Description

Music-based romantic drama about the late singer/songwriter Frankie Lymon, who was responsible for many hit records but whose self-destructive life ended early, with many relationships left unresolved.three women, each claiming to be his wife, each with ... Read more

Reviews (22)

Entertaining delight!
The filmmakers know you've heard this tale before - true life chronicle of a young singing star's rise and tragic fall - and so they wisely downplay the standard bio trappings and instead focus on a raucously entertaining ride through Frankie Lymon's woman troubles. The smart screenplay revolves around the court battle of Lymon's three wives (yes, three!) over song royalties, leading to vivid (and often humorously contradictory) flashbacks of their lives with the singer. Larenz Tate is magnetic playing the many different sides of the ever-changing lead character, but the film ultimately belongs to Halle Berry, Vivica A. Fox and Lela Rochon as the wives. Each is allowed to shine as the trio portrays 30 years of changes in the women's lives, with Fox drop-dead hilarious as the most outrageous of the three. There's beautifully detailed '60s-era cinematography, sets, costuming and musical numbers, plus a side-splitting turn by Miguel Nunez as a young Little Richard. Major issues (such as '60s race relations) are barely glanced at, but what this film lacks in depth, it makes up for ten-fold in entertainment value. A winner!

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I may be in the minority, because...
I really didn't care for this movie very much. It told you virtually nothing about young Frankie Lymon's career with the Teenagers, and the focus was on his three wives fighting over whom was most entitled to the small fortune he left behind when he died at age 26 of a heroin overdose in 1968. Instead of a true biography of this young man's tragic story, we got this.

"Why Do Fools Fall In Love?" never really gives you the reason why Lymon (played by the talented actor Larenz Tate) was so very important in the history of R&B/rock and roll. Ignoring the fact that he was the first teenaged idol of rock and roll (like the little Michael Jackson of his era) and was an influence on other groups that would come after his, in this film Frankie was overwhelmingly portrayed as nothing more than some '50s rock music has-been who was a bigamist and a drug addict. On top of that, the three actresses who played his wives (Halle Berry, Lela Rochon, Vivica A. Fox) got more screen time than Larenz Tate did, and was billed over him. Excuse me, but wasn't this film supposed to be Frankie's story? I was not interested in seeing a movie about his wives.

Tate did his best, and I had no problem with the rest of the cast...but the script was just not worthy of his talents. I gave it three stars for the musical performances, but I feel the definitive movie about Frankie's life has yet to be made.

Love is Blind and So Are the Women!
The title fits the movie's subject because these women were foolish to falll in love with him. Despite his early career in music and rise to fame, he was on a path to destruction, which he could have controlled. Frankie Lymon, lead singer for the group Frankie Lymon and the Teenagers, had the voice that made girls across America scream. But watching the movie, he was also selfish because he used his own members, who were also his friends to pursue a solo career; which was never achieved. He married Zora Taylor, a member of The Platters, Elizabeth Waters, and Emira Eagle; none of whom he divorced.
The movie got me to wonder if any of these women could see below the surface of this man. Why did they allow him to descend into drugs and self-loathing? If one really loves someone, they would either help them through or send them packing. It was obvious that he had them on a string. All three of them had to go to court to prove they were legally married to him and collect money from his estate. Unfortunately, the music industry wasn't as legally together as it is now. Therefore, any claim to what he sang is out of their reach.
Lymon's music still lives on as a reminder of the "good old days" when music wasn't sexually explicit and musicians could actually sing.

Frankie Lymon for Beginners
I never knew much about Frankie Lymon until I watched this movie. He was one of my father's favorites. This movie, while it did not cover everything and sometimes it was historically inaccurate, it gave a good review of Frankie's rise and fall as a doo-wop star. The acting by Halle Berry, Lorenz Tate, Vivica Fox, and Leah Rochon was superb!

Fools in Love-Great Acting
Didn't know much about Frankie, except that he was a bigamist. The acting is great! It is worth having in your library. ... Read more

Amazon.com

It's a flimsy excuse to romp through more than two dozen Irving Berlin songs, but Blue Skies is good fun nonetheless (and one of the top-grossing films of 1946). Bing Crosby is a restless nightclub entrepreneur, Fred Astaire his Broadway buddy, Joan Caulfield the woman they both want. Ignore the plot and enjoy the numbers, especially Astaire's marvelous "Puttin' on the Ritz," which is breathtaking even before multiple images of Fred are introduced dancing in a row (who needs CGI, anyway?). Bing and Fred flash great showbiz chutzpah in "A Couple of Song and Dance Men," which wonderfully captures the appeal of both stars:Fred's heavenly precision, and Bing's "can-you-believe-they're-payin'-me-for-this?" sense of play. --Robert Horton ... Read more

Reviews (10)

Wonderful movie--See it for Astaire!
Okay, so we all know 'Blue Skies' had a simple, thin plot designed around a bunch of Irving Berlin songs instead of vice versa, but it really works and it's a good movie.

Fun, memorable songs are all over the place. Bing's simple reading of the title song is beautiful. His Oscar-winning "You Keep Coming Back Like a Song" is a treat, and "I've Got My Captain Working for Me Now" is a hoot. Bing and Fred team up for "A Couple of Song and Dance Men" in a particularly fun number.

But, Astaire's dancing steals the show, with big sequences like "Heat Wave" and what is certainly one of his greatest moments, the mind-blowing "Puttin' on the Ritz." It was originally designed as his final screen dance (he had said he was quitting the business) and just the type of flashy number that Astaire didn't like to do, but ya gotta admit, it's amazing. The high-voltage big band arrangement crackles, and Astaire's moves are flawless--you can really see that he gives this piece his all.

Classic tunes, great leads, and beautiful production conquer a weak story to make a nonetheless wonderful movie worth three stars. The fourth is for Astaire's phenomenal would-be swan song. All in all, a light, fun way to pass an lazy afternoon at home.

Bing Crosby and Fred Astaire SHINE!
As an editor to Club Crosby, I may be a bit biased, but I think "Blue Skies" is one of the best musicals. I can point out countless great musical numbers like:Fred Astaire's "Puttin On The Ritz, which was supposed to his swan song from musicals,Bing Crosby's "You Keep Coming Back Like A Song", and countless others. Bing,Fred Astaire, and the Irivng Berlin score make this film one of the best post war movies. Don't miss it if you like great movies,smart lyrics, and romance as it used to be in movies.

Fred and Bing, and I thought it would be good. Wrong.
"Blue Skies", while being the second screen pairing of Fred Astaire and Bing Crosby, fails to entertain. Fails with me, atleast.

It has one of the most poorest stories of all of the Fred Astaire musicals. One of them, that is. It is so boring, that its somewhat hard to watch. The movie is kept together only by the musicals seens, with the Irving Berlin songs. The best (and maybe only) parts of the movie that are enjoyable, are the "Couple of Song and Dance Men" and "Puttin' on the Ritz" numbers.

The film just drags on, and on, and it seems like it is never going to end, when I really wished it would. Only watch this movie if you must see it because your a fan of Bing and/or Fred. Atleast the musicals numbers are good. This movie is just ok, nothing more.

A great and classic film!
This is a beatifully done film. Fred Astaire and Bing Crosby are reunited in it. The costumes are beautiful. The acting isn't the best, but the songs are very good. It's entertaining and colorful, like every good musical shoud be.

"Puttin On The Ritz" is amazing... but...
Bing sings and Fred treads in this sketchily-plotted musical, which pits Astaire and Crosby against one another, rivals for the hand of the blonde, domestically-minded Joan Caulfield. This frothy postwar frolic has a wild Techncolor exuberance, with crazy explosions all over the pastel-lined spectrum (and an odd tilt towards purple). The sad thing, though, is that this isn't a very good movie -- the plot is razor thin, barely a hint of an excuse to stage a bunch of great (and lesser) Irving Berlin tunes. Some numbers fall flat (and Billy DeWolfe's interminable, painfully unfunny drag routine brings the movie to a screeching halt)... Still, Astaire's killer performance on "Puttin' On The Ritz" is the stuff that legends are made of: as he's angelically hoofing his heart out, a curtain parts behind him, revealing a phalanx of distant, miniature Astaires, keeping time with the big guy. A technical and aesthetic triumph! This flick might be worth it for that routine alone, although Bing gets in some choice vocal performances as well. A dud scriptwise, but it still has two of the greatest performers of the 20th Century, both still at their peak. ... Read more

Amazon.com

Director Herbert Ross (The Turning Point) pulled a winning movie out of this almost self-consciously archetypal tale of teenage rock rebellion. Kevin Bacon stars as a hip city kid who ends up in a Bible-belt town after his parents divorce. An ill fit for a conservative community where rock is frowned upon and dancing is forbidden, Bacon's character rallies the kids and takes on the establishment. Between a good cast really embracing the drama of Dean Pitchford's screenplay, and Ross's imaginative, highly charged way of shooting the dance numbers, you can get lost in this all-ages confection, and you won't even mind Kenny Loggins's bubbly pop. Bonuses include one of John Lithgow's best performances (a bit reminiscent of Jimmy Stewart), and Christopher Penn (who sure doesn't look the same anymore) as a good-natured hick who learns to boogie. --Tom Keogh ... Read more

Reviews (50)

6 out of 5 Stars!!!
What can I say. This is the Godfather of dancing movies. You got served, Save the Last Dance, and Dirty Dancing 2 would not exist without Footloose. Kevin Bacon is sensational, that kid has a few moves!

Based on a true story (According to E!), Footloose is about a pack of high school kids fighting for their right to DANCE. "There is a time to laugh, and THERE IS A TIME TO DANCE," quote Kevin Bacon. You see, these kids live in a redneck town where people wear cowboy boots don't want kids to dance. Dancing was thought of as dangerous, and the leading cause of teenage pregnancy. So they want to ban dancing... but when the kid from Chicago (Kevin Bacon) showed up, he taught his redneck friends how to dance and decided to fight the resistance and want to be freed from the
anti-dancing act.

As with any movie, there has got to be antagonists. Besides crazy dancing and tight 80's style jeans, this movie is loaded with action scenes. There is a scene where Lori Singer's ex-boyfriend shows America how to beat up Lori Singer, and there is a scene where Kevin Bacon drop kicks Lor Singer's ex-boyfriend and helps young Chris Penn (when he wasn't all fat) kick 5 people's @SS. This movie is also loaded with testosterones: scenes of pickup trucks, roll bars and dancing on football field bleachers proves me right!

In many ways, this movie reminds me of the importance of Freedom. The need for Americans to fight for the right to party! Some people may laugh at the cheesy lines, lame outfits and the fact that Kevin Bacon's choreography is entertaining, but it should be taken just as serious as movies like T2 and Matrix in which the protagonist fight for the FREEDOM of fellow mankind.

If you are looking for a lighthearted film with plenty of action and laughter, you do not want to miss this great film. Kevin Bacon, I always knew you are a talent... Superb Cast and Excellent Film!

Fun and entertaining movie, but rated PG? I don't think so..
Teenager Ren MacCormack (Kevin Bacon) moves with his mom from big city Chicago to a small town in the Midwest after his parent's divorce. Ren is suprised to find that it's against the law to listen to rock 'n' roll and the law also prohibits dancing! Ren can't understand why these laws were brought about but tries his hardest to fit in with the town people. Unfortunately, though he's accepted as a friend by fellow student Willard (Chris Penn), no one else seems to like him, calling him a 'big-city kid' and a trouble-maker. After a while, he comes up with a plan to try to make it possible for the Senior students to be able to have a prom dance. He'll be going against the whole town, most specifically the Reverend Shaw Moore (John Lithgow) and the town council. Will Ren be able to change the stiff necked town people's minds? At the same time, Ren begins to fall in love with the Reverend's wild and unpredictable daughter Ariel (Lori Singer) while trying to keep his distance from her boyfriend Chuck (Jim Youngs). Also starring is Sarah Jessica Parker as Ariel's best friend Rusty, Dianne Wiest as the Reverend's wife Vi, and John Laughlin and Timothy Scott play Woody and Andy Beami, two of Ren's allies.

*PLOT* - This is my first and only 80's dance movie to watch and I must say that I very much enjoyed it. The plot was interesting though of course some points were a bit unrealistic. Basically the movie is in a way a 'coming-of-age' film. I loved the way each of the characters are portrayed. Kevin Bacon's character Ren represents the 'hero' of the movie. At first when I read the reviews I thought Ren would be your typical rebellious teenager. A bit on the contraire, he is responsible and you can't help but feel proud of him when he brings his case up to the council. It's hard to explain and I can't tell you much since this is only a review, but I must say that Ren's character was extremely well-done. Ariel on the other hand is very rebellious, and flaunts it to her father. I loved how she and her father were able to resolve their problems at the end.

