This would certainly be the career highlight of capable director Roy Ward Baker, who also directed such films as Scars of Dracula (1970), Asylum (1972), And Now the Screaming Starts (1973), and The Monster Club (1980). James Donald (Dr. Mathew Roney) also appeared prominently the classic WWII film The Great Escape (1963). Andrew Kier (Prof. Quatermass) appeared in other Hammer films like Dracula: Prince of Darkness (1966), along with costar Barbara Shelley, and also the less than stellar The Viking Queen (1967).

The wide screen print on the disc looks very good, with only very minor signs of wear in a couple of places, and special features, which are on the flipside of the disc, include US and UK theatrical trailers, TV spots, a feature length commentary track by director Roy Ward Baker and writer Nigel Kneale, and a World of Hammer episode entitled 'Sci-Fi'. If you're in the mood for an intelligent and highly entertaining science fiction film, you won't be disappointed in Quatermass and the Pit.

Cookieman108

This third movie is probably the best one to get
I saw this film as a child on television many times and I guess I should admit to some bias here as it had a lasting effect on me.

I bought the movie on the strength of that feeling and it didn't disappoint me to see it again as an adult.
Although I bought all three movies, this is my favourite Quatermass movie because the acting is so much better than the first two films.

Andrew Keir is the best and most sympathetic Quatermass in my opinion and the supporting cast, particularly James Donald (the real hero) and Barbara Shelley help raise the overall quality of the film.
Credit must also go to the author Nigel Kneale who has some terrific ideas and a real feel for science fiction. He also researches his subject well so his stories generally contain 'believable' science( the odd plant man not withstanding).

The way he weaves the old tales of goblins and devil folklore into the story is impressive and original, making the sudden discovery of these creatures less far-fetched and ultimately quite courageous for it's time, considering the heresy at the heart of the story, that we owe our existence and evolution to clever insectoid martians!

The special effects are good considering the lack of technology available at the time and the story kicks along at a cracking pace. Be warned though, you may well be repeating lines in the pub like ....they were leaping and jumping!!! for days afterwards with a bug-eyed expression on your face.

Or is that just me? (I'll get my coat.........)

I would say you if you like science fiction films you won't feel let down if you buy this movie. It's a movie worthy of the title 'classic'and I think stands up pretty well against today's efforts.

WE ARE NOT ALONE
THIS ONE OF THE BEST HAMMER PICTURES,THE STORY IS FILLED WITH SUSPENSE AND GREAT SPECIAL EFFECTS FOR THAT TIME.THE ACTING IS FIRST RATE AND THE END OF MOVIE WILL GIVE UP YOU CHILLS.

EXCELLENT HAMMER SCI-FI THRILLER....
Workers in a London underground railway station unearth humanoid skeletons---setting off excitement among the scientific and anthropological experts. But then a stranger object is found and the military gets involved, believing it to be a bomb. It turns out to be a spacecraft. Col.Breen (Julian Glover) explains it all away as a German craft left over from WWII. Dr.Roney (James Donald) and his assistant Barbara Judd (Barbara Shelley) are skeptical due to the skeletons but the estimable physicist Prof.Quatermass (Andrew Keir) thinks there's a more otherworldly explanation. There are legends and superstitions around the railway station area of hauntings and "goblins" that are too well documented to be ignored. Then strange vibrations begin to eminate from the spacecraft and the remains of the hideous crew are discovered. Breen and his superiors go into complete denial of extraterrestrial visitation while Roney, Barbara and Quatermass bond together to explore things further. And the results are horrifying. Superior Martian lifeforms that resemble giant locusts came to earth in these ships and took back with them ape-like early human beings to mutate with in an attempt to cleanse their own race...then returned with them to earth to repopulate on our planet as Mars was no longer capable of supporting life. Thus, we are descended from this unspeakable union! What's more, this arthropodic race of Martians were evil---capable of creating such powerful telekinetic energy that could create havoc and destroy as well as control the minds of lesser beings. When the ship vibrates to life, sending telekinetic energy every which way, all hell breaks loose. This is an incredible, intelligent sci-fi/horror story with a matchless cast delivering expert performances. A truly superior Hammer film. Excellent color, claustrophobic atmosphere and modest but remarkable special effects with top-notch direction from Roy Ward Baker make this a collector's item for any sci-fi/horror/Hammer fan. Excellent DVD treatment from Anchor Bay as well. Highly recommended all around. ... Read more

Reviews (8)

A New Zealand "Last of the Mohicans"
The conflict of the indigenous peoples of Australia and New Zealand are often eclipsed by the conflict of Native Americans against the U.S. government. Utu offers an insightful snapshot into the conflict many of the New Zealand Maori felt against the encrouching culture of the English. The film showed that even those Maori who aided the English struggled inside to keep their cultural identity from being pulled into the undertoe of English colonialism.

The film serves up a good course of action, especially with the double barrelled shotgun scene. I highly recommend this film because it vividly presents the conflict between colonial powers and indigenous peoples. This film is "Last of the Mohicans" in a New Zealand context.

The Original BAD Gun
This Was The First Movie I Had Ever Seen With
Two Double Barrels Together As One BIG Gun.
The Effects Of First A Single Barrel Then
The Double Barrels And Finally All Four
Nocking Down The Shed Is Still One Of The
Greatest Weapon Scenes Of Its Time.
And Yes I Always Wondered Why Bruno Lawrence
Seemed To Be Ignored???
He Was Awsome In Both UTU And The Quiet Earth.

Simply stunning
I saw this movie when it first came out in the early 1980s, and a recent reviewing confirmed its brilliance. The subject matter is unique, a Maori uprising against Europeans in 19th century New Zealand. But what makes the movie worth watching are the performances. Several of the performers stand out, but especially Bruno Lawrence, who I have long considered one of the great underrated actors of the past twenty years. He has never gotten the kinds of rolls that I believe he deserved, but his work in this film as the settler bent on revenge for the loss of all he loved is stunning, as was his work in the films THE QUIET EARTH and SMASH PALACE. I was baffled when this movie came out that it didn't make a bigger splash than it did, and I have remained amazed that so few people seem to know about it.

Anyone who enjoys any Australian or New Zealand film should definitely seek this move out. Just an outstanding film.

Wonderful
This is a beautiful film. It is fiction, but an accurate portrayal of the sort of thing that went on in the 1850's when the Maori tribes were attempting to get their own land back from the British. There is some violence but it is necessary to the story and not excessive. The country is achingly beautiful, the performances are perfect, the music is haunting. Utu is unforgettable.

As usual, Maltin misses the mark
Leonard Maltin's characterizing this film as "dull" leads me to question whether he's actually seen it. In fact, it's a remarkable piece of work with powerful performances. "Sometimes I'm mad ... sometimes I'm not!" ... Read more

Reviews (375)

There's No More Room in Hell, So the Dead Now Walk the Earth
1978's DAWN OF THE DEAD is the second entry in George Romero's "DEAD" trilogy, though it isn't as scary or as groundbreaking as his first, the classic NIGHT OF THE LIVING DEAD (1968). Still, for a low-budget sequel, it is an interesting and entertaining film, an unusual mix of action, drama, comedy, and horror that actually functions on two levels: One, it is a stomach-churning study of the depths to which people will sink in order to ensure their survival; and two, it is a dark satire that takes several pokes at Western consumerism.