*ACTING* - Kevin Bacon definitely steals the whole movie with his acting. He plays the part of a teenager perfectly, even the way he walks. His dancing was also spectacular, most notably his solo dance at the warehouse to the music, "Never" by Moving Pictures. If he was doing only half of what we see on screen, I'd still be impressed. John Lithgow is also outstanding, it was interesting to see his dramatic abilities after watching him on goofball comedy tv series, "3rd Rock from the Sun". He certainly can put power in his 'sermons'! Lori Singer beautifully stunning as Ariel, a perfect example of the category of 'wild and beautiful'. Besides the character of her father, Singer's character of Ariel has the most development in the movie.

*DANCING* - The dancing is just pure fun to watch, especially for people who loves 80's dancing. The last dance was not only the best dance, but the best part of the whole movie. If by chance somebody didn't enjoy the movie, I'm sure the end will make up for it. I loved it so much, I downloaded that segment onto my computer so I can watch it any time.

*SOUNDTRACK* - The soundtrack is another plus side to the movie. Besides the "Top Gun" soundtrack, "Footloose" is on my top list of favorite movie soundtracks. Great songs include two by Kenny Loggins, "Footloose" and "I'm Free (Heaven Helps the Man". Other of my favorites include "Let's Hear It For the Boy" (Denise Williams), "Almost Paradise" (Ann Wilson/Mike Reno), "Somebody's Eyes" (Karla Bonoff), and "Hurts So Good" (John Cougar Mellencamp). Plus there's plenty more!

*PG Rating* - From here I will be giving you the downside to the movie "Footloose". I was extremely disappointed that the movie does not hold true to what a real PG movie should be. There are many reasons as to why this movie should be changed to a PG-13 rating. Though the movie is about a small town which has a dislike for rock music and dancing, the movie portrays some of the teenagers there as being very immoral. Besides having sexual innuendo, some violence, and drugs scattered all over the movie, the language is also pretty strong. I strongly recommend parents not to have younger children watching this movie. Best for kids 15 and older.

Overall, "Footloose" has the great elements to make a good movie; great story, terrific acting, nice music, and cool dancing. But it also shows some of the immoralities of teenagers so parents should be cautioned. The movie is more aimed towards teenage viewers and adults might not find this movie terribly entertaining. But then again, adults might enjoy the movie for they might be able to relate to John Lithgow's character as the father who does not want to let go of his daughter because of his love for her.

Very classic movie and soundtrack
As I said in the title, great nostalgic movie, story, acting, etc. I enjoy watching the movie over and over. I would give this 5 stars but I will give the DVD tech guys an F for not putting any features (besides ws format) on this. I think some trailers, interviews, and other stuff would have fit. They could have done a little segment on all of the songs featured here. Aside from this, great DVD.

One of my personal favorite movies from the '80s
I was watching VH1 over the holiday weekend and came across a showing of "Footloose". "Footloose" is one of my favorite movies from the '80s. I actually saw the film in the theater with some friends. We wanted to see "Splash" but tickets for that movie was out so we settled on "Footloose". At the time I thought the premise of the film of a hip teenager rebelling against an ultra conservative town with its anti-rock music and dancing rules, was a bit farfetched, if not silly. I still do to this very day but I like this movie more now than I did back twenty years ago. It's amazing how much Christopher Penn has changed since then. Not to mention Sarah Jessica Parker (still with her "Square Pegs" look), and Lori Singer. Kevin Bacon remains the same today. John Lithgow gave me one of his best performances I had ever seen before that godawful sitcom he starred in years later. Dianne Wiest was also good in the movie. The stars of the film I thought were Kevin, Lori, Sarah, and Christopher. The music was great. I love Bonnie Tyler's "I Need a Hero" and John (Cougar) Mellencamp's "Hurt So Good". "Footloose" was one of those movies where music and film went well together. To the reviewer who thought this film deserved a PG-13 rating...um? Hello? There was no PG-13 back in 1984. It was either PG or R. I would hardly qualify "Footloose" as being R-rated material. Compare "Footloose" by today's movies, it is a tame comparison. Despite being cheesy at times, "Footloose" remains a blast to watch.

Nostaligia
I grew up in a rural, religous community on the edge of the Appalachia. We were not allowed to dance. It didn't strick me at all odd at the time, and it doesn't now, that a town council could make dances illegal or that the local pastor could almost single handedly control the town council. And yes, a small town police officer could, without getting into any legal trouble, in that part of the world in the 1980s confiscate a rock and roll cassette tape (Remember those things?) for being played too loudly or simply because he didn't like the attitude of the driver.

Having said that, the movie is extremely dated and so some parts of it look and sound a little silly today. Just like today's hip teen movies will look and sound silly two decades from now. But I still like this movie. Probably because some of these seens could be right out of my life. I too went to church and looked at girls acrossed the aisle. And after church we really did ride around in cars and pickups and hang out on family farms on Sunday afternoons doing really stupid teenage stuff with farm equipment. All of these seens are caught pretty realisticly and are done very sympatheticly. People with simple value systems are not mocked here, as they so often are in Hollywood. And the story line isn't all silly. The pastor character is especially well written and well played. And I should point out that girls really did wear their hair like that back then and really did wear tight sweaters and even tighter designer jeans. Youngsters now days don't know what they are missing. Buy this movie and watch Ariel move around the screen and you'll see what I mean. ... Read more

Description

Flo Ziegfeld's midway attraction isn't drawing flies. "How's business, Ziggy?" a rival taunts. This winner of 3 Academy Awards(R) including Best Picture provides the career-chronicling answer. Florenz Ziegfeld Jr.'s business was good (with Broadway's legendary Follies and more), bad (including times the showman could scarcely rub two nickels together) and rarely lacking optimistic excess. Year: 1936 Director: Robert Z. Leonard Starring: William Powell, Myrna Loy, Luise Rainer ... Read more

Reviews (13)

"Never looked so beautiful before."
There are a few things to know going in: It's a biography with music (but not a musical), it's more than 60 years old, and it's three hours long!! Now I'm okay with all that, but I'm an old movie snob. This one is proof positive of the old Hollywood dream factory, where you were guaranteed happiness, pathos, bells, and whistles in practically every picture. But the film isn't as happy-go-lucky as you might expect; it gives a rather astringent portrayal of a gifted showman who knew how to dazzle audiences, but never how to save a buck. According to this book, his was a never-ending cycle of glittery and expensive theatrics pitted against dodging creditors his whole life. In that respect, we are to conclude that his lack of business sense was tempered by his need to entertain. He also knew talent, as is represented by his discovery scenes with Bolger and real Ziegfeld veteran Fanny Brice. (Watch how he hires her on the strength of her comedy, then humiliates her during a rehearsal in order to get her in the mood to belt out "My Man.") And of course, not enough can be said of the eight-minute "A Pretty Girl Is Like A Melody" finale where spangled showgirls, opera singers, grand pianos, and a single, all-enveloping curtain hang on a revolving "wedding cake" spiral staircase. You have to see it to believe it.

An Extravagant Man
As someone who is not a fan of musicals, I was already at a disadvantage before the movie even started. I fast forwarded through most of the numbers, and they looked dazzling enough and I'm sure would be entertaining for people who like that sort of thing. I concentrated on the drama between the numbers, and with that I was quite satisfied. William Powell is excellent as the famed, extravagant theatrical producer, Florenz Ziegfeld Jr. The film chronicles the many highpoints and lowpoints of his career, as well as his two marriages. Myrna Loy co-stars as his second wife, actress Billie Burke (Glinda the Good Witch from the Wizard of Oz), and although she gets second billing, she doesn't have much to do. But the chemistry between her and Powell is once again a high point. Luise Rainer, who had a brief career in Hollywood, stars as Anna Held, the first wife, a passionate, impulsive singer that Ziegfeld made a star of in America. Rainer's scene on the phone has become quite famous, and she plays all of her scenes with great drama. The film is a bit long, but it doesn't get boring, thanks to the stars, the story, and the great personalities that appear (Ray Bolger, Fanny Brice). And for people that like musicals, this will probably entertain them even more.

A SUPERB FILM BIO - ONLY AVERAGE LOOKING TRANSFER
"The Great Ziegfeld" is a biographic film based on the life of Broadway impressario, Florenz Ziegfeld Jr. Brimming with stellar performances by William Powell, Myrna Loy and Luise Rainer (who walked off with the Best Actress Oscar)a wonderful score and mind-boggling production values, this is one heck of a good time for a night's entertainment!
TRANSFER: Unfortunately, Warner Brothers gives us a somewhat tired looking print of this classic film. Though the gray scale is generally well balanced, some of the picture appears to be out of focus while other portions are filled with excessive film grain. Dirt, age related artifacts and an incredible amount of scratches in some scenes really detract from the over all visual presentation. The audio is MONO and, as with the picture, is not adequate. During some of the songs the background hiss is excessive.
EXTRAS: A flimsy featurette that all too briefly attempts to "sum up" the film and the real life of one of the 20th century's greatest showman.
BOTTOM LINE: Because you are not likely to see this film revisited in a Deluxe Edition I am recommending to add it to your library. But it in no way stands up to Warner's previous DVD mastering efforts on "Now Voyager" or "Mildred Pierce".

epitome of 30s musicals
a big extravaganza musical. the musicals are very grand and ostentious but very much in the tradition of musicals in the 30s when entertainment was escape from the dreary reality of the Depression. william powell, luise rainer and myrna loy are all wonderful, thought myrna loy's billie burke came very late in the movie. my favorite scene was when Flo (powell) was courting Billie (loy) at grant's tomb. simplicity and wonderful sweet. you ll have to see it just for that scene. luise rainer's telephone won her the oscar. the movie has a few touching scenes, but i did wish the movie was brisker and tighter.

BLINDINGLY OPULENT AND SPELLBINDINGLY ENTERTAINING!
"The Great Ziegfeld" is a biographic film on Broadway impressario, Florenz Ziegfeld Jr., the man who "glorified the American girl". Determined to squeeze every last ounce of opulence from its coffers, MGM spared no expense in retelling what is essentially a melodrama with musical numbers tossed in for good effect.
Flo (William Powell)is a cheap carnival barker when he crosses paths with Anna Held (Luise Rainer). Their chemistry is instant and through her talent as an artist, fame comes to them both. However, all bliss is fleeting and their marriage ends when Flo takes up with a chorus girl. But he ditches her for sassy Billie Burke (Myrna Loy) and then proceeds to create a series of lavish spectacles that only MGM could afford to do justice to. The most spectacular of these remains "A Pretty Girl Is Like A Melody"; a gargantuan revolving platform covered in dancers and art deco magificence.
Aside: Flo's second wife, Billie was a contract player at MGM during this time. Her best known role is as 'Glinda' the witch of the north in "The Wizard of Oz".
TRANSFER: Surprisingly smooth and very well balanced black levels and a good gray scale are the real selling features of this 3 hr. plus spectacle. Unfortunately an excess of age related dirt and scratches greet the viewer throughout the first hour of running time. However, things get cleaned up half way through for a really stunning transfer. Shadows and contrast levels are exemplary. The audio is clean, well balanced and quite simply, one of the best you are likely to encounter for a film of this vintage.
EXTRAS: A couple of featurettes that round out the history of the film - all too briefly.
BOTTOM LINE: Next to "Yankee Doodle Dandy" - another show folk bio with guts, "The Great Ziegfeld" is most readily recognized as one of the best! Add it to your film library! ... Read more

Amazon.com essential video

This 1950 film by Akira Kurosawa is more than a classic: it's a cinematic archetype that has served as a template for many a film since. (Its most direct influence was on a Western remake, The Outrage, starring Paul Newman and directed by Martin Ritt.) In essence, the facts surrounding a rape and murder are told from four different and contradictory points of view, suggesting the nature of truth is something less than absolute. The cast, headed by Kurosawa's favorite actor, Toshiro Mifune, is superb. --Tom Keogh ... Read more

Reviews (90)

Kurosawa's breakthrough film
Akira Kurosawa, known as one of the greatest directors of all time, got international attention with this film, that opened up the Japanese film market to the world. Released in 1950, this film, along with the director won many coveted awards. The story is simple, but at the same time the film is very complex. Tajomaru, a bandit, played wonderfully by the great Toshiro Mifune, is accused of raping a woman, and murdering her husband, in the woods. Tajomaru, the woman, a witness, and the man himself (speaking through a medium) tell their version of the events. The thing is each one tells a different story, with their own perspective on the events, and perception of those involved. So as each story is told we go into flashback and see the different events, and how the characters act differently.

The film from a technical standpoint is perfect, with innovative use of the camera, and editing. Acting is done superbly, with each actor, playing a slightly different version of their characters in each flashback. The script cannot get better, based on two short stories. The film is very serious, and is a meditation on the nature of truth.Its about how truth is relative, and how we each have a different viewing of events, tastes, and concepts. It is also about how each person makes up their own truth, lies, to deceive themselves. Our ego is so big we need to comfort it, and keep it safe from harsh reality. In all this film is perfect, and is even sometime called Japan's Citizen Kane, in the way it impacted Japanese filming. The two films have many similarities. If you enjoy serious films, investigating the nature of truth, and ourselves, see this film. 5 stars.