The plot of DAWN OF THE DEAD builds on the premise of its predecessor. The world is now becoming overrun with the flesh-eating zombies, and in the United States, martial law has been declared and all survivors are required to go to state-run "rescue stations" for shelter and protection. The manager of a TV station and her helicopter-pilot boyfriend decide to defy authorities and seek out their own save haven, and two police officers--friends of the helicopter pilot--decide to abandon their duties and go along with the couple. The group eventually arrives at an abandoned shopping mall, and when they realize that the stores within contain all they need to survive--food, clothing, and weapons & ammunition--they seal off the building, dispose of most of the zombies inside, and take up residence. But when their claim on the mall and its goods is challenged by a band of motorcycle-riding marauders, the quartet is soon fighting for survival against not only the zombies, but also against their own kind.

Although the audience has been made to sympathize with the film's four protagonists, there is no true heroism in this world of Romero's making. Instead, there are only different levels of self-interest and narcissism. After the four move into their new home and start living off the "fat of the mall," they quickly develop a sort of bourgeois attitude towards the comforts they now enjoy. Of course, that is exactly the Western attitude that Romero is ridiculing--that sense of security and satisfaction one feels after amassing material goods. And when the group's right to possession is violently challenged by outsiders, Romero clearly demonstrates just how tenuous a security based on personal possessions really is.

Romero is a master storyteller who knows how to manipulate the emotions of his audience. In this film, he creates a relentless sense of unease by juxtaposing the repulsive and grotesque with the lighthearted and humorous. For example, when the quartet of protagonists first occupies the mall, they turn on the mall-wide Muzak system to mask from the zombies the noises they make while looting the stores. So for several scenes there is this macabre contrast between bloody, pasty-faced zombies and syrupy instrumental music. Uncomfortably comical and humorously disturbing.

Creepy, bloody (FX by Tom Savini), boisterous, and constantly full of surprises, DAWN OF THE DEAD is easily one of the most entertaining zombie movies ever made. True, it does have an underlying anti-materialism message that is none too subtle, but that doesn't detract in the least from the enjoyment of being playfully spooked and repulsed by all the zombie grotesquerie. All in all, horror fans will have a good time watching this minor Romero masterpiece.

The Divimax Edition DVD from Anchor Bay offers an excellent digital transfer of the U.S. theatrical cut (often considered superior even to the director's cut), and there are lots of cool extras, too, not the least of which is a feature commentary with writer/director Romero and FX man Savini. A worthy addition to the film collections of serious horror fans, and well worth amazon.com's very reasonable asking price.

Dawn Of The Dead Is A True Horror Masterpiece!
An intense and overlooked horror classic, George A. Romero's "Dawn Of The Dead", the second and most popular in his Dead trilogy, is probably his most epic tale to date. Regarded by many, including Roger Ebert, as the ultimiate definition in horror films, "Dawn" is truly the thinking man's horror movie. Its horror is far more subtle than that of in-your-face suspense films like "Halloween" or "Exorcist" or for that matter, Romero's first Dead film, "Night". Where most slasher films provide those quick thrills that make us jump but dissapear from our memory almost as quickly as they appeared, "Dawn" creeps into our fears and shows us a view of our downfall as a civilazation.

"Dawn" centers around four survivors, two Philadelphia S.W.A.T. members and a couple from a newstation, who are trying to escape a zombie plague that has engulfed the country. The film opens with chaos ensuing as a handful of newscasters attempt unsuccesfully to put together an emergency broadcast. We move forward to a project house where the tenants are protecting the undead because as one of the central characters explains, "They still believe there is honor in being dead". Guns blaze as seemingly more humans are taken down than actual zombies courtesy of a SWAT team bigit who goes buckwild but ends up getting his before the smoke clears.

As the violence in the city seems to be piling up, our four characters use the local news chopper to escape to the country side where the situation isn't any less of a problem though a handful of trigger-happy rednecks seem to be having a great time with their beers and shotguns. After a brief touchdown at said location where the group runs into a few problems with both the zombies and each other while gassing up their helicopter, they head back up into the sky and eventually land at a shopping center, the film's cental location.

Placing the story at a mall makes for not only a unique and creative backdrop but also allows for Romero to provide an intriguing social commentary on the madness of consumerism that seemed to sweep the late 70's. The zombies who try to break into the center are portrayed as people who loved shopping there so much in life that all they want to do is be there after death.

Romero and make-up effects wizard, Tom Savini are at the most sadistic during the concluding act of this film as our heroes do battle with another band of survivors, a motorcycle gang who shows up and tries to take over the mall for themselves. The zombies, who prior to this were pretty much an afterthought regain their power because their human counterparts are far too busy with each other to notice that they are regaining control of the place. Savini's graphic make-up effects really make for a great finale.

"Dawn Of The Dead" is very much a different film from "Night Of The Living Dead". "Dawn" takes a far different approach to the "dead taking over the world" concept that George helped create in "Night". The mall setting is far less clostrophobic than the farmhouse in the original but it is the nightmare outside that our characters must deal with. In "Night", it was all about getting past the problem that lie in front of them and it's smooth sailing. In "Dawn", the problem is almost reversed. They are safe inside their location, though their safety is an illusion, and it is the outside world that is coming in. They don't want to get away. The outside world is falling apart and the mall is almost a false symbol of protection.

"Dawn" probably will not be an instant overnight favorite. I, myself, was expecting a much different movie than the one I watched. Having caughts bits and pieces of "Day" before I actually sat down to watch it, I was expecting it to have more of the look and feel that I associated with that movie. I honestly didn't know what to make of the weird clothing, the Smurf-blue make-up effects, and the strange Goblins music that popped up through out the film. Within two weeks of watching it, it had become one of my favorite films. All these weird visuals that I found strange actually kept dragging me in over and over again. Though the film is over 25 years old, I can still honestly say that there are very few films of any genre that resemble it.

THE BEST ZOMBIE MOVIE EVER!!! AT LAST!!!
A four disc edition? Who can ask for more? Obviously we saw it coming... the remake was there... the Divimax edition early this year... everybody was saying a big multi-disc edition was coming... and here it is!

To start analyzing this film we must take a look at NIGHT OF THE LIVING DEAD. This film was a landmark as it introduced the zombies as we know today. Now, DAWN OF THE DEAD set a new landmark. In it, the zombies were a mature (sub)genre in modern cinema.

What makes this film so important? Everything! First it is the brilliant screenplay. The story... you already know: as the zombie population increases more and more, four people barricate themselves inside a big shopping mall, where they endulge themselves with all consumering desires they can think of.

Sounds simple? It is, but there is more than meets the eye: as the zombies try to get in (you'll have to wonder why) the four heroes inside discover their paradise makes them more empty than they would have thought it would... and slowly, life start making no sense.

DAWN OF THE DEAD is the kind of film that has been changing as the decades pass. Its violence seems to have softened if we think of all the action and horror films who came in the decades that followed (just like it happened with other horror landmarks like THE TEXAS CHAINSAW MASSACRE, FRIDAY THE 13TH, HALLOWEEN and NIGHT OF THE LIVING DEAD). Its makeup is not comparable to the vast majority of horror films that came after (who had bigger makeup budgets)... but on the other hand, elements like tension, drama, character development and social critique have all grown more powerful then in all of the films that followed.