Truth is elusive, reality subjective. A tale well told.
I've heard about this 1950 Japanese film all my life and have even incorporated the word "Rashomon" into my vocabulary. It means that the truth is elusive and people will remember things with their own particular spin. When the film first came out it was nominated for an academy award and is still considered the masterpiece of the director Akira Kurosawa.

Shot in black and white, the mood is set right at the beginning, as there's a rainstorm going on and a priest and a woodcutter are seeking shelter in an ancient temple. Both of them are troubled, as they have heard witnesses to a crime explain events that they just "don't understand". When a third man joins them, they tell their stories. Eventually the audience watches the reenactment of four different versions of the same incident. At the end, there is still confusion.

The acting is done in classical Japanese style, which is more appropriate for a large auditorium than for a small screen. The actors shout, they roll their eyes, and every gesture is exaggerated. There's passion throughout and a great mythic theme. It seemed all to be set on a great stage. And the interesting part is that three out of the four people telling the story claim to be the killer. The cinematography is also special, using the rain as one realm of reality and harsh sunlight as another. The woods in which the crime takes place look hot and stifling, and the actors are all excellent.

However, once the novelty of the setting and the dramatic elements of this stylized film wore off, I found myself restless. It was only 83 minutes long but it seemed much longer. I do applaud its art and its message. I therefore recommend it. However, I just can't help the fact that it didn't engage me completely.

Classic stuff
A man travelling with his wife in feudal Japan is murdered by a bandit... or is he? As the main protagonists - the bandit, the wife, a passer-by and (I kid you not) the man himself - tell their versions of events, a series of contradictions emerge. Who, if anyone, is telling the truth?
Rashomon's Byzantine plot structure was unique at the time, and still feels fresh over half a century down the line. Presenting no easy answers (there is reason to doubt the motives, and thus the stories, of all of those involved), it leaves the audience to make up their own minds about who to trust. Fans of latterday head-spinning efforts such as The Usual Suspects and Memento will find plenty to get their teeth into here.
It all looks gorgeous, to boot (Kazuo Miyagawa's cinematography is done justice by an excellent DVD transfer here), and the performances - especially Toshiro Mifune, as the bandit Tajomaru, cackling hysterically and pausing mid-fight to swat mosquitoes on his neck - are superb. If I've got one gripe, it's the slightly pat "redemptive" ending, but that's a minor fault at best.
Otherwise, Rashomon is downright essential. It's too easy to get all rose-tinted when trying to assess a long-established "classic", but this is one that's more than stood the test of time.

The one that set the standard
When Akira Kurasawa released this film in 1950, it was not expected to do well. When it won various awards around the world, including the Academy award for best foreign film, the reaction was one of some surprise. Now, over 50 years later, Rashomon stands as a benchmark in cinema, a film that has been copied and ripped off countless times, but never duplicated. The camera work, storytelling, script, and setting are flawless, giving us the proper mood right from the start.

The start is a torrential rainstorm, where several men sit around discussing a trial they have either witnessed, or taken part in. The trial concerns the murder of a samurai and the rape of his wife, apparantly at the hands of a famous bandit (played by Toshiro Mifune, a Kurasawa favorite). The story of what actually happened is told through the point of view of the bandit, the woman, the dead man (through a spriritual medium) and a woodcutter who was there and now is standing with these men at the beginning of the film.

The interesting thing is that we as the audience are left to assume what really happened, as the film gives no definitive solution. The subject is really the nature of man, and how point of view will change the perception of a scenario to favor or in some cases, cast a negative light on events that transpire.

This was the first film to shoot directly at the sun. In fact, the beginning shot of the woodcutter traveling into the woods to cut lumber is breathtaking, the camera weaves in and out, up and down, through branches and leaves, showing just how far out of the way these things will be happening. The excellent DVD has a feature on the camera work, which you will find interesting and will help you when you go back to the film for a second viewing.

Also included with the disc is a booklet with the two short stories Kurasawa used as the premise for the film (most notably "In the Grove")along with an excerpt from Kurasawa's book about the shooting of the film and the apprehension of the Japanese film companies about the fact that the story seemed to have no good ending. Kurasawa explained that the story was not about the solution of the murder as it was about the nature of man.

Film fans need to see this movie. So many movies made in the last few years (Snake Eyes, The Usual Suspects) owe themselves to Rashomon, movies which show us points of view that are not necessarily the truth. The fact is that four people can see a situation but report it four completely different ways. What's the truth? The truth is--that's just human nature.

A milestone in the story of cinema in any age
Rashomon is a masterpiece. This film shows us a hard statement that maybe disagree to many people; the truth doesn't exist. We see always fragments of it no matter how old you are.
Aesop in his fables states: in every man always there are three ; that who he thinks he is; what other people think he is and finally that one who really is. In that sense Goethe talked about four levels of the reality; lineal, literal, methaporical and finally the cosmic.
In what level are you when you assume the judgement about a fact?
Remember his beliefs are always relative; your ethical world depends about a lot of issues; such as your social status; your religion; your birthplace; your culture and even your age; so be careful when you say are in possesion of the absolute true.
And that's what the movie shows us; a terrible murder; five persons state about the fact ; and before you five different versions are given. So, the questions is; who of these persons is lying and who is true?
All of us have a sight blind; and because of this you may agree with some of these people; and your close friend or even your couple may be perfectly disagree with you.
The reasonable doubt is a very well konwn device employed by all the lawyers in their cases . Indeed, this term inspired to Sidney Lumet for making his opera prima "Twelve angry men" in 1957.
Back to Rashomon we find to Akira Kurosawa in one of his major achievements. The handle camera is superb; and this is the first film in the story where , by the first time the camera shows us the sun; a brilliant methapor and also a challenging aaproach by this master director.
Mesmerizing ; unforgettable ; you'll be shocked every time you watch. Remember what the woman says uin a sequence: "The men lie because they are weak".
And this point is remarkable, just because the fragile human condition; the human being always will keep his dignity, pride and a set of values above all the odds; and through this process, the truth is always put in a second place, by obvious reasons.
Heissenberg established the uncertain principle in 1930 and this review is far to explain about this issue, but what it deserves to call your attention at the time you say ; I found the truth; or even worst; I represent the truth.
This procedure is typical of dictatorial regimes; the state is me and other similar statements reveal a syntom of being out of the life and even the nature, a wise mind always thinks and acts; after rethinks and reacts; but never remains quiet.
Kurosawa adapted this film from a novel from the same title Rashomon from 1927 written by Yabu no Naka.
This film is a wonderful exploraton of truth and human weakness.
In fact this film is watched and analyzed in Post Grade School of Management, for purposes related with another goals.
This film was remade in 1964 as Outrage for Martin Ritt, where Paul Newman plays the role of Toshiro Mifune in the original version.
A true landmark. Don't miss it.
A superb classic! ... Read more

Amazon.com essential video

Invitation to the Dance was Gene Kelly's great experiment at turning MGM's famous ballet sequences into a feature film.Kelly directed and choreographed three half-hour segments, all without dialogue or songs."Circus," with music by Jacques Ibert, is almost traditional Romantic ballet, as Igor Youskevitch and Claire Sanders play the lovers in an old European stage troupe and Kelly, almost unrecognizable in clown-face makeup, suffers from unrequited love."Ring Around the Rosy" jumps to 20th-century America, as Andre Previn's jazzy score provides the backdrop for an anniversary bracelet that passes through the hands of numerous people and finally back to the owner.Kelly plays the title role in the most famous sequence, the Arabian Nights-type tale "Sinbad the Sailor," set to a loose arrangement of Rimsky-Korsakov's Scheherazade. Incongruously appearing in a U.S. Navy outfit à la On the Town, Kelly explores a live-action Arabian marketplace, discovers a lamp and a genie, then travels to a cartoon palace, where he charms a dragon, dances with a princess, and spars with a couple of swordsmen.Invitation to the Dance is not all dance--much of the action is conveyed through pantomime--and a lot of it does not feature Kelly himself.Even though the film is not quite as entertaining as it could have been, the dancers are consistently good, and Kelly always provides something interesting to watch. --David Horiuchi ... Read more

Reviews (4)

Not what I expected, but good just the same
I'm torn between giving this five stars or four stars. I'm settling on five because it's Gene Kelly and because I just love him. I also think five stars is fair because this film is fifty years old. Some of the stuff that he does as director might seem fairly pedestrian to us but we have to remember that when he was doing it it was pretty much brand new. What an innovator! The film itself consists of three thirty minute minifilms; the stories are all told through dance, music, and mime with no spoken words. The first one was the least enjoyable of the three, IMO. It's mostly ballet and while Gene does do some dancing, you don't get to enjoy him the way you do in other films. For one thing, he's almost unrecognizable under all that white face paint; I typically don't care for costumes and masks and such. I'm also not a big fan of mime and this segment relies on it more than any of the others.

The second segment was both funny and sad as it follows the path of an anniversary bracelet from one owner to the next. The best parts to this segment involve the crooner whose "singing" just slays the ladies. Gene was really having fun when he directed this scene. I also enjoyed the part with the pianist and the hat check girl who turns out to be quite a dancer with quite a pair of gams. You have to be very patient to get to Gene in this one; he doesn't appear until nearly the end but it is worth the wait. He does a very ... dance with a woman who literally lights his fire. His dancing is ..., but he really lets the female shine; she clearly has the lead here. (Throughout this entire film it is clear that Gene was content to let others have lots of screen time.)

The last segment is easily the most enjoyable. Is it any wonder that Gene has the most screen time in this one and does the most dancing? He plays a sailor who finds a magic lamp with a little boy genie inside of it. The two of them literally step into the pages of a fairy tale and encounter animated dancing dragons, harem girls, and swashbuckling villains. Gene dances with all of them at one point or another, and it's really rather neat to see the way he and the cartoons are perfect mirrors of each other - how he carries out their steps and they carry out his and vice versa. It's filled with whimsy and though it's fifty years old it manages to seem rather fresh. I especially enjoy the candy-coated flight of fancy when he and one of the harem girls frolic through flowery meadows. The entire film is lovely to look at and it's got Gene Kelly. Who could ask for anything more?

A great film!
I highly recommend this musical. The costumes are beautiful and the dancing is wonderful! I'd give it ten stars if I could. Gene Kelly is wonderful in it.

Imaginative and unusual
Kelly doesn't dance here as much as you might expect, but it was written, directed and choreographed by him, and is quite imaginative. He was a gifted choreographer as well as dancer. This also gave him a chance to create sexier dance numbers than you will find in the average musical. And there's a funny take off on Sinatra.

The tragic clown sequence touched me more than I expected it to.There's a beautiful dance between the lovers. Ring around the Rosy was more sophisticated and wry, with livelier dancing. Each place the "ring" goes is a little story, and that's fun to watch, though it did take me two viewings for it to really open up. Both sequences owe something to silent film and to mime. The animated sequence at the end is a wonderful flight of fancy and stands up pretty well against modern computer generated stuff. It's not as technically flawless, but still pretty sophisticated, considering it's almost 50 years old. If you have children, the Sinbad sequence is guaranteed to entertain them, and adults, too.

A dance classic from the golden era of movie musicals.
Gene Kelly's Invitation to the Dance is a rare and wonderful movie musical; it was under-appreciated when it was first released, but is wonderful to enjoy today and I'm glad it's available. The three segments, the broken- hearted clown dance, the Sinbad the Sailor (with cartoons and live action combined) ballet and the dance about a ring that gets around, are delightful to watch. An interesting note: Dancer Carol Haney did the live-action dancing later redone by an animated girl in the Sinbad number. I wish someone were making musicals these days! ... Read more

Reviews (89)

Life is a cabaret, old chum...
It's often been said about old musical movies that they went too far in the conceit of people "bursting out in song" during a scene. Well, in his film version of Kander & Ebb's masterful Cabaret, Bob Fosse completely got around that problem by presenting the songs on stage. It was handled brilliantly, the choreography was incredible, and the movie just plain works.

Cabaret the movie doesn't share many songs in common with the original stage version - it still has "Willkommen," "Two Ladies," "Tomorrow Belongs To Me," a German version of "Married," "If You Could See Her," and "Cabaret" - but that's it. A few new songs were added - "Mein Herr," "Maybe This Time," "Money, Money," - but for the most part it's a lot less sung than the staged version. A lot of musical numbers dealing with the world outside the Kit Kat Klub were used as underscoring, preserving John Kander's great tunes. But this doesn't detract from it being one of the best filmed musicals out there.

Fosse's direction is a big help; it has a great eye for early 1930s Berlin, and presents the decadence and foreshadows the Nazis brilliantly. Fosse created great, sensual choreography for the film, and it is completely entrancing to watch the musical numbers. And the rest is worth it, too.

Flipflops aside, the couples are presented well; Liza Minelli's portrayal of Sally Bowles is definitely the acting part of a lifetime. She was just completely *convincing* as Sally, from end to end. Michael York as Brian is very reserved, very British, and very studied. Helmut Griem is entirely convincing as Max, who creates tension between the couple after befriending them. The secondary couple is played to perfection by Fritz Wepper and Marisa Berenson, as opportunistic Fritz Wendel who falls in love with the rich young Jewess Natalia Landauer, respectively. And, of course, Joel Grey is spectacular as the haunting, Puckish Emcee.

In general, this movie presents itself as a stunning revelation to viewers of a story that will stick around for a very long time. It's a virtuoso interpretation of one of the greatest American musicals, and deserves to be seen.

wonderful new collector's edition
CABARET has never looked better, remastered for it's 25th anniversary, with additional features.

Liza Minnelli gives the performance of her career as the singer Sally Bowles, on a self-imposed exile in Berlin, entertaining at the seedy Kit Kat Klub.

Into her life comes Brian Roberts (Michael York), a mild-mannered English bisexual who falls in love with her. Both are seduced by the wealthy Maximillian (Helmut Griem) before Sally falls pregnant, aborts the child and Brian leaves Berlin just as the Nazi's gain power.

The musical, set against the stormy backdrop of Berlin in the 1930's, is a marvellous piece of film making. Directed and choreographed by maestro Bob Fosse, CABARET also boasts original Broadway performer Joel Grey as the Master of Ceremonies, and Fritz Wepper and Marisa Berenson.

Also includes reminiscences by Liza Minnelli, Joel Grey, Michael York, Cy Feuer, John Kander and others from the creative team, an old featurette on the making of the film, and the original theatrical trailer.

THE BEST
As for musical-drama concerned... THIS IS IT! The producers of Chicago should have seen this(indeed they did - every major moment in that film is "stolen" from Cabaret) and put REAL musical stars in the film.

When u have Joel and Liza u are not let down... I give flowergreetings to the entire cast and crew... The filmversion of Cabaret has a lot of "new songs"(Maybe This Time, Mein Herr, The Money Song) and the plot follows the 1955-movie "I AM A CAMERA" more than the stage musical. Since then; the Liza-songs have found themselves in numerous revivals of this stageplay since this 1972-masterpiece. The film is still frightening and raw......Trivia: The scene in which Liza meets Marisa they talk about diseases... On video, here in Europe at least, that was cut....

Don't pass on this
I almost passed over this DVD because a couple of Amazon reviewers forcefully complained about the presentation. I'm glad I bought it. The widescreen was just as I expected, and picture and sound quality were fine. Anyone who's seen the movie knows how good it is. If you haven't seen it, you're in for a treat; and this DVD serves it well. (A five-star review is for the absolutely superlative.)

PLEASE PLEASE Don't buy this!
CABARET is one of the greatest movie musicals ever. I adore it. It is flawless, IMHO.
Why, then am I giving it one star? Because, as others have said, Warners should be ashamed of themselves. This is not the first, but the SECOND release of this movie in a non-anamorphic transfer. I bought the original and was mighty p****ed because it was non-anamorphic. I thought they would have honored this magnificent film in the "anniversary" release. But no. It is, as stated by another reviewer, the same disc as before, in terms of picture quality.
On a small TV you won't notice. But if you care about these things, then believe me, this release sucks big time. As did the first one.
I'm angry, not at being ripped off (I sent this one back for a refund) but because a wonderful work of art has been abused by a greedy, careless film company. And I have been robbed of the chance to see the film in its glory.
Having said that, nothing could improve the truly dreadful sound quality - which was terrible from day one.
I don't suppose there ever will be another release of this movie. What a terrible shame. ... Read more

Reviews (90)

Months of checking have finally paid off!
... This is one of those movies that you have to appreciate for it's simplicity and sometimes almost cheesy scenarios. I can't imagine anyone playing these characters other than the people cast. Robin Williams performance as Popeye is reminiscent of the really old B&W Popeye cartoons where half of the time he's mumbling which adds to the comedy. Even the costumes in this movie are semi-cartoonish which cleverly adds to the cartoon-to-live-action transition while reminding us that the silliness is part of the reason we loved the cartoons and characters as much as we did, and still do.
Bravo to Paramount for finally releasing this on DVD for the people like me who have been searching for this classic since I bought my DVD player. I've been checking on a weekly to monthly basis for a long time now, and am estatic to see my searching has paid off.
If you haven't seen this fantastic movie before, or haven't seen it in years, take the time to rent it one more time so you can see what you'd be gaining by ordering or pre-ordering this today!!

Soundtrack by Harry Nilsson
Wonderful movie. It's got a fantastical depiction of Sweethaven with its eccentric characters, and a wonderful ensemble cast. Robin Williams gives a very credible portrayal of Fleischman era style Popeye. He's also incredibly sweet, but not the kind of cloyingly ingratiating sweet Williams is known for in later films.

The best part of this movie are the marvelous songs written by Harry Nilsson. I loved the music from Popeye when I was a kid, and as an adult who has recently re-discovered Harry's music, I'm pleased to see this out on VHS again so I could get a hold of the music in *some* form. If you liked Nilsson's "The Point", then treat yourself to this movie, and if you liked Popeye's music, check out "The Point", they're both absolutely smashing.

"Somebody owes me an apology!"
The "Somebody owes me an apology!!" line by Olive's Dad was the funniest running gag in the movie but then they dropped it about halfway through. Big mistake. Great sets and characterizations hampered by misguided plot and inappropriate musical numbers. Great until about halfway through then it falls apart. Definately woth a watch for the Robin Williams Popeye characterization and the great sets. If you like the look and style of flicks like Warren Beatty's Dick Tracy, give it a rent!!

Great movie
I think Popeye was a great movie, personally. I really enjoyed the songs, sets, costumes, and Robin Williams is perfect as Popeye. I can't wait to own this on DVD, where it can be seen in its original widescreen format with beautifully restored picture and sound.

And a note to vhspreowner - Disney and Paramount have actually had a pretty good relationship, even after Popeye went bust, (Which actually wasn't as bad as many think - it grossed $50 million domestically, making a $30 million profit.) including Paramount's recent collaboration with Disney (through Miramax) to produce The Hours.

The Legend of Popeye: Milestones and More...
In 2004, Popeye will be celebrating his 75th birthday! The anvil armed spinach eater is an icon to Americans (as well as Europeans) everywhere. And if you are like me, an American of European ancestry...

"Popeye the Sailor" was created by E.C. Segar as a character in the black & white (later color), Fleischer Brothers newspaper strip "Thimble Theatre" (which was a comic about The Oyl Family). He later made his debut with his own cartoon short, seen on movie screens everywhere in 1933.

Walt Disney Pictures teamed with Paramount Pictures to create the 1980 live action movie directed by Robert Altman, bringing the comic character turned cartoon star into a living breathing human. The parts of Popeye and Olive Oyl were originally going to be played by Dustin Hoffman and Lilly Tomlin but ultimately went to Robin Williams and Shelley Duvall in perfect casting roles. The entire gang was aboard for the ride (Bluto, Wimpy, Swee' Pea, and all the rest along with plenty of new friends and foes).

Despite Popeye being a Segar/Fleischer creation as well as having later associations with A.A.P. (Associated Artists Productions), Hanna Barbera, Disney & Paramount, Popeye is best known as being a "King Features Syndicate" and will forever be linked to all animators and produces as being King's trademark. In fact, because the exact rights for Popeye were so confusing, he was mysteriously missing from the 1989 cartoon/live action movie "Who Framed Roger Rabbit?" as the most notably absent cartoon. Due to fear of being sued, Touchstone Pictures sadly left Popeye out of the film, while every other one of his contemporaries from Mickey Mouse to Bugs Bunny appeared in the famous "Toon Town" scenes. Today, Popeye is alive and well with the King Features clan. Sammy Lerner wrote the famous theme song that has been a staple wherever Popeye has appeared.

Although maybe not quite on the scale of "Pinocchio," Popeye is very popular in Italy where he is nicknamed "Iron Arm." Bill Costello provided the original voice in the cartoon and later in the 1970s, Hanna Barbera is best credited with bringing Popeye back to life in several new shows including an updated version called "Popeye & Son," where Popeye & Olive are married with their own kid (not Swee' Pea).

Perhaps his popularity in Italy and throughout Europe can be linked not so much for Costello's and Barbera's contributions, but to the filming of the movie in Anchor Bay (near the capital Valletta) in Malta, a small island in the Mediterranean, just 60 miles south of Sicily. After filming, it became a hugely popular tourist attraction, and even today movies are filmed there through MFF-Malta Films Facilities ("Troy" starring Brad Pitt just wrapped filming in Malta, Greece, Spain and Italy, and Pitt no doubt will be an even huger figure in Europe now).

Many of the "citizens" of the created town of Sweethaven, especially those who had to do some physical gags, were recruited from European traveling circuses. Most of the cast and crew (about 60% if you read the credits carefully) had Italian surnames! The following is a list of those credits: Richard Libertini (played "Geezil"), Larry Pisoni (played "Chico"), Peggy Pisoni (played "Pickelina"), Carlo Pellegrini (played "Swifty"), Noel Parenti (played "Slick"), Pietro Torrisi (played "Bolo"), Roberto Dell 'Aqua (played "Chimneysweep"), Valerie Velardi (played "Cindy"), Roberto Messina (played "Gozo" and was head stunt coordinator), Sammy Gemette (sound editor), Giovanni Fiore (camera operator), GianFranco Transunto (camera operator), Luigi Bernardini (camera operator), Mauro Merchetti (camera operator), Gian Maria Magorana (camera operator), Lorenzo Battaglia (underwater camera operator), Rudolfo Bramucci (gaffer), Vladimiro Salvatore (key grip), Alberto Emidi (key grip), Tony Maccario (property manager), Alvaro Belsole (construction manager), GianCarlo Del Brocco (makeup), Alfredo Tiberi (makeup), Gilberto Provenghi (makeup), Alvaro Rossi (makeup), Maria Teresa Corridoni (hairdresser), Aldo Signoretti (hairdresser), Gabriella Borzelli (hairdresser), Rita Innocenzi (hairdresser), Rita Galea (publicity), Paulo Lucidi (unit manager), Luciano Tartaglia (accountant), Gaetano Mirante (carpenter), Gugliemo Modestini (painter), Angelo Marta (sculpter), Angelo Zaccaria (sculpter), and last but not least, Mickey Chono (head caterer). Alitalia Airlines was the air transportation company of choice for all involved in the film.

So as you can see, Popeye can quite possibly be considered a foreign film (although it is in English) and the fact that it's popular from the US to Europe-to everywhere in between-is no surprise. It's amazing how many Italians were involved in the creation of the characters as well as the sets. Like Italy, Malta's official religion is Catholic and it's official languages are Maltese (which is a West Arabic dialect with some Italian words) and English. The country has Maltese and English newspapers and is a huge tourist spot for those visiting nearby Sicily and even stands wonderful on it's own. In fact, tourism is the main business in the country's economy and the mild yearlong weather and beautiful seaside villages (as seen in Popeye) are no doubt it's selling points. Just watching the movie makes me want to travel there someday and the beautiful cinematography bring the sailor to life as well as any of the animators who have tried their hand at drawing the famous sailorman.

Popeye has his own video game, his own stamp, a clothing line (and Halloween costume), not to mention his own real brand of canned spinach, the #2 seller in supermarkets everywhere just behind Del Monte. In fact, he is so famous that he has his own statue in Chester, Illinois-which is the birthplace of E.C. Segar. Today, Popeye can be seen on Cartoon Network and read in papers nationwide as well as on the internet. This year marks the 110th birthday of E.C. Segar as well as the 75th birthday of Popeye, and next year, Popeye the Movie will celebrate it's 25th anniversary with a new DVD.

Please send me all of your Popeye questions or comments and to join the Johnny DeCarlo Popeye Fan Club, e-mail me: JohnnyItalian@aol.com ... Read more

Description

The tragic life of jazz great Bix Beiderbecke, one of the few white musicians to florish in the mostly black jazz scene. ... Read more

Reviews (9)

Doris Day, Kirk Douglas, Lauren BaCall in a jazz setting.
A boy (Orley Lindgren) loses his father who passes away and is sent eventually to California. He has problems in school and doesn't really care to go anymore. He goes to a mission chapel mostly full of drunk people, where he hears a lady playing piano. There he picks up piano playing rather quickly and practices every night. One night he hears jazz playing in a bar. The men appreciate his good ear for music. They buy the boy a trumpet.
As a man (Kirk Douglas), he searches for a band where he can be the trumpet player. At the Aragon Ballroom, he fits right in with the band even though his playing is quite selfish. There he meets Doris Day, the lady singer of the band.
Also in the cast is Lauren BaCall. Jerome Cowan was in several films of the "Blondie" film series.
It is not Kirk Douglas playing but Harry James dubbed in.
Very depressive movie to watch.