In other words, audiences who see this film today, many times discover the fact that its weight is changing fields... from graphic horror to social horror. And this kind of horror is no less potent and much more rare.

Mr. Romero is one of those rare horror screenwriter/directors who do have a strong critic point of view (and we can see it as he continues to deliver so in his later third zombie film - the sadly underated gem - DAY OF THE DEAD).

Clearly, this is a multi-layered film that demands multiple levels of reading. You must be aware of all the issues put inside this film. Otherwise, if you're in just for the cheap thrills, gore and violence, you'll probably be disappointed.

As a product of the late seventies, this is a production triumph because it manages to deliver a lot with minimum budget. The remake released early this year made a great update on this basic premisse.

I loved them both.

This edition seems to be more than we've all asked for (now that the simpler Divimax edition made all the money it could...). Here, you'll find all the versions and lots of extras.

But again... DAWN OF THE DEAD is a film that I am sure will be seen and celebrated for years to come. See it with an open mind and you too will discover why.

DAWN OF THE DEAD
A GREAT ZOMBIE MOVIE AND SEQUEL TO NIGHT OF THE LIVING DEAD. THIS IS A MUST HAVE FOR ANYONE WHO ENJOYS GUT RIPPING,FLESH TEARING ZOMBIE FILMS.VERY WELL DONE AND ACTED WITH LOTS OF GORE.ANOTHER MASTERPIECE FROM GEORGE ROMERO. GET IT!!!! A++++

Can't Wait
I must be honest, I almost got tricked into buying the DiviMax edition aswell, but after taking a look at what features it had on it and hearing rumours about this four-disc edition, I decided not to bother. All in all by looking at the cover art and reading about what will be on it, I believe that this edition will be a great buy for the month of September and for any Dead fan out there and, hopefully it will be the last edition for this particular movie. I can just see it now, six months from now, brand new "SIX DISC" Special Edition, that would be quite a sight . ... Read more

Reviews (55)

Classic film about childhood
Anyone interested in Francois Truffaut or the French New Wave could scarcely do better than to start here. Unlike some other classic films, one doesn't need to be a film buff to enjoy this. One only has to like good films.

Jean-Pierre Leaud is terrific as Antoine Doinel, a lonely Parisian boy who lives with his neglectful mother and flaky step-father. At school, Doinel has become a target of wrath for his sadistic English teacher. Doinel begins to hang out more and more with his deliquent friend. Together, they skip school, go to the amusement park, and watch films (the young Truffaut was an avid movie watcher).

Truffaut's Paris is certainly not a friendly place for children. Parents are neglectful and teachers are more interested in bringing students into line than in teaching. Indeed Doinel's English teacher seems to believe in harsh punishments over the most minor offense. The more the world tries to bring Doinel into line, the more he is compelled to rebel. Finally, Doinel steals a typewriter to be pawned to pay for his escape from home. Having a change of conscience, he tries to returns it, but is caught and sent to a home for juvenile delinquents.

Truffaut directs this semi-autobiographaphical film with great feeling, showing us the humor, triumph, and most of all sadness of his tragic childhood. The widescreen black & white photography of Paris is beautiful so be sure to see this letterboxed.

A rather delightful drama for young and old alike
I just saw Francois Truffaut's 400 Blows again, and this indeed is the epitomy of the New Wave by making a story which can be seen like a French neo-realist reaction, and being as such it gets its chance to shine in the hands of the debut Truffaut. It's a lovely, wonderful cinema experience.

In a partially autobiographical tale, Truffaut's protagonist is Antoine Doinel, a pre-teen-ish youth who can be identified with by most who are at or older than his age viewing his tale- he hates school, goes to the movies as escape, and has parents who tend to be over-bearing and un-attentive. After a string of events occur (one of which getting thrown out of his school) he tries to live on his own, which proves un-successful in a caught theft, which gets him into an "observatory for delinquent youth", or juvenile prison.

One of the truly fascinating qualities of the film is that it all goes along in a totally naturastic manner, or at least natural for the characters presented, and there aren't any over-stylings to go along with the drama. The stylings that are apparent give the film a perfect balance: the spellbinding scene on the carnival-twister, the un-broken shot of the boy running down the road, and shots that add emotional weight merely by the time allowed on the object. And this is all worthy of a younger audience as well; even those who don't watch foreign movies could consider this their must-view as an introduction to the genre.

400 Blows
I've spent decades avoiding THE 400 BLOWS, afraid it was either dark and brooding, or a documentation of child abuse (physical and/or emotional), or an angry and vindictive assault on the authors' of Francois Truffaut's traumatic childhood.
I shouldn't have worried. THE 400 BLOWS is a gentle and compassionate movie. It isn't overwhelmed by its anger, although a few characters, particularly the coming-of-age hero's mother and his school teacher, aren't terribly sympathetic. Being new to THE 400 BLOWS, I found the commentary by Premiere magazine film critic Glen Kenny especially helpful in understanding French New Wave cinema in general and Truffaut in particular. By the way, according to Kenny "400 blows" refers to a French colloquialism similar to the American "paint the town red." It means to give oneself over to every type of excess, and raise a little heck in the process.

The quintessential film of the New Wave
Since the first images you stan by literally caught by the huge poetry who emerges. The sad opening theme with a cloudy Paris as frame gives us a striking clue about the film explores.
With the amazing exception of Forbidden games (Rene Clement) never before a movie had drown in the child's universe like these two films.
Truffaut is far from making a statement. His camera simply spies the emotive familiar nucleus of this nice guy and the terrible troubles generated by his own parents.
We laugh, and cry with the disventures and irreverent madness made outschool. The portrait of Balzac burning is a high point in the picture. It's a long journey in the world of this child that well might be you and me if...
The plot is very organilcal, and the final sequence is brethtaking.
Hopeless and a sense of desperation seems surrounding us when you watch by the last time to our youn boy.
Forget about all the films that followed to this one in the New Wave, like Breathless, les cousins, or Jules and Jim of Truffaut also.
This is the gem of the New Wave cinema.
In memory of the great Andre Bazin, the creator of the Cahiers du cinema.
A must for everyone.