Great Drama
This is a excellent drama! Rick Martin (Kirk Douglas) is a man who as a child peeked through the window one night into a Night Club and saw a person playing the Trumpet! Well he sees what is happening and he wants to play! The man teaches him and he turns into a big famous movie actoress! Well it ends up in a big nice story! This is an excellent movie and I promise you that you will deffinately love it he gets married to Amy North (Lauren Bacall) but then finds out that she is the wrong woman for him the girl who he really loves is Jo Jordan (Doris Day) this is a great movie that you will enjoy!

All that jazz...and all that star power to boot!!
The happy ending is clumsily tacked on and reeks "Hollywood" in the worst sense of the word. Otherwise this is another very good Michael Curtiz film with solid acting and great black and white cinematography. Kirk Douglas may surprise you as the obsessed jazzman, Rick Martin. Doris Day and Lauren Bacall are wonderful as the female leads (with Day being so definitively Day, and Bacall so quintessentially Bacall). Hoagy Carmichael is a remarkable screen presence as well. And the music is wonderful. So what's not to like?...well, the cornball ending and the (at times) stilted dialogue. Still well worth watching. And for jazz movie fans, fans of any or all of the stars or admirers of director Curtiz it remains a must have.

Very Engaging
Michael Curtiz, who could direct just about any genre of film does it again. Episodic and musical events of a man( not Bix) obsessed with his horn. Any film with a duet between Hoagy and Kirk has to be fun.

Watch for Jerome Cowan as the band leader and of course another fine turn of acting from Juano Hernandez ( Art Hazzard) Day sings, Bacall broods and I do believe I saw what looked like an el!

Young Man With a Horn: NOT the story of Bix
Bix Beiderbecke was unquestionably one of the forerunners of so-called "hot jazz" that led to the golden era of this musical discipline. His career was short as was his life. This complex young man possessed a grand talent and was able, according to Hoagy Carmichael, to bring tears to those who were wedded to this new musical art form. Bix made his way from the Davenport, Iowa to places East, in the late 'teens of the century just passed. He had a significant impact on the evolution of "Chicago" jazz and his reputation was singular for the sweetness of his tone, and his ability to express what was in his soul.

His music peaked in the mid-to-late '20s, and he died from external excesses in 1931. His cornet was stilled, but his legend was vivid for many decades after he was gone. I would recommend reading the twin autobiographies (under a single cover) of Hoagy Carmichael both of which offer a sincere tribute to Bix and his impact on jazz without being smarmy.

The insinuation that the 1950 flic, "Young Man with a Horn", depicted Bix, just ain't so. ... Read more

Reviews (125)

Swing Kids
Swing Kids is a movie about a group of kids who get caught up in the Nazi mess in Germany in the late 1930's. The boys are Peter, Thomas, and Arvid. They are all friends who love swing music. Although the trouble really starts when Peter and Thomas decide to steal a radio from a bakery women who got it from the Nazis. The Nazis had taken the radio from some Germans who helped Jewish people. Peter gets caught and is forced the Hitler Jugend and Thomas decides to join because Peter is his friend. Thomas starts to become a Nazi and Peter still hates them and this starts to cause trouble in their friendship. Then Peter is at a swing party and Thomas is one of the HJ's that are going to stop it. This is all I can tell you, you'll have to watch the video to find out what happens.
I liked the movie because it was very realistic in depicting life during the late 1930's. It is also realistic in how scared everyone is of the HJ's and the Nazis. The action was also really neat like in the part where Peter beats up the HJ with an umbrella. The music in it that include songs by Duke Ellington and Count Basieh the music seems to fit the time period well. The setting is also good. All in all it's a good movie except for a few details.
I really didn't like the ending because it really didn't answer much. It might have been better if Peter ran away and joined the Allies. I also didn't like the way the over dramatized parts like when Peter found out what was in the boxes he was delivering. I also didn't like how at the beginning they portrayed the Gestapo man as a nice and good person. Other than this it's a great movie
I think it's a lot like Anne Frank because you can see both sides of the story and how it was very hard for both Jews and Germans. It also shows that they both were very alike in just not knowing what to do and when to do it. It also showed that the kids just wanted everything to go back to the way it was and shouldn't have been thrown into the hatred that Hitler created and the terror he made.

What are these people thinking????
Ok - I just had to write this review because there were so many rave reviews of this film. COME ON PEOPLE!!!! A movie about kids swing dancing to defeat the Nazis????? Even that one sentence sounds bad. Yes Kenneth Branaugh and Christian Bale are two of my favorite actors but they both need to be embarassed by this horrible film.

This is ludicrous. What is hilarios about AMAZON.com is that you can put in any bad movie and see people who LOVE it. Just put in HOWARD THE DUCK as an example.

Some of these people should not even watch movies!

AMAZING!
Hey there!
I first watched this movie in my grade 9 or 10 class, I fell in love with this movie! I don't know if its the music or the actor's but its' just an amazing movie, I think that it captures those times quite appropriately. I'm also a fan of Robert Sean Leonard! and of course, Jazz music!
Thanks!

Excellent film of swing and moral struggle
Anyone who has stepped on to the dance floor with a live swing band playing knows just how well Swing Kids captures the electricity of a night of swing. Anyone who has strapped on their best duds an hour earlier knows the romance and anticipation captured perfectly as Peter Muller (Robert Sean Leonard) dresses for his last night of swing. This movie was in no small measure part of the impetus for the swing revival in the mid 90's, and I personally get "in the mood" for a night of cuttin' rug with Janis Siegel's incredible rendition of "Bei Mir Bist Du Schon" from the film. But what makes this film truly superlative is its honest dealings with ordinary Germans' motivations for complacency towards or participation in Nazism. In Nazi Germany it was in everybody's best interest (save the Jews) to play along. From Peter's mother who just wants her to children live happily and avoid the terrible fate of their father to Thomas Berger (Christian Bale) who finds acceptance and encouragement for the first time, they do so for the reasons that would tempt each of us sorely. The horrible truth of the Holocaust is that, like the Germans, very few of us possess the selflessness and moral courage it would have required to oppose the evil tide of Nazism. Swing Kids is almost alone in its portrayal of this chilling truth among Holocaust and World War II films. Robert Sean Leonard's portrayal of this moral struggle for understanding and courage is very moving. (Of course, there's noone better at playing angst-ridden. c.f. Dead Poet's Society.) As he dances his last dance, with the weight of the world on his shoulders, the world spinning around him, he finds a rare kind of release that is perhaps found only on the dance floor. And yes, his brother's cries, "Swing Heil! Swing Heil!", in the final scene give me a lump in the throat every time. For all these reasons and more, Swing Kids is an excellent film. Shame that there are no extras on the DVD.

it dont mean a thing if you aint got that swing
this ones got the groove, the drama, the comedy. nice swing music and sometimes the actors are a little bit cheesy but it works out in the tearjerker end, not that I cryed. the cast includes Robert Sean Leonard(My Best Friend is A Vampire,The Last Days Of Disco), Christian Bale(American Psycho, Laurel Canyon), Frank Whaley(Swimming With Sharks, Pulp Fiction), Jayce Bartok(Spider-Man, Suburbia), Barbara Hershey(Beaches), Kenneth Bragnagh(Rabbit Proof Fence, Much Ado About Nothing), Noah Wyle(tvs E.R., The Myth Of Fingerprints). a good old fashioned movie ... Read more

Amazon.com

An irresistible, comic drama from director Alan Parker (Evita, Mississippi Burning), overflowing and alive with passion, humor, and music, The Commitments showcases some old R&B standards in a new light. A headstrong, fast-talking, ambitious young Dubliner (Robert Arkins) fancies himself a promoter of talent, and sets about assembling and packaging a local Irish R&B band. His group of self-absorbed, backbiting, but stunningly talented individuals begin to succeed beyond his wildest dreams, until petty jealousies and recrimination threaten to scuttle the whole deal. A moody, vivid, and soulful exploration of the Dublin club scene as well as a showcase for some wonderful unknown actors, the film (and its wonderful soundtrack) also features the actual band covering classic soul tunes from the likes of Otis Redding and Sam and Dave. It's that combination of soul and soul music that makes The Commitments a special little film. --Robert Lane ... Read more

Reviews (74)

Roddy Doyle's modern Irish classic
Quite simply, this is one of my all-time favorite films. Based on the first book of Roddy Doyle's Dublin trilogy, The Commitments is more than a story of a bunch of Irish kids forming a soul band. From the harsh realities of poverty to the power of the Irish spirit, this movie is a portrait of life in working class Dublin, and is true to Doyle's book in every way. It is raw and irreverant, extremely funny but also poignant. One of the remarkable aspects of this film is the cast of virtual unknowns - all actually Irish, thank goodness. Andrew Strong, who plays the lead singer, was only about 16 when the movie was filmed, and he did his own vocals. In fact, the cast is extremely musically talented and appears on two very good soundtrack volumes. The one familiar face belongs to veteran actor Colm Meaney (Miles O'Brien on Star Trek TNG/DS9). Meaney also appears in the two other films from the trilogy, The Snapper and The Van. Rent them all and have an Irish film festival! If you want to be entertained with great soul music while being magically whisked away to Dublin, by all means buy this video so you can watch it over and over again.

A MOVIE WITH SOUL
First off, I usually don't like soul music, R&B, whatever you want to call it. I can like anything but bluegrass, country, and rap. But I must admit that, even if you don't normally like soul, this movie will make you a believer. I had to watch this film in my college film class. I must say that I was VERY impressed, and even more so after I heard the following from my film teacher concerning this film: 1-The lead singer(the chubby one, can't miss 'em) was only 16! but he sang GREAT! Like a pro, even. 2-This movie is full of first-time actors, and that is because it was open-audition for all or nearly all parts. With that in mind, someone did a great job in casting this movie. This is one of those movies that keeps your eyes riveted to the screen. There's some comical moments, as well as some normal moments as well. At times you feel like you're watching a live music video. A very well done film, that reminds me in some respects of the Blues Brothers, which I also like. Apart from the language, there isn't much to the R rating. Overall an outstanding film about a bunch of Dubliners singing music that is normally associated with African-Americans. Buy it today and enjoy!

The Soul of the City
Alan Parker once again put together a previously unknown cast and has produced a fantastic movie with some stellar individual performances.

"The Commitments" is the story of the struggle to escape unemployment and poverty, set in Dublin but equally relevant in any major city this movie chronicles the efforts of a new band to achieve fame and glory. The band choose soul music as their vehicle out of the ghetto at a time when James Brown is just a memory adding spice to an already engaging tale. After a faltering start the band start to pull it together only for their lack of discipline and focus to abort their chances at the very moment when real opportunity is at their door.

The music is the star of the show with fantastic numbers such as "At the Midnight Hour", "Mustang Sally" and "Try a Little Tenderness" littered through the movie. The musical performances of Mary Doyle Kennedy (Natalie)and Andrew Strong (Deco)and the acting of Robert Arkins (Jimmy) are really superb.

This movie is enhanced by this new format on widescreen DVD, but what makes it work is the screenplay, great acting and wonderfull music regardless of format.

Say it Once, Say it Loud!
"The Commitments" is a raucous and joyful celebration of music. It's a gloriously simple and lovable tale, told with passion, profanity, and a deep understanding of how music can infect even the most despairing life with joy. About time the movie got its proper release on DVD.

If you've never seen "The Commitments" because you cringe at the notion of white Dubliners singing American soul tunes, well, I hear ya. I fully expected watered-down music along the lines of Michael Bolton butchering Percy Sledge. However, I was wrong - the music, in the context of the movie, is pure and genuine, and performed by young actors who understand that you don't have to pretend to be anything you're not to get soul. Besides, Jimmy Rabbitte, the mastermind behind the band, gives them all a thoroughly convincing speech that assures the lads and lasses from Dublin that they, too, are qualified to sing soul.

The movie - well, it's wonderful. Hilarious, free, sometimes moving, life-affirming. I almost wish the movie let the characters develop a little more before the inevitable and mythical ending, but then Joey the Lips gently reminds me (and Rabbitte), "this way, it's poetry." He's right - this is the proper ending for these guys, and the movie.

The DVD offers some great extras, including a revealing making-of doc, where we learn that director Parker combed the nightclubs of Dublin nightly, looking for fresh talent. I also love the 10-years-later feature, where we get to revisit our old friends again. These are suitable extras for a movie that just plain makes you feel glad to be alive - how much more can you ask of a movie than that?

Howzit? Deadly!
I was excited to find out they were releasing this movie again with some more behind the scenes interviews. I was surprised to see that the cast they did recently interview, looked relatively unchanged. It was like seeing a long lost friend. I remember seeing this movie the first time in the theatres being shocked at their monumental use of the f-word. This time, it just seemed to be natural. Maybe it's because I'm in my thirties now and it takes a lot to shock me or maybe it's because I've had a chance to read the short story the movie is based on. Roddy Doyle's adaptation of his story of a Dublin soul band was, for the most part, straight out from the page. There were a few parts that could have made it into the film, and a few parts in the movie that didn't need to be there, but on the whole I LOVED IT AGAIN! Seeing these actors come together as a real band was fun. I hope they re-release the last of the Barrytown Trilogy, The Van to DVD soon also. ... Read more

Album Description

1995 reissue of the soundtrack to director Bob Fosse's acclaimed 1979 musical co-starring Roy Scheider and Jessica Lange. Ralph Burns arranged & conducted all 14 tracks, whichinclude performances by George Benson, Sandahl Bergman and Ben Vereen with Scheider. A Spectrum/ Karussell release. ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

Reviews (74)

Robert Altman's great masterpiece of the American Experience
I recently rewatched this film for the first time in a long, long time, and was amazed at how much better it was than I remembered. Moreover, I remembered it as being very, very good. In this film, director Robert Altman tracks the interweavings of over twenty major characters over the course of a few days in Nashville. Some of the characters are major Country-Western performers, and others are mere wannabes. All is set against the background of a mysterious third party presidential candidate for the Replacement Party, whose cars and vans drive around the city, broadcasting his commonsensical yet superficial political messages.

Altman has always excelled more than anyother director with ensemble casts, and this is the greatest example of that in his career. No one cast member predominates. Ronee Blakley probably should have won the Academy Award for Best Supporting Actress, but was hurt by Lily Tomlin's also being nominated. Lily Tomlin and Henry Gibson's performances were both completely unexpected at the time, since both were considered television comedians and had been regulars on Rowan and Martin's Laugh In. But truly, none of the cast members were weak, and most were exceptional. Keenan Wynn was superb as Mr. Green, whose wife is dying of cancer in the film. But the true star of the film is Altman, who is utterly masterful in the way he brings his characters into contact with one another, like a dance director choreographing an immense ballet. One becomes accustomed to seeing all the same faces in one scene or event after another, and for some odd recent it doesn't strike one as at all coincidental. I especially enjoyed seeing Jeff Goldblum's nonspeaking character The Tricycle Man popping up in scene after scene on his triwheel chopper that seems more a parody of EASY RIDER than an imitator.

The movie is laced with songs, and what makes them special is the fact that everyone did their own singing and most wrote the songs that they sang. Keith Carradine especially distinguished himself with two great songs, "I'm Easy, " which actually netted the Academy Award that year for best song, and the rousing closing number, "It Don't Bother Me." To be honest, while most of the singers are at least competent (except for the intentionally awful Sueleen Gay, heartbreakingly portrayed by the excellent Gwen Welles), few are truly first rate. The two great exceptions are Ronee Blakley, who manages an utterly stunning Loretta Lynn impersonation, and the improbably spectacular (in the context of the movie) Barbara Harris, whose unexpected rendition of "It Don't Worry Me" provides one of the movie's more amazing moments. Some real Nashville musicians turn up as well. In particular, Vassar Clements, considered by many to be the greatest country fiddler, turns up in a Nashville music club as himself.

The movie has many subtle things to say about celebrity and politics, and the ongoing confusion of the two (brought out powerfully by the ending, in which an entertainer rather than a political figure is assasinated, and by the fact that one person is mentioned as a gubernatorial candidate, when his only qualification would seem to be that he was a singer). But the movie has broader appeal than just of the Country Music Capital of America. The film intends to be about America itself. It truly does succeed in being an epic about the American experience. A great, great masterpiece.

One of the 70's greatest films and that's saying a lot!
I am waiting for a better DVD version with more extras and 1:85 ratio 2:35 is too small for me. I do own the video and I have no idea how many times I have watched this movie. It's almost worn out. If you are looking for a movie about country music this isn't it. It's about the way we were living and what was going on in the world and our country in the 70's. Yes I am old enough to remember! It is a film that most people seem to really love or really hate. I love it! Great cast! I am a huge Lily Tomlin fan and she is is wonderful in this film, but so is the rest of the cast. The 70's had some of the greatest films ever made this is one of the best!

The real Nashville?
Does this movie portray the real Nashville? I don't know; I don't work in the music industry. However, something tells me that this movie really does portray the real Nashville. It portrays people of mediocre talent; people who think they're the greatest thing since sliced bread. Some of the lyrics are so corn-ball they make you squirm with embarrassment, for example, "My mommy and daddy, my Idaho home".

American Life as a microcosm
An astonishing film, rich in satire and brilliantly executed. Altman manages to weave so many subplots and characters seamlessly. One of his crowning achievements. I still don't understand the negative reviews.

What we should mean by patriotism
Robert Altman's 1975 picture remains as enigmatic as ever. The film has a huge cast of 24 actors, most of who appear in only brief scenes with few other characters. Add to this the fact that many of the lines are delivered in a flat or even seemingly improvised fashion, with a tendency for characters to interrupt and speak over each other, and it's easy to feel that the disparate characters are not connected to each other at all. This is Altman's intention though, because this film is about the hopes and ambitions of the individual within the larger society of bicentennial America.

And the plot does come together to some extent as we build to the final song, one of the most moving endings in film history in my opinion. The lyrics, sung by an unknown, interspersed with scenes of America's young in a melting pot American city, suggest a stoicism, perseverance (as one idol falls, another rises to replace her) and vitality. Even after Vietnam, Watergate, assassinations, and deep recession, crossroads America itself maintains hope and optimism. 'Nashville' suggests we are not such a young and homogenous country after all.

Among the individual islands the film explores, standouts are Ronee Blakey as the beautiful and intense but fragile diva, Hnry Gibson as the king of country, with political aspirations, and Lily Tomlin as a loving mother and gospel singer facing a marital crisis. The incredible fact that much of the music was written and performed, with little rehearsal, by many of the actors (Keith Carradine and Karen Black's musical performances are also noteworthy) lends a kind of democratic (for lack of a better word) authenticity to the film as well. ... Read more

Description

Doris Day and Danny Thomas romantically collaborate in this affectionate biopic of tunesmith Gun Kahn that's a treasure chest of some of this century's greatest songs. Year: 1952 Director: Michael Curtiz Starring:Doris Day, Danny Thomas, Frank Lovejoy ... Read more

Reviews (14)

A touching and entertaining film
Doris Day stars as Grace LeBoy Kahn, the wife of Gus Kahn (Danny Thomas) in this great musical biography.

It explores all facets of Gus's life, including his Broadway career and his numerous descents into obscurity.

The film also features the underrated performer Patrice Wymore, who gives a great rendition of the hit 'Love Me Or Leave Me', long before Doris made the song her own when she played Ruth Etting in the above-titled film.

DAY, THOMAS AND CURTIZ BRING SWEET "DREAMS"
Warner Brothers released "I'll See You in My Dreams" during the holiday season in 1951. It was the Christmas attraction at the famed Radio City Music Hall where it packed them in for many, many weeks. It deserved that success.
The story of lyricist Gus Kahn works extremely well for a number of reasons. Unlike the Warners biopics of the 1940's including "Night and Day" (Cole Porter) and "Rhapsody in Blue" (George Gershwin), which often played loose with the facts, ditto several MGM biographies from that same period, "I'll See You in My Dreams" has more grit and depth on several levels.
Director Michael Curtiz ("Casablanca") shot his film in black and white, which was unusual in that most Doris Day musicals at Warner Brothers were given glossy, technicolor productions. The black and white works extremely well in conveying the complexities of Kahn's life. In addition, there are very real hints at extramarital relationships, drinking, and control issues involving Kahn's wife.
Danny Thomas, in probably his best big screen performance, is perfect as Kahn. He's a struggling songwriter in Chicago in the early 1900's, seeking a break. He gets it the day he meets Grace, played by Doris Day. They write a song together, which becomes a major success and his career is launched. They eventually wed and the script gives very clear indications that Grace is the force that pushes Gus, who seems, at times, to lack the necessary drive and ambition to become a major success. Eventually Grace's controlling nature seems to push Gus away and in an attempt to reassert his masculinity, there are strong hints that he has an affair with a broadway performer.
This well written story is decorated with dozens of popular songs by Kahn and some of the top composers of the twenties and thirties. In particular, the title tune, as well as "The One I Love", given a perfect rendition by Day, the Day/Thomas duet of "Whoopee" and Danny's exquisite rendering of "It Had to Be You".
Doris Day and Danny Thomas are exceptional together. There is a real energy in their scenes together. Thomas reported in his autobiography that working with Day was a wonderful experience for him and it's clear in their work together here.
Although Thomas could easily have come off as a nebbish, he somehow manages to create an ultimately endearing character out of Kahn.
Doris Day is wonderful as Grace. Curtiz had directed her in her first two films as well as the exceptional "Young Man With a Horn". In "Dreams" she proves herself as far more than the "girl next door", creating a characterization that is not always someone you like. Grace seems to be frustrated in her role as merely a wife and mother, seeming to want to return to songwriting or a career of some kind and therefore channeling that frustration into being, at times, more a mother to Gus than a wife. It's a memorable portrayal. Vocally she can do not wrong.
Frank Lovejoy is very good as Walter Donaldson, one of Gus's composing partners who, despite a clear affinity for drink and the track, manages to not alienate the audience. Patrice Wymore, as a Ziegfeld star does a standout version of "Love Me or Leave Me" and plays her role with flair and style. She was the wife of Errol Flynn in real life but manages to stand on her own merits as an actress. James Gleason is perfect as a typical "James Gleason" character and Mary Wickes is a delight as a smart-mouthed, sharp-tongued housekeeper to Gus and Grace.
"I'll See You in My Dreams" is about as good as a biographical film in the early 50's could be. You don't have to be asleep to enjoy this very pleasant dream.

What A Great Rare Musical Classic
This is a really great Classic Musical starring Danny Thomas and Doris Day.

Danny Thomas portrays the great classic Music Writer Gus Kahn and DOris Plays his wife Julie. At the beginning Gus is a down on his luck guy who works for the local Crockery Company and Julie helps him to raise his spirits and turn his music career into something really neat!

Gus writes a whole ton of classic Hits and Julie writes the music! This is a great classic movie that I highly suggest to everybody!

Doris Day and Danny Thomas and music.
Doris Day works for a sheet music company where singers look for new music and where songs are published. Danny Thomas is a down-on-his-luck, persistant lyric writer who tries to persuade Doris to at least see his music. He then shows up at her home. Boy, what a pest. But she does like one song, quits her job and helps him get a song published. Not even Doris Day in "black face" can save this film. Fast moving, but not the best film for Doris Day and not the best of Danny Thomas. Mary Wickes and Jim Backus also in the cast. The young children Robert Lyden and Bunny Lewbel are a delight.

Another Great Film By Michael Curtiz
Well directed by Michael Curtiz (Casablanca, The Adventures of Robin Hood), emotionally satisfying Doris Day film has terrific performances throughout; especially from Frank Lovejoy in a key supporting role. The film loses one star from me due to an unecessary scene with Doris Day performing in black face. ... Read more

Amazon.com

The soap-opera career of Motown's most successful group, theTemptations, lends credence to the old belief that great art comes from troubled lives. Over three decades, the band struggled through numerous ego trips, countless members, broken relationships, coke addiction, alcoholism, suicide, cancer, deadly arthritis--in short, all the melodramatic devices necessary for a TV miniseries. This two-and-a-half-hour docudrama touches on all of these personal tragedies, but unfortunately forgets the real reason for the strength of the story: the music. Sure, there's wonderful reenactments of the quintet's finest material, such as "My Girl," "Just My Imagination," "Papa Was a Rolling Stone" and "The Way You Do the Things You Do," all performed with the slick choreography and shimmering vocal harmonies that made the band legendary. But, unfortunately, director Allan Arkush (Rock and Roll High School) and writers Kevin Arkadie and Robert Johnson forget to put the music into any historical perspective. Why were the Temptations so important? What was their contribution to pop music? By watching this saccharine, manipulative exposé, you'd never know. The performances are nonetheless terrific, especially Charles Malik Whitfield as leader (and narrator) Otis Williams, D.B. Woodside as his partner, Melvin Franklin, and Leon as the group's talented livewire, David Ruffin. The DVD edition offers several fine features including 2.0 Dolby Surround Sound, a discography, cast and crew profiles, extensive production notes, and most important, the ability to jump to any of the seven songs performed... basically the main reason to watch this epic. --Dave McCoy ... Read more

Reviews (207)

Superb
A fantastically well-written T.V mini seires that explores the troubled lives of each of The Temptations and their rise and fall on the music scene. The Temptations were one of Motowns hottest and most versatile acts with their carefully planned chorography on stage and their diverse ranmge of shimmering harmonies on record. An interesting aspect of the series early sequences are when they are first introduced to Motown Records and its fun to see portrayals of the great Motown legends such as Diana Ross, Martha Reeves, Marvin Gaye and Smokey Robinson. Interestingly enough Diana Ross' daughter, Rhonda Ross makes an apperance in the film playing the troubled Paul Williams wife. The sequences where the group are seen performing Papa Was A Rolling Stone and Paul Williams is about to shoot himself are moving and the funeral is sure to get a lump in your throat (where Smokey Robinson himself appears). The film also carefully chronicles David Ruffins fall from grace as he steadily declined into cocaine addiction andalso continually mentally and physically tortued his wife, Tammi Terrell. The ending sees the grop reunirted when they were inducted into the Rock and Roll Hall Of Fame.
The performances are excellent, the 60's ambience such as the nightclubs and drug culture are superbly evoked and the stage performances are mastered to perfection. Recommended.