Not a very good movie.
I don't mind slow movies, but this movie is slow + boring and 100% predictable. In my opinion, it's terrible. ... Read more

Reviews (14)

The Original Grumpy Old Men!
When one thinks of the films and stage plays of writer, Neil Simon, popular titles like "The Odd Couple" and "The Goodbye Girl" usually come to mind for most people. But I always think of Simon's wonderful show biz comedy, "The Sunshine Boys". Over the years I would catch here and there, bits and pieces of this 1975 film on late night television. For some reason, I never got to see the whole thing. Well finally this chuckle inducing movie has come to DVD and I love it! In the story we meet Willy Clark (Walter Matthau) a septuagenarian and former half of the legendry, Vaudeville comedy team of 'Lewis & Clark'. He now spends his days traveling the streets of NYC, going on casting calls. Willy drives both directors, casting people and his agent/nephew, Ben Clark (Richard Bejamin) crazy with his stubborn and obnoxious behavior. It looks like forced retirement is in the wings. But at the last moment, Ben comes up with a big job offer. ABC television wants Willy and his former partner, Al Lewis (George Burns) to have a one time only reunion and bring back a 'Lewis and Clark' sketch for a "History of Comedy" special. There is just one...little catch. These two elderly, comedians literally can't stand the sight of each other! Just getting them into the same room is a major undertaking. This humorous film shows us how this original 'odd couple', fight it out during their reunion and eventually come to terms with each other. Herbert Ross's direction is steady and well done. But what really makes this film is Neil Simon's story and hilarious back & forth dialogue, which is filled with both zingers and heart.I love how as Willy leaves his botched casting call, he gives a speech to his nephew, Ben on what words can get a laugh. "Alka-Selzer is funny...Pickle is funny...anything with a K in it." The casting in this film is sheer perfection. Yes, we have seen Matthau do his 'grumpy old man' before and since. But this is the actor doing it at his best! His Willy Clark is truely a stubborn force of nature, who would rather spite himself then be proven wrong. George Burns is also very good (he won the 1975 Academy Award for Best Supporting Actor) in the role of a elderly, sedentary comedian, who although slowed down physically by age, can still turn around and zing his partner with acid-like comebacks. I also particulary like Richard Benjamin's portrayal as Willy's nephew and agent. Yes, we have seen Benjamin do this part before as the guy, who's pulling his hair out and getting an ulcer. But behind the comedy schtick you can tell, that the character really does care about his Uncle and wants what is best for him. Finally look for Howard Hesseman (of WKRP fame) in a small, but very funny role of a director, who is practically being tortured by Willy Clark's obstinance at a casting call for a potato chip commercial. You have to see it, to believe it! The DVD for the film is only fair. The sound and picture could be better. Extras include Richard Benjamin's commentary, a theatrical trailer, an MGM promotional film about the movies they were putting out in 1975, make up and screen tests for various actors up for the roles. This is one of Neil Simon's best works. For an evening a great comedy, I highly recommend "The Sunshine Boys"!

Absolutely Hysterical
This is my favorite comedy of all time.

"What's a matter con you?"
A masterpiece! I must have been about 10 years old (1980), the first time I saw this movie....it's almost 2003 and I laughed as much now as I did then (it's Walter, for goodness sakes, how can you not laugh)! Uncle Willy will keep you in constant stitches!!!

I'm anxiously awaiting the DVD version so I can purchase it!!!

Absolute Guffaw!
I watched this movie about 100's as a kid....it's been 8-10 years since I last saw it...that is until this past weekend (12/22/02)..and let me tell you, this movie made me laugh just as much as it did the first 100 's I saw it (in the 70's)! Walter & George...what a pair! I can only imagine the side stitches I'd have if Jack Lemmon made an appearance in this flick, too! I highly recommend this film to those in need of some laughter!

This film needs to be on DVD!

sunshine boys - funniest film ever ?
I am 30 years of age. Living in London.
I first had the pleasure of viewing this movie when i was fifteen. I have seen hundreds of comedies over the years and this is the only movie that i can watch time and time again. Mattau and Burns are a match made in heaven. The script is laugh a minute. Truly a masterpiece. There have been re-makes and stage shows produced since which unfortunately do not compare. This is a must see film and i am desperate for it to be produced in DVD format to ensure that i can remain watching this film for many years to come. ... Read more

Amazon.com

Jacques Demy's haunting romantic musical is an enchanting, one-of-a-kind musical experience. It's basically a movie operetta, in which the characters sing all the dialogue (or, rather, lyrics--by director Demy) to Michel Legrand's lovely score. The story spans five years (1957-1962) in the life of Geneviéve (the ethereally beautiful Catherine Deneuve in the role that launched her to international stardom), the teenage daughter of a woman who owns a Cherbourg umbrella shop. After Geneviéve's boyfriend Guy (Nino Castelnuovo) is drafted and sent off to Algeria, she discovers she's pregnant ... and complications ensue. With its dazzling candy-colored palette, Umbrellas of Cherbourg looks sweet and dreamy. Restored and rereleased in 1995 to rapturous acclaim and the renewed delight of all who got the chance to see it. The video release is taken from the restored version. --Jim Emerson ... Read more

Reviews (67)

Beautiful! You'll love it!
This could be the most beautiful, unique, romantic movie ever made. Every bit of dialogue is sung (but there are no "musical" numbers), and it's filmed in VIVID pastels, beautifully restored in this print (the film was originally released in 1964, and was the Cannes Film Festival Grand Prize winner). In French, with English subtitles, Letterbox (1.66:1, so it looks fine even on a small TV). Young girl (Catherine Deneuve, radiant in her first film) who works for her mother in an umbrella shop, "Les Parapluies de Cherbourg" - hence the title - and young garage mechanic (Nino Castelnuovo) swear their undying love for one another, he goes off to war, she finds herself pregnant, and she must make some decisions which will forever affect the lives of at least four people. Underneath its beautiful and lighthearted look and feel is a very serious and moving story. The entire word-for-word/song-for-song soundtrack/dialogue is also available on 2 audio CDs - Les Parapluies de Cherbourg - Sony ISBN 7464626782. Directed by Jacques Demy, music by Michel Legrand. Several of the musical themes have entered into the cultural consciousness, and if you've never seen this movie before, when you watch it you may experience a pleasant sense of recognition, i.e., "So that's where that song came from!" You'll love it! END

One of the best musicals ever made!
Up until 6 months ago, I had never heard of "The Umbrellas of Cherbourg." My mom used to hum a couple of tunes from this French musical, but I never made the connection. However, I came across the DVD of this classic musical a bit back while searching for a present for my mother, and I quickly fell in love with this musical. It is different from most musicals, as it is (1) French, and (2) sung the whole way through. All the "dialogue" is sung in the recitative manner of opera music and lead so naturally into the actual songs that you really can't tell the difference. The story itself concerns the bittersweet love between the young daughter (Catherine Deneuve) of a shopkeeper and a young man who learns shortly that he has been drafted to join the French army.

It is a beautiful story told simply and effectively by one of the French New Wave directors, Jacques Demy. As I understand it, he made a few more musicals starring Catherine Deneuve (The Young Girls of Rochefort, Donkeyskin), but this film was his most popular musical. For a long time, this film was considered "lost" due to deterioration of the film stock, its vivid colors reduced to pale shadows of its original glorious hues. However, thanks to recovery of an alternate negative that retained the original colors, the film was abled to be restored to its former brilliance. This restored version of the film is what is available currently on DVD.

Truthfully, it looks quite fantastic. The colors are briliant enough to rival the Hollywood Technicolor process, and the sound is clean. I am glad I bought this DVD, and it has quickly become one of my favorite musicals.

I only have a few problems with the DVD itself. First, subtitles are only in English. I would have liked to have seen French subtitles as well, but such was not the case. Also, the film transfer gets a little blocky and pixelated here and there; I understand that Fox/Lorber has a questionable on/off reputation with their DVDs, and I wish they could have been just a tad bit more careful with this classic. This marred an otherwise beautiful restoration effort. Lastly, I wished there were more chapter marks. Some of the best songs lie no where close to any of the chapter marks and thus require either bookmarking or fast-forwarding. Not a big concern, but just a little inconvenient.

However, this is still an excellent film, and I would HIGHLY recommend it to any lovers of musicals! Purchase/rent/watch this film without delay! And a note to Fox/Lorber - how about releasing "The Young Girls of Rochefort" out on DVD? I know it was somewhat restored as well and had a limited re-release; this would be an excellent companion piece to Umbrellas of Cherbourg!

Lovely film making! Unique!
There is no other film like this one! Shot in the early 60s, it is still a favorite among film lovers. It's no wonder that it recently celebrated its 40th anniversary!

Catherine Deneuve plays a young girl who is faced with an important life decision in her tender youth that affects her life and the man she loves who must leave for military service. Nino Castelnuovo plays the young man who returns form war to the news of his love married to another man.

THE most beautiful film ever shot! Beautiful music that will staya with you forever!

A great new addition to any DVD collection.
The Umbrellas of Cherbourg is a fantastic film with a deceptively simple story, outrageous colors, and beautiful music (especially the tune "I Will Wait For You" played during the opening and ending). Fine performances from the cast as well, and all the dialogue is sung. As far as DVD transfers are concerned this looks better and as flawless as you can expect and DVD collectors shouldn't pass up the new Koch Lorber edition of this wonderful movie.

A wonderful DVD version of a unique film
There really isn't another film quite like THE UMBRELLAS OF CHERBOURG. For instance, every line of dialogue in the movie is sung, yet apart from the heartbreakingly beautiful "I Will Wait for You," there are no songs. So, is it a musical? In form it seems more like an operetta. Musically, the dialogue is loosely organized, though certain musical themes are repeated often, and it lightly sung, none of the performers coming across as highly trained professional singers. Overall, the music, despite the presence of only one song, is entrancing.

As fine as the music is, I actually found the film to be more riveting on a purely visual level. For instance, inn scene after scene, I found myself focusing on the art design rather than the music. Demy frames most of his shots against backgrounds of more or less solid and striking colors--green walls, blue-stripped wallpaper, unusually painted building. Demy also employs a host of subtle camera angles and techniques. The film is unquestionably as much for the eyes as for the ears.

Most members of the cast were unknown to me, except, of course, for the surreally beautiful Catherine Deneuve, who was nineteen during most of the production of the film. She exudes star quality throughout. But none of the performers fails at all in their roles, though none of the others was the budding star that she was. One thing that struck me about all of the characters was that while the tale told is essentially a tragic one--or at least a bittersweet one--there are really no bad guys. Marc Michel, for instance, who plays Deneuve's wealthy suitor Roland Cassard, is a thoroughly likable person, even admirable. She clearly doesn't love him, but in no conceivable sense is he a bad person. Nino Castelnuovo's character Guy Foucher, for whom Deneuve's Geneviève Emery has asserted she "wait forever" turns out to be an inconstant correspondent, but apart from that he does nothing actively unkind to Geneviève. Geneviève's mother might push her towards Roland and away from Guy, but she is clearly motivated by a love of her daughter. The movie could have been subtitled: "A Tragedy with No Villains." The film is about love, but it is sadly not a love story. In a way, it deconstructs the kind of romantic myths that dominates the musical genre. This is the anti-Disney version of the possibility of eternal love. ... Read more

Reviews (1)

Lost Concert Leaves me lost for words
This Magical concert just supports my theory that The Beach Boys are the greatest thing since sliced bread. The magical aray of talent that is on show here is just breath-taking, the various songs that have been chosen are awsome and performed to the Max.
Carl sings like an angel, and Brian shows his genius by the way the music sounds, its just awsome. Plus it is also is wonderful to see the whole clan unite and perform together. if you are a true beach boy fan i suggest this for your next purchase, absolutly unbelieveable, it almost brings me to tears knowing that the boys can still perform like that after all the hardships that they have been through. It can be summed up by saying "Truly Magical" ... Read more

Reviews (31)

If you don't watch this...you're missing out.
If you want to watch a movie about the infamous Mutiny on the Bounty, and you want to see good acting, beautiful camera work, and hear a witty script -rent this version! Or better, buy it. It's fantastic and amazing... and though people are always putting it down, don't listen to them. Any movie about any type of historical event is going to have a thousand people nitpicking it, but just because they aren't satisfied with it because (good god, his accent isn't perfect! or, that isn't how that scene really happened!!) doesn't mean it isn't a good movie. Brando is, contrary to what everyone else has to say, perfect for the role of Fletcher Christian...and his acting makes the film worth watching.

What's so real about a story based on a historical novel?
This film has been assassinated without any qualms by anti-Hollywood witch hunters. Yes! It does reek of production excesses at the expense of faithfulness to fact and Marlon Brando's portrayal of Mr. Christian is thoroughly derisable but isn't that what is needed here? This second film incarnation of the mutiny's occurrence is a refreshing turn on the theme, this time casting it in a technicolored gold mine of a light. It's pure Gilbert and Sullivan and it is great as a comedy piece. That's what makes this version so enjoyable to watch - it's too light in spirit to do anything else. Even funnier is just knowing that this effect was created unintentionally by MGM studios. After injecting so much into the picture in the way of casting, location and sheer beauty, the film's dark subject matter is parodied throughout, turning what 'should' have been a remake of the 1935 by-the-book yarn into something wonderfully warm and impossible to yawn at. The 1962 'Mutiny on the Bounty' is pure family entertainment, notwithstanding the self-deflating way it might present itself to the thinking, prejudiced mind. Brando is ridiculous with his strained S. English accent and Howard delivers one of his finest performances as Bligh. Indeed, to be fair, it was just such hilarious campness/quirkiness which actually did punctuate the mindset of the Eighteenth Century landed gentry. Who cares about the muting of the story's academics in this work? If you want that so badly then why not get the stodgy Gable/Laughton version or, even better, use the next ten minutes to order the 1932 novel from Amazon while you're here! Don't bleat and bang your fists against this gorgeous White Elephant. It is great stuff which finds other giants of the screen like Richard Harris in fine form (he is the perfect straight man to Brando's foppish officer).You don't even have to switch off your intellect to enjoy all three hours of this picture; your intellect is swift to tell you that there is a very good reason why you are laughing. While the 1935 original and the 1983 version are both true-to-story pieces which are miles more thought-provoking, the '62 epic piece is infinitely more watchable and uplifting. In short, this version was made to be too great for its own good and has imploded in overall feel. A rich texture here is the only thing which can hope to keep the viewer from saying: 'This is so bad, it can't be anything else but good!' As a film buff and holder of two degrees, I still am prepared to risk face and declare this one of my all-time favourites. Sorry, fellow illuminati; sometimes I like to have a laugh.

What was he thinking?
Leaving aside the question of which of the three "Bounties" is the best, the most dominant feature of this version, to me, is Brando's laughable Fletcher C. Yes, a foppish, arrogant English aristocrat will be foppish and arrogant. The problem is you get the idea Brando had never encountered, in real life, anyone to give him the basis to ground his performance in reality. It reveals an underlying flaw in method acting ... you can't make bricks without straw and you can't CONVINCINGLY portray a character of a specific class, time period and type just by making him or her up from within yourself.