Engrossing, enl;ightening, bittersweet...The Temptations
The Temptations on VHS or DVD (we recommend DVD becasue of its great advantages and special features) is one of the better made for TV miniseries to come along in a long time.

Although its 3-hour length still leaves many unanswered questions, the spectacular songs (of which all on stage performances except for "My Girl" and "Cloud Nine" were sung by the actors) and excellent perfomances by the actors make this movie one that you can enjoy time and time again.

The actors who portray Paul Williams, Eddie K., David Ruffin, Melvin Franklin and Otis Williams have all done their homework and then some. The DVD is only $13.99, cheaper than the video, so opt for the DVD.

This film highlights the life of the Temps from the eyes of its founder, Otis, and from the very beginning,when Otis meets Al (Eldridge Bryant--one of the first Temps prior to his dismissal)at a hop in Detroit, the movie kicks off in high gear. Excellent performances by "The Cadillacs,' ("Some people call me Speedo"), Leon (Johnson) of "Cool Runnings" Fame, Christan Payton and an unforgettable performance by Eddie Kendricks--so well done it seems like the real Kendricks--means you will this DVD watch again and again. Our favorite parts include the Copacabana scenes, "My Girl," auditioning for Berry at Motown's Hitsville USA, the whole Ruffin performance by Leon, "Just My Imagination," "Papa Was A Rolling Stone," Otis & The Distants at St. Stevens Hall with the Primes and the Primettes (Paul, Eddie and the soon to be Supremes) and a great performance by Smokey - both the actor and the real life Smokey himself in a special song at the Melvin Franklin Funeral. Buy this DVD. It will be the best $14 you'll ever spend on a movie. Fun for the WHOLE Family!!!

an amazing movie
i have to be honest i really wasn't all that interested in the movie,at first anyway...i first saw the movie while i was in the wonderful city of detroit, michigan... i went to hitsville, usa,(the motown museum), i found the location where paul williams shot himself, where david ruffin was buried, where all five the the classic five lived, and basically roamed their old stomping grounds. this was an amazing experience for me, probably the most interesting... during all of this chaos of me getting all exited about everything there is to see in detroit, i had the honor of speaking with one of david ruffin's children, david ruffin jr. well that topped it all off...this was all before i watched the movie, so of course i didn't know how truly amazing it was standing in studio a where they recorded until i watched the movie... i was bawling by the end, it was an amazing movie although it isn't all completely true, like on the new years scene al really sent paul to the hospital, and melvin really passed on in a hospital in los angeles, it was the best movie i've seen... so to all the actors who where in this movie, you really gave me a completely different look at motown, thank you otis, and everyone who produced the movie... and i have to say, Leon, you were wonderful in the five heart beats, little richard, i have watched your movies, you're an amazing actor and i hope to see you in more movies in the future...

History in the making! To be enjoyed for generations.
This is one of the greatest movies of all times! The characters come alive. As I watch it, I have to remind myself that the characters on the television are not the real Temptations. It is spooky, but I get a selfish satisfaction knowing that I can experience the beauty and the sadness of the Temptations whenever I choose. My ten-year-old is even hooked on it. We watch it at least once a week and he swears that he sings like Eddie and Paul! In fact, he does. Go figure! It gives me comfort to know that the genius of The Temptations has been integrated into another, younger generation.

What makes this movie so wonderful is that it takes us back to the times when music really meant something and touched us on a deeper level. Each time that I watch it I am transported to a time when the melody of a voice could melt away the pains of a troubled society. Don't get me wrong, there were problems with segregation and wars, but there was an innocence that I long to return to. I hope that Paul, David, Eddie, and Melvin are resting in peace. Their music changed the face of entertainment and now their stories have truly changed my perception of the world.

I say all of this to say that this movie is a must have for Temptations fans as well as for those who want a break from all of the ugliness in the world.

I can't resist this temptation!!!!
I love this movie! I can watch it over and over and over again, especially the performances. ... 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

Amazon.com

At the heart of this dynamic film is the love of a man for a woman, a mother for a son, and a brother for a brother. Rarely is one man's struggle for inner peace so poignantly displayed as in this engrossingly sexy and unflinchingly violent love story. Lyric is the young woman who rekindles the dreams of a man tormented by a father's alcoholic violence now perpetuated by an unstable brother. Allen Payne and Jada Pinkett make for one of the screen's most memorable duos in the title roles. Each brings emotional intensity paired with powerful sexuality to their roles. Director Doug McHenry speaks to the 1990s by deftly balancing the story's heightened drama with just enough hope to give it impact. --Rochelle O'Gorman ... Read more

Reviews (18)

Where do I start
This movie dug right in and got me. The love story between to young people trapped in their lives was intense. The struggle between loyalities and the moral decay brought on by the inner city depression was so real.
Jason and Joshua--brothers. Dealing with a traumatic past that haunts them. The secrets revealed in the end were deep and clarified much of Joshua's anger. He was such an angry boy.
Lyric, another victim of circumstance was Jason's escape. Her name nearly said it all. Though it was her friend how quoted poetry it was Lyric who brought the words to life with her feelings for Jason.
The movie as a whole EARNED it's R rating, unfortunately, and I can't say I recommend it for young teens--it does have it's graphic sexual scenes and violence.
But BEHIND that, the story was a powerfully told.

Love IS courage. Sing Jason's Lyric!
Jason's Lyric is a true love story. In the midst of so much blight this film shows you that you don't need to have a Monster's Ball to know that love is courage and that there is hope in the bleakest of situations.
Allen Payne and Jada Pinkett give the best performances of their careers in this story of a man coming to terms with his troubled past while trying to help his brother (Bookeem Woodbine) who has just got out of prison. One day at work he finds his true love Lyric (Jada Pinkett) who wants to help him achieve his dream of a better life. He gets several chances, but is forced to turn them down because of his obligation to his brother. In a climatic conflict with his brother, Jason stops being his brother's keeper and resolves his personal issues. Jason achieves his dream and moves on with Lyric.
The script is well written; characters are well defined and have more dimensions than shown on the surface. The choices they make in their to change lives feel natural and not forced. Allen Payne makes you feel Jason's pain while Jada Pinkett shows us Lyric's love and compassion. Both Payne and Pinkett deserve better than what Hollywood has offered them currently, when given quality material they shine. Bokeem Woodbine makes you feel sorry for Jason's brother; you hate what he does, not him. Other noteworthy performances include Suzanne Douglas and Forrest Whitaker as Jason's Parents, and the two child actors who play young Jason and his brother. The production values are top notch on this film; I don't know why critics roasted this movie. It is very well done and should have been nominated for some Oscars.
This film has quite a few steamy love scenes; this film is not for kids. However, adults will find this to be a powerful and moving story full of hope character and courage.

A TRUE LOVE STORY
I saw this movie ten years ago when I was 13 and ten years later, I still love it. But now that I'm older, I can appreciate the story line even more. Jason is a troubled man haunted by his past that he continues to have nightmares. Due to his past, he feels obligated to help his brother who nothing but a criminal and content to stay one and his mother to help her out with his brother. But when he meets Lyric, a woman full of passion, sympathy and dreams, he realizes that he has to let the past go. But his brother continues to come between Lyric and himself until the end when he has to make the ultimate decision: to be with the woman he loves or to be with the brother he loves.

Great movie
This movie is great. I like the story line and Jason's struggle with his family issues and pass. I enjoyed Lyric's story also and her need to leave the area to start a new life. I own this movie, so it must be good.

my favorite movie ever!!!
i love this movie. not only for the love story but for the relationship between jason and his brother this is a very emotional movie, lots of great acting i cant really think of enough good things to say if you like dramas this is definately the movie to buy. i recommend this to anyone who wants to watch a movie that will make you feel something, very touching. ... Read more

Reviews (12)

Sal Mineo's drum playing is outstanding
Sal Mineo plays legendary jazz drummer,Gene Krupa,in this bio pic. This is an outstanding movie Sal's acting is superb,and his drum playing is breathtaking!Sal Mineo was one of the great actors of modern time,and this film proves it.

AWESOME! SAL MINEO ROCKS!
"The Gene Krupa" is possibly the BEST movie in which SAL MINEO was the picture's main STAR~~A huge Box Office hit in 1959! He studied the drums for 18 months(training with the real Gene Krupa) and although he is playing along onscreen to the REAL Krupa's soundtrack, Mineo's drumming is REAL and leaves you breathless. His acting in this film, as always, is amazing, and the supporting cast is awesome! Featuring the lovely Susan Kohner(who also co-starred in Sal's hit movie version of his tv play, "DINO"), James Darren, and apperances by jazz greats, Anita O'Day, Red Nichols, and Buddy Lester, this is a wonderful biopic sure to thrill jazz lovers, and inspire all generations of future drummers. It's also a wonderful treat for the Sal Mineo fan, especially to see him in something so different than his most famous Oscar nominated role in "Rebel without a cause."(Sal Mineo also was nominated for an Oscar and won the Golden Globe for "EXODUS")

FINALLY ON DVD!!!! Release more Mineo flicks on DVD!
At long last, "The Gene Krupa story" has been released on DVD by Sony/Columbia home video. Rather than review the actual film, this review concentrates on the DVD format as I am very pleased with this edition! The DVD is nicely packaged with a color picture on the front of the box. The film's glorious black and white has been digitally remastered and the clarity is just amazing. Even more important, the film is presented in full "widescreen" so you can view the film the way it was originally presented in theatres. This allows you to view the entire scope of the screen, instead of having the left and right sides of the screen chopped off into a crappy traditional "square" television format. You can see so much more as we all know how wonderful wide screen is. Although the soundtrack is still "mono," Sony has digitally remastered it, and presents it on this disc in "Dolby Digital." This makes a huge difference as the sound is deeper, lusher, and does great justice to the music. This is simply a beautiful presentation of this film. There are no "special features" such as behind the scenes or out takes, however it does have an interactive menu complete with chapter search. This DVD version of the film blows the old VHS version out of the water! For me, this DVD gave me a fresh new viewpoint of the film. The widescreen format compliments Sal's drumming so much that the VHS version could never come close to doing. I rate this DVD a 10+ on the scale of 1-10! If you love this film as much as I do, BUY THE DVD! Now, if only "Who Killed Teddy Bear" could be released on DVD..Now that would be a treat! I am concluding this review with some technical specs: Screen Formats: Widescreen Anamorphic 1.85:1 Closed Captioned Language and Sound: English: Dolby Digital Mono Original Release Date in theatres: 1959. Released to DVD in May, 2004

One Of Sal Mineo's Finest Performances
For jazz and music lovers "The Gene Krupa Story", is unsurpassed entertainment of the first order and contains some of the best ever work by talented actor Sal Mineo. Sal took on his first real solo starring role in this biography of the legendary Gene Krupa who as the percussionist for the Benny Goodman Quartet became the first real jazz heartthrob developing a legion of besotted fans. A major part of his legend was his innovative playing of the drums and in this film Sal Mineo manages to recreate that special magic, with some of the most amazing precussion work ever caught on screen. Having gained stardom for his sensational work in "Rebel Without a Cause", Sal Mineo was at just the right age and level of acting experience to tackle this major acting role and to his credit he manages all the stages in Krupa's life in a totally believable manner with a minimum of sentiment. Mineo's level of understanding of both the sheer genius of Krupa's ability and also his darker personal side makes for a wonderful screen performance that stays in the mind and makes "The Gene Krupa Story", a viewing experience to treasure.