Why Not On DVD?
I found this 1962 version of "Mutiny on the Bounty" by far the most entertaining and thought-provoking. Sometimes based upon the real event, yet often dramatized, it is mesmerizing and contains a wonderful script. I must agree with another reviewer who asked where Clark Gable's English accent was in the 1935 "Bounty". Although Brando's English accent certainly could have been better, at least he made an effort to HAVE one in the first place. The film contains humour, pathos and great adventure, also moral questions. It did not deserve the level of criticism it received. It is a shame that it is not available on DVD, because I would purchase it then.

THE BEST VERSION, END OF STORY.
I can understand why movie critics would want us to think that the 1935 Gable/Laughton version of this story is still the definitive one. After all it's their job to try to sound like they know what they're talking about. And I can surely respect anyone else's opinion if they feel the same way. To quote a line from Brando as Fletcher Christian, "It takes all sorts to make a world." But what I cannot take seriously is when critics and even viewers here go so far as to call the 1962 wide-screen Technicolor adventure awful or even laughable. I have seen all three major films inspired by the Bounty incident (there was an earlier pre-CAPTAIN BLOOD Errol Flynn version made in 1933 titled IN THE WAKE OF THE BOUNTY which never saw release here in the U.S.) and so far no one's been able to convince me that the overrated, outdated b&w dream factory creation from 1935 is the best of the bunch. C'mon guys, give me a break here, will ya? Yes, I do believe that some film classics (GONE WITH THE WIND, for example) cannot and SHOULD NOT be remade. Unfortunately for die-hard fans, 1935's MUTINY ON THE BOUNTY is not one of them, and the 1962 version is proof of that. I am not trying to imply in any way that the Gable classic is bad. It did, in all honesty, keep me quite entertained when I saw it, and I may even recommend it to anyone who can't find anything better to watch. But let's get down to business and compare the two versions and see why the Brando film is superior.

First of all, for those who say that Brando's English accent is bad, I have but one question to ask: where the heck is GABLE'S accent?? I think Kevin Costner deserves an apology. And so does Brando. His Fletcher Christian was, at least before the mutiny, a foppish and aristocratic snob, no doubt. But a cheesy performance this was not. How else is a foppish, aristocratic snob supposed to act like? I admit that I'm not sure if that's how the character was originally written for the script or if this was something that Brando came up with during filming. I also confess that I'm no expert when it comes to British accents. But in any case I thought he was completely convincing and definitely more English-like than Gable's all-American interpretation of the same role. But the true realism of Brando's character goes far beyond his attempt at an accent. After the mutiny, the troubling thought of never being able to return to England without the possibility of facing execution causes his Fletcher Christian to regret taking command of the ship, and for a while he shuts himself off from the rest of the crew, trying his best to convince himself that he did the proper and civilized thing. Gable's Fletcher, on the other hand, seems pretty content with his new life as an outlaw.
Second, Trevor Howard's Bligh is also better developed than Charles Laughton's more famous (and over-the-top) version of Bligh. Laughton's Bligh is a monster simply for the sake of being a monster. There is never any kind of explanation for his cruel actions, and it's quite possible that no real crew would have put up with his tyranny as it did in the 1935 film. Howard's Bligh, on the other hand, is a man determined to do ANYTHING he can to accomplish his goal, and that is simply to impress the admiralty who entrusted him with the mission of bringing breadfruit from Tahiti to England. Perhaps he also felt just a little beneath Fletcher Christian?
Third, well I'll make it short 'cause there are actually a few more reasons than just one more. The attempt to round Cape Horn is shot so spectacularly that, at least in my opinion, it would not be equaled until well over forty years later in MASTER AND COMMANDER. The uses of widescreen and Technicolor are also a plus, especially in the above mentioned scene, but also in the scenes depicting Tahitian life as it might have been back then. (I don't know how much of what is shown is accurate and how much is not, but one thing is for sure: Tahiti as seen in the 1935 version is so fake and Hollywoodized it's hard to tell which scenes were shot in a studio and which ones were shot in actual location.) And last but not least, Bronislau Kaper's magnificent score.
Did I forget anything else? No, and I can certainly go on, but I think I've made my point. If you've seen it before and didn't like it the first time, try checking it out again. Who knows, you might think differently this time. Thanx for reading my review. Peace, bro. ... Read more

Reviews (332)

Open Mind Folks!
We have been watching this movie in our eighth grade English class, as well as reading the play Romeo and Juliet, as well as meeting with our Shakespearean expert who just happens to work at our school to act out scenes. Not only that, but we have also been studying the Shakespeare's time period. That being said, let me also say that Shakespeare was not this serious man who didn't understand comedy. In fact it was quite the opposite. True, Romeo and Juliet is a tragedy but is a comedy as well. That's how most of his works are. An example of this is how he would cast men as women. Just the sight of this would bring laughs from the audience. With all that understood, the movie Romeo and Juliet is a great adaptation.
We have only watched the first 30 minutes, and I might add more to this review once we finish it, or when I get the DVD, whichever comes first! But I loved the newscaster as the chorus. What a creative touch. As for the swords or guns controversy, this is set in modern times. Who uses swords in our day? But to keep the Old English was smart. After all, what is Romeo and Juliet without Old English? It would not be the same. I mean, the famous Queen Mab's speech in anything but Old English? Hard to imagine. And te contrast between Old English and modern times was a very interesting one. And even if it was written in today's language, it would be too much like West Side Story. They wanted to stick to the roots of Romeo and Juliet. Also for all those people who criticized Mercutio for being a drag queen, he is not a drag queen or a transvestite. Well what can I say? This is the modern version. The performance given by Leonardo DiCaprio is great, he speaks Old English like he's spoken it his entire life. However Juliet, I don't quite agree with. I don't think she brought her best to this film. The acting isn't the best and she looks quite bland compared to Romeo, who is quite handsome, and I don't really understand the whole Cuban thing with Juliet's family.
All in all, a great film, one that must be seen with an open mind, otherwise don't even bother to watch it at all. It was filmed to show today's fourteen year old's that yes, Shakespeare lived in the 1600's and true, Romeo and Juliet takes place in the 1400's but it has a universal message of love, one that can still be understood today, even if it is 2004.

My Favorite Flic
Hi, to whoever's reading this, thanks for taking the time to see what I have to say. I won't say that this was one of the most brilliant movies ever, even though I think so, cause that's my opinion. If you have not seen it yet, you should watch it. Shakespeare is my favorite writer and also one of the most awesome, influential people in the entire history of man. He's able to capture you in two hours and not let you go. Romeo and Juliet is a passionate, beautifully written love story that takes in the kind of love everyone dreams about. I must admit that I rented the movie at first for two reasons: because I was a huge fan of Shakespeare and had read the story hundreds of times already, and also because of well...Leonardo DiCaprio. (He is pretty hot, you have to admit). Anyways, to all those who hated this movie, open your mind! The performances were not perfect I know, but who is perfect anyway? They all put forth their best effort. In the end, it became a popular, amazing movie that's great for couples to watch together!

It Almost Worked for me, but...
Read kerki and Eric's review. I won't be redundant and say the same things, because I agree wholeheartedly. Visually, this was quite stunning..beautiful. The outlandish, as they say "MTV" look was good, kinky, modern. If they would have dropped the accents and brought Shakespeare's words into today's vernacular, I probably would have given it 5 stars. The new story idea was that good. The cast was delicious, as were the sets. It's really too bad. With just the one change to modern English, this could have become a cult classic. As stands now, I'll just keep watching Zeferrelli's version forever. Now, that's Shakespeare.

I don't think Shakespeare's rolling in his grave, but...
Maybe my viewing experience of this film was tainted when, while seeing it in the theatre, one of the 13 year old girls sitting in the row in front of me turned to the other and said, "is Leo going to talk link this THE WHOLE TIME?".

For a Shakespeare purist (as I am myself), the problem is not the modernization of the setting and the use of the language in that setting (I personally love it), but it's the absolutle murder of the language by the majority of the cast that makes my skin crawl. This movie, in terms of the execution of the script, does a disservice in getting kids hooked on the poetry of Shakespeare's writing.

However, I will admit that visually it's great. The setting is apt. Mercutio is amazing. But, teachers, I would think twice about showing this version to your class.

The Best movie ever
This movie is awesome Leonardo DiCaprio is the best Romeo yet ... Read more

Reviews (20)

A good, short work
A comment was made that this film is derivative of Koyaanisqatsi, which is a silly and ignorant statement at best. Anima Mundi covers a completely different subject: the diversity of life on earth, where as Koyaanisqatsi was a reflection on the affect of technology on nature. Anima Mundi has no time lapse photography and Koyaanisqatsi has no animals. They are quite different. Yes they have the same style, but why should a film maker be blasted for having a distinct style? The footage is striking and it is very well put together. Much of Philip Glass' music actually isn't instantly recognizable as Philip Glass music. It's short and not as evocative as Koyaanisqatsi and Baraka but it's a fine piece on it's own merits. The DVD could be better quality... the dark shots have some unfortunate digital artifacts... but the brighter shots look quite nice.

"Fantasia" in real-life, (world-spirit/life of the earth)
I was first blown away by "Koyaanisqatsi", which was meant to be seen on the big screen. Then "Powaqqatsi" from the local video store. I first saw "Anima Mundi" on the local PBS station in conjunction with their pledge drive. Of the three films in this trilogy, this is by far the best. The music is some of Phillip Glass' most accessible - even found myself humming it at work. Seeing the life within the eyes of the animals, the intelligence, the beauty of life in the wild was stunning. There were many instances when similarities in disparate species were brought into focus: the multiplying bacteria juxtaposed with schools of fish, for example. The one let-down to this film is that there is only 30 minutes of it; it could have been easily stretched to an hour and not fallen into repetition of images. If you are unfamiliar with this trilogy, "Anima Mundi" gives the best introduction. This does for photography what "Fantasia" did for animation. Truly, a 5-star movie. (Also, a real treat for kids who love to watch the nature programs)

poor quality hurts this film
This film is good, its not the best though because at thirty minutes it really cuts its self short. Sure its a short film, but the subject matter it is trying to deal with just can't be properly covered in thirty minutes. Even so its worth a watching,
but too bad the DVD is poor in the visual quality. Glass is great with the music, as usual. The film Microcosmos and the film Baraka are actually better films in dealing with nature.
Check them out too.

The Greatest Documentary On Planet Earth
1991: Anima Mundi is Latin for "Soul of the World". In this dazzling documentary, the life of animals from land and sea are captured with exquisite precision and beauty. The careful attention to detail makes this documentary simply the best about life on planet earth. The shots of wildlife in Africa, the foliage, the various life forms under the sea are all in perfect union, making this film a reminder to us that planet earth is a living being, complete with its own intelligence, biological function and even its own spirit.

I recall seeing this in both film format and in the extra large IMAX screen. The cinematography to the documentary is breathtaking. Although it is only 30 minutes long, there is much to learn about the life on this planet by watching this documentary, which is very short but meaningful. The music is composed by none other than the brilliant 20th century composer Phillip Glass- whose technique of minimalism is haunting and effective, particularily in the shots of the sea creatures. Phillip Glass' work for this short film ranks as one of his finest, although it is very short and precise. Phillip Glass and Anima Mundi go together almost like two blending chemicals. Finally, on DVD, the greatest documenatary, albeit the shortest, is available for viewing.

Amazing insight
If looking into animals' eyes feels a bit on the disturbing side, perhaps the point of this incredible compilation of film footage is to invite the audience to view the complex balance of this planet from the animals' eyes.
This (albeit short) video entices you in with the grace of leaping gazelles, pulls you along with the overwhelming strength of the ocean and transports you to a new perspective of life, from the bellowing breath of an industrialized city down to the excited dance of the most basic cells under a microscope, and magically returns you back into the gaze of the animal's eye.
The beautifully powerful music combined with equally compelling images are guaranteed to stay with you for years!
Excellent investment! ... Read more

Reviews (2)

Target Earth - way back review
I've probably seen 95% of the Sci-Fi movies ever made. Saw this one when I was 10 yrs old (1962). The ONLY movie ever to give me nightmares! Why? I have no idea,something just clicked.

Venusian robot stalks trapped residents of large city
On the surface this 1954 movie appears to pretty bare-bones in comparison to other 1950s sci-fi epics. Richard Denning (Frank) and Kathleen Crowley (Nora), along with two others, are holed-up in a deserted hotel in a large American city (probably Chicago). The city's inhabitants have been evacuated, but these four have been overlooked. The menacing Venusian robot force (actually one robot), while a bit clunky and one dimensional, presents a threating, underlying presence throughout the movie. When will it strike with its death-ray? Can anyone survive its monomaniac pursuit? The movie's director, Herman Cohen, deftly explores the theme of lonliness and isolation among the crew's cast. Nora's failed suicide attempt and Jim's stoic acceptance of his being "rolled outside a bar after flashing a big roll" the night before seem to create a credible chemistry that bonds the characters' fates together. If misery loves company, Jim and Nora want no part of the company that waits outside the flimsy boundries of their hotel room. Black and white movies occasionally intensify austerity in a way that color films do not. The seeming hopeless of Jim and Nora's situation, the desertion of the city, and unblinking, unnerving robot presence raise the emotional level of "Target Earth" up a couple of notches. Viewers will like movie's ending too. The "science" portion of "Target Earth" gets the viewer to a stong visual climax as military scientists race against time to develop an ultrasonic sound wave generator that will defeat the invading menace. Will they get to Jim and Nora in time? Or will the lurking robot(s) find them first? Kudos must also go to supporting actors Virginia Grey (Vicky) and Richard Reeves (Jim) as a pair of champagne guzzling reprobates who vow to drink their way from one end of the city to the other. As down-and-outers in their own isoated existence, their being trapped with Frank and Nora aptly points out that they have something more to live for than imbibing and gambling on the "daily double." The acting is first rate and the story's plot comes from a nice short story called "The Deadly City" by Paul Fairman. ... Read more