The film traces Krupa's life from his humble beginnings in Chicago as the youngest child of working class parents who live by the rules of traditional life based around family and the church. We get a very early glimpse of the conflict already existing in young Gene when he brings home a set of drums which his angry father smashes as unsuitable for his son to be wasting his time on. After his father's death Gene however bows to the expectations of his family and joins the priesthood but after a year realises that it is not the life for him. He joins up with friend Eddie Sirota (James Darren) and his band and begins playing in many of Chicago's speakeasies. Eddie has a girlfriend Ethel (Susan Kohner), however soon a real attraction develops between her and Gene. Determined to succeed Gene soon pursuades Eddie to make a stab at work in New York's jazz scene. After a rough start and surviving on little money Gene through the force of his personality and sheer talent , manages to get a break which sees him climbing to stardom as the most electrifying performer in New York's big band scene. However stardom with all its adulation and material benefits also reveals its dark side as Gene begins to become involved in the heavy drug and drinking culture of the musicians world. His success also sees him begin to loose sight of the people who are important to him as he becomes alienated from Ethel who after committing herself to Gene finds herself forgotten. Best friend Eddie also drifts away as he doesn't approve of his friends free wheeling drug laden lifestyle. After being set up on a drug charge Gene's world rapidly crumbles before his eyes and he serves a jail term for possession which sees all those people, like selfish singer Dorissa Dinell, supposedly his lover abandon him in his hour of need. Upon release Gene experiences the full force of being considered a "has been", as he is reduced to performing in strip clubs and gambling houses. The hard times however refuel Gene's earlier love of music for the sheer joy of it and ever faithful Ethel comes back into his life as the steadying force she always was in the hard times. The conclusion sees Gene reunited with Eddie's band and setting out on a new life as the talented drummer that he is but this time with a more level view of what is important in life, which in his case is the devoted love of Ethel.

Sal Mineo is perfectly cast as Gene Krupa and he actually received the wholehearted blessing of the jazz legend to play him in the film. Mineo worked with Krupa to perfect his drum playing and the result on screen is sensational as Sal Mineo gives his heart and sole to his playing. The drum playing was actually recorded by Krupa however Mineo had the difficult task of matching that on screen which he does admirably. Totally devoted to perfecting his craft as an actor Mineo died far too young and sadly saw his star eclipsed long before it should have. This film along with "Rebel Without A Cause", and "Exodus", among others is this talented actors legacy to the movie going public and he will be remembered always for his great work in them. The supporting cast is uniformily fine with James Darren as Krupa's best friend Eddie, the before mentioned Susan Kohner as Ethel, and Susan Oliver in the hard driven role of Dorissa really shining and they perfectly compliment Sal Mineo's work. Appearances by real life jazz performers Buddy Lester, Red Nichols and Anita day also add an authentic ring to the story depicted. Character actress Celia Lovsky also has a memorable role as Gene's disapproving mother who is mystified by her son's obsession with the drums. The photography in "The Gene Krupa Story", is top flight with the often seedy black and white photography highly effective in particular in both Gene's pre stardom scenes and those depicted in his fall from grace when much of the action takes place in seedy "greyish", surroundings. Mineo's supreme concentration on his playing of the drums is a marvel to watch and is guaranteed to leave you breathless.

The great thing about "The Gene Krupa Story", is that you dont have to be a jazz enthusiast to enjoy the story or the music. For any lover of the drums it makes compulsory viewing and the golden age of jazz in the 30's is authentically recreated in this Columbia studios production. For me the best thing about the film will always be seeing the extraordinary talent of Sal Mineo on display. He combines strength and a touching vulnerability in his playing of Gene Krupa that leaves you rooting for him right through. I highly recommend this film to all lovers of jazz/swing and to those that like the less sentimental kind of performer film biography. Enjoy Sal Mineo at his electrifying best in "Columbia's "The Gene Krupa Story".

hooray! The Gene Krupa Story
I was stationed on a NIKE Army site between Albany and Sylvester Georgia in 1960-1961. I had the priviledge of showing the movies on our base. Due to staggered duty hours for the troops, I ran the Gene Krupa Story 3 times in one evening with the last showing at midnight. It was the only multible showing of any movie but I was more than eager to run the Gene Krupa Story as I was enthralled with the music and great drumming. Being a musician myself, it was a pleasure to offer it to my buddies no matter what time it was! Ben Shackelton ... Read more

Reviews (2)

I Watched It for Warren
Yes, the sole reason I sought out this movie was because it features as a villain one of my favorite (and just about forgotten) actors, Warren William. Now, with the same technique, I've come across some really good movies, like "Cleopatra" and "Employees Entrance", but "The Firefly" ain't one of them. And it isn't because it's an operetta--I liked "Rosemarie" and "Maytime". No, it's because it's boring and extremely unbelieveable. Eventually, I grew impatient waiting for Warren William to appear, and put the film on Fast Forward. Even then, time passed slowly. In addition, I had heard the name, "Donkey Serenade" before, but I found that song to be something of a loser too. SO, my advice is, watch some other Jeanette MacDonald movie, not this one.

"Firefly" lights up the screen
I saw this movie on TCM and absolutely fell in love with it. I have seen most of Jeannette MacDonald's films, and this is by far the best performance - singing, acting, and even dancing - she has ever given. Alan Jones is a refreshing change from Nelson Eddy, and much more talented. The plot is full of love and intrigue (NOT slow as Maltin claims), with MacDonald as a Spanish spy during the Napoleonic wars, and Jones as the aristocratic playboy who falls for her without knowing who she really is. Songs include not only the classic "Donkey Serenade," but also "Gianina Mia," a passionate and beautiful love song. This film is an absolute must-see for any fan of musical operetta. ... Read more

Reviews (24)

Politically Incorrect....But Engrossing
This story, of a gruff, dysfunctional, but brilliant detective out to bring down the Triads is a fast paced & very entertaining action film, meant to capitialize on the Chinatown shoot-outs at The Golden Dragon restaurants, that had captured the attention of the news media back in the late 1970's.

That said, the characters, especially Mickey Rourke's lead, are somewhat pedestrian & conventional. (Do ALL brilliant book & movie detectives have to have screwed up personal lives?!)

Besides that, I wondered about why a POLISH-American cop would be so personally obsessed about taking out the CHINESE mafia?

I'm NOT into political correctness. (Though I'm Chinese by descent, I wasn't so gung-ho about all of the protesting from the Asian activists about this movie back in the '80's. After all, there are more important things to worry about than an action flick!)

But I am into BELIEVABLE films. One reviewer who liked this movie said that director Cimino "kept it real." If it was "real", the lead (both in the book & in the movie) would have been someone with a very personal stake in bringing down the Triads. That would have justified his obsession AT THE BEGINNING OF THE STORY. (It's one thing to have him see it as just a job at the beginning, then have him obsessed AFTER they attack his friends & family. But this guy is so gung-ho RIGHT AT THE START!)

Politically correct or not....he should have been a Chinese, and not a Polish cop. (That goes for the book, as well as the movie!)

That said, the leading lady, a Chinese-American reporter, is the opposite....she's just too politically correct (in her mouthings about rights & such, not in her depiction) to be believable. (She might be a good actress, but I found her character annoying. It wasn't her fault. I blame the writers!)

Worst of all was John Lone's character. He's also a good actor, but in the story, he's absolutely no match, mentally or (especially) physically for Rourke's character. A villain should be the equal of the hero, in order to create audience tension (even though you know the good guy is supposed to win in the end.) But Rourke just man-handles Lone in a bathroom with no trouble at all (at least, not until some girl bodyguards start shooting at Rourke.) I thought Triad leaders were supposed to be trained in martial-arts! (That's not a stereotype, that's really a part of their traditions & rituals.)

Of course, Rourke should win. (After all, he's the "hero".) But he shouldn't have had it SO EASY.

Rent it....but don't buy it!

A Great Film
This film got a bad reputation when left-leaning Chinese-American groups tried to brand it as racist, causing many film critics to play it safe and pan it rather than brave the ire of those groups. In truth, the only notable flaw in the film is the acting talents of Arianne; despite this, I found her tolerable as her interaction with Rourke was truly electric. As to the demagogues, I must say that they arrived a little late to the party: Cimino's Deer Hunter portrayed Asians in a much more demeaning light than anything here. Besides that, have any of those protesters seen the kinds of movies put out en masse from Hong Kong? They are much more glitzy violent than anything portrayed here (for example check out John Wu's "The Killer" or Hard-Boiled").

Mickey Rourke is awesome as usual, he defined cool in the 1980s just as Errol Flynn did for the 1930s. And just like Errol Flynn, he later descended into mediocrity, making poor personal decisions and then taking poor roles and minor roles which made a mockery of his previously fine work. But neither Flynn nor Rourke were as bad as OJ Simpson or Enron executives. You don't have to love what they became to enjoy what they previously achieved.

In many ways Cimino fulfilled a potential avenue which Roman Polanski never explored in his 1974 neo-noir masterpiece, Chinatown. That film spent all of one scene in its namesake locale. Year of the Dragon takes us right into the heart of New York City's Chinatown, for better and for worse. Its a fairly conventional narrative, but you can almost smell the pastries cooking and wet garbage seething on those Manhattan streets. One of my three favorite Rourke films, along with Angel Heart and Francesco.

Big loud movie that goes nowhere
Mickey Rourke is NYPD Detective Stanley White, an angry white cop and marine Vietnam vet whose life seems to revolve around making a nightmare of everybody else's. Sent to Chinatown with the idea to stay out of trouble, White immediately butts heads with community figures he's convinced run the local mob. Not just a strictly law-and-order, White is on a mission against the larger evil of organized crime. Convinced that local Chinese mobsters are just tentacles of larger criminal syndicates called Triads (White educates his superiors that it was the Chinese, not the Italians who conceived "organized crime"), White pursues respected members of the City's Chinese community. Unfortunately, the situation is larger than White realizes - as Joey Tai (John Lone), an up-and-coming figure among the community, prepares to wrest control of the Triads from its aging leaders. Poised to flood America with narcotics from the golden triangle of southeast Asia, Tai soon realizes that White is more than an annoyance, and must be eliminated. Meanwhile, White proves less able to crack the Triads than his own career - alienating superiors who are convinced that he's harassing Tai. As Tai and White fight a war that soon becomes personal, the Triad readies itself to enter a new age in organized crime.

This is yet the only Cimino flick I've ever seen, though it seems to confirm what I've heard about his inability to focus. You wander through the twisting alleys of the script and wonder just what it's all about. It's about drugs, and Chinese and white cops who prove willfully blind to the encroaching triads. But that doesn't begin to explain Stan White or his seemingly bottomless reservoir of piety. Why does he care so much? "How can anybody care too much?" he asks back. What does he really want? Arresting people for crimes isn't enough - he's out for the moral rot that bred the Triads, and sets out to war against Chinatown. We're supposed to assume that White's stint in the Marines has turned him into the perfect righteous cop, but that would make him a nightmare no matter where he was assigned (in his first few scenes he demonstrates his knowledge of the Triads suggesting a peculiar obsession for them). Equally unfortunate is that while "Dragon" has the makings of a character-driven flick, there are so few compelling characters populating it. A beautiful Chinese TV reporter w/whom White falls in love with, the aging leaders of the Triad, a young Chinese cop who sticks his neck out for White, Tai himself, White's lazy bosses, other cops - they're all one-note props next to Rourke's character. I vaguely recall this flick getting lambasted for its simplistic portrayal of Chinese Americans, but it's actually a simplistic portrayal of everything New York. John Lone again proves an actor of rare depth, but the script doesn't give him anything to fill it with. What's left is crass, angry and louder than Chinese New Year.

Should be called YEAR OF THE DODO
Oh no. A Mickey Rourke movie. Lock up your daughters and bar the windows, this isn't going to be pretty.
YEAR OF THE DRAGON is a major career stretch for the Mickster- this time around his character doesn't use "MF" to punctuate his sentences. In a highly original, high concept plot that would have done the late Don Simpson proud; Mickaroo plays Stanley White, an ex-Nam vet who is now a cop fighting corruption in Chinatown, and his task is to track down and arrest and/or wipe out street gangs, but he soon finds himself up against drug dealers, but that's no problem for Mick seeing as he is your everyday suburban Rambo. Rourke's attempts at intelligent social commentary are enough to drive any viewer to burn the VHS tape. YEAR OF THE DODO is directed by Michael "The Deer Hunter" Cimino who should have known better than to subject viewers to this "unpleasant movie." There's some gore, but mostly bore. And it's overlong to boot. Check out Ridley Scott's BLACK RAIN instead, it's not hugely memorable but its far better than this.

Great Movie! When will it come out on DVD?
This movie is the best cop show I have ever seen. Aside from its controversy and violence this show was well made. John Lone was at his best as always and Mickey Rourke was the same with attitude. I hope that the director would bring this great show out on DVD in stead of letting it collect dust!!! When it does come out buy it you won't be sorry!!! ... Read more