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Romance at its most anti-romantic--that is the Billy Wilder stamp of genius, and this Best Picture Academy Award winner from 1960 is no exception. Set in a decidedly unsavory world of corporate climbing and philandering, the great filmmaker's trenchant, witty satire-melodrama takes the office politics of a corporation and plays them out in the apartment of lonely clerk C.C. Baxter (Jack Lemmon). By lending out his digs to the higher-ups for nightly extramarital flings with their secretaries, Baxter has managed to ascend the business ladder faster than even he imagined. The story turns even uglier, though, when Baxter's crush on the building's melancholy elevator operator (Shirley MacLaine) runs up against her long-standing affair with the big boss (a superbly smarmy Fred MacMurray). The situation comes to a head when she tries to commit suicide in Baxter's apartment. Not the happiest or cleanest of scenarios, and one that earned the famously caustic and cynically humored Wilder his share of outraged responses, but looking at it now, it is a funny, startlingly clear-eyed vision of urban emptiness and is unfailingly understanding of the crazy decisions our hearts sometimes make. Lemmon and MacLaine are ideally matched, and while everyone cites Wilder's Some Like It Hot closing line "Nobody's perfect" as his best, MacLaine's no-nonsense final words--"Shut up and deal"--are every bit as memorable. Wilder won three Oscars for The Apartment, for Best Picture, Best Director, and Best Screenplay (cowritten with longtime collaborator I.A.L. Diamond). --Robert Abele ... Read more

Reviews (83)

"Shut up and deal..."
This movie, directed by the legendary Billy Wilder, is one of my all-time favorites. It features a funny script, great acting, and an interesting and original plot. The Apartment is a perfect example of what is missing in Hollywood today: it is a witty, entertaining movie that relies on the script and on the acting to keep the viewer's attention and consequently does not need to use obscene language or inappropriate scenes to be amusing!

Essentially, The Apartment is about a young insurance company worker (played by Jack Lemmon in an excellent performance) who is forced to allow his philandering bosses to use his apartment on dates. In exchange for allowing his bosses to use the apartment, Lemmon is recommended to recieve promotions. Things get more complicated, however, when the bigger boss, Sheldrake (played by Fred McMurray) gets involved in the apartment renting. This would seem like a good thing for Lemmon - but there is one problem: McMurray (who is married and has no plans of divorcing) is dating Lemmon's dream girl, the beautiful elevator operator at the company (played by Shirley MacLaine). To say any more would be to give too much away...

In addition to having an intertaining plot and a funny, sarcastic script (like most Billy Wilder movies), The Apartment features amazing performances by all of its actors, especially Lemmon and MacLaine.

So I don't know how else to recommend this movie - get it soon and enjoy!

ATTENTION: a Home Theatre/HDTV/16:9/480p DVD Review!!
Now that the Home Theatre environment is becoming more common it is time to sort the GOOD from the BAD DVD's. This is only from a videophile who enjoys the total viewing and listening Home Theatre experience. The movies themselves are the main ingredient but unfortunately Film Studios don't always give us what we think we are getting. (Quality vs quantity) Another words they are already re-releasing DVD movies with enhancements and extras for wide screen TV's etc. So we need to buy right the first time and not repeat buying on the same movie.
My first (#1) Home Theatre DVD Review "The Apartment" is an AFI (American Film Institute) top 100 movie of the last 100 years. It won "5" Oscars including "Best Picture of 1960", and Best Director, Billy Wilder (in 1959 he directed, "Some Like It Hot" - voted by AFI as the #1 Comedy in the last 100 years) So you can see this was and is a GREAT Comedy (filmed in Black and White). Jack Lemmon, Shirely MacClaine and Fred MacMurray lead the emsemble cast.
Simply put its a boy meets girl, falls in love she is distracted by another man and "The Apartment" brings them together. A great story, great characters and the greatest comedic director.
Now this DVD is Digitally ReMasterd (Picture and Sound). It is enhanced for widescreen 16:9 (Aspect Ratio) TV's & HDTV's. The movie's 235:1 means you still get a LETTERBOX presentation but it is enhanced for maximum viewing enjoyment. The Picture clarity is perfect (480p - 480 horz lines with Progressive Scan (a line doubler feature. NOTE: regular DVD players are 480i). The only extra is a Trailer. "The Apartment" is a must both for its entertainment value and viewing quality. It is the best!!!!

They Should All be Like This
Wouldn't it be great if all movies were this good? This funny? This wise? This clever? This heartfelt? This true? My favorite Jack Lemmon movie. He plays a perfect schmuck who discovers himself. My favorite Shirley MacLaine movie. She plays a sweet but wounded modern girl who wises up. My favorite Billy Wilder movie. A perfect ear for dialogue and eye for mannerisms in his adopted country. Fred McMurray turns in a perfect performance as a shameless cad. No reason not to own this on dvd.

The boss borrows his apartmwnt for a love tryst

Director: Billy Wilder
Format: Black & White
Studio: Mgm/Ua Studios
Video Release Date: August 3, 1999

Cast:

Jack Lemmon ... Calvin Clifford 'C.C.' 'Bud' Baxter
Shirley MacLaine ... Fran Kubelik
Fred MacMurray ... Jeff D. Sheldrake
Ray Walston ... Joe Dobisch
Jack Kruschen ... Dr. Dreyfuss
David Lewis ... Al Kirkeby
Hope Holiday ... Mrs. Margie MacDougall
Joan Shawlee ... Sylvia
Naomi Stevens ... Mrs. Mildred Dreyfuss
Johnny Seven ... Karl Matuschka
Joyce Jameson ... The blonde
Willard Waterman ... Mr. Vanderhoff
David White ... Mr. Eichelberger
Edie Adams ... Miss Olsen
Mason Curry
David Macklin ... Messenger
Hal Smith ... Santa Claus
Benny Burt ... Charlie (the bartender)
Frances Weintraub Lax ... Mrs. Lieberman
Dorothy Abbott ... Office worker

C.C. 'Buddy Boy' Baxter (Jack Lemmon) has a downwtown apartment near his work where he is an insurance analyst in a large firm. He is ambitious to work is way up the ladder, and so loans his apartment out to various of his supperiors for their trysts in an effort to win their favors, which means that he is forced ro work overtime and stay out late while his apartment os occupied.

Fran Kubelik (Shirley McLaine), elevator girl, is in love with big boss and branch manager Jeff D. Sheldrake (Fred MacMurray), who is a married, cheating philanderer with a long history of conquests among the female staff. C.C. Baxter is also in love with Fran, who is having an affair with Sheldrake in his apartment.

This is not really a comedy, although it has its funny moments. It is a good story which comes out all right in the end.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

An absolute Gem from Lemmon and Wilder
Mr. Lemmon figured prominently in a good dozen of the best films ever made, and he is at the absolute top of his game in "The Apartment" as C.C. Baxter - an up and coming business man who makes his way through the corporate ranks faster than usual by making his apartment available to higher executives to carry on affairs without paying for hotel rooms. This is probably a borderline premise for a romantic comedy today, and it must have seemed absolutely scandalous 44 years ago, but the truth is that it is very contemporary in tone today while also being funny, thoughtful and poignant. It's too bad there's noone as clever as Billy Wilder making Romantic Comedies today. Shirley Maclaine has never been better, and anyone who grew up watching Fred MacMurray in "My Three Sons" or any of those Disney films will be surprised to see him playing an absolute scumbag in this movie. The dialogue is witty and sharp and the acting is crisper than a fresh celery stick. This is a good time. ... Read more