Reviews (195)

Here Come THE JETS!
WEST SIDE STORY remains unique...to the point of astounding...in status among most accomplished classics in cinema history. Legendary director Robert Wise[whose eclectic mastery of film ranges from "lost" mythology epic, HELEN OF TROY to sci-fi milestones-THE DAY THE EARTH STOOD STILL and STAR TREK:The Movie]perfectly renders a film of passion;tragedy;humor and ultimate celebration of youthful humanity. Leonard Bernstein's score is peerless Americana: classic ART and popular entertainment.Jerome Robbins'choreography is electrifying;Steven Sondheim's "libretto lyrics" are ensconded in popular music immortality.

West Side Story's ensemble cast is likewise peerless.
Natalie Wood is superb as American JULIET, Maria. Richard Beymer's Tony/Romeo charcterization wonderfuly combines heroic "tough guy" with star-crossed lover. George Chakris(Bernardo)and Russ Tamblyn (Riff)jive; fight and dance their rival gangs into legend. My favorite is Rita Moreno.Her performance as earth mother/eternal woman figure, ANITA is remarkable. Her ferocious sexual brio;lioness-Queen humor("if you can fight in/for AMERICA!");home girl insouciance, and passionate GRACE are archetypal.WEST SIDE STORY thematically equals--if not surpasses--its SHAKESPEAREAN progenitor.It is America's SOUND OF MUSIC.The ten Academy Awards could be justly re-awarded.

[When I learned "my" homies back in Massachusetts'Pelham Regional High School...citadel/incubator of so-called 5-college professoriate and University of Mass'PC satrapy centered in Amherst...BANNED WEST SIDE STORY as Racist(this year the school is featuring VAGINA MONOLOGUES)I wondered: "WHERE ARE THE JETS when you need them?"]...

Certainly WSS was never conceived--as Mel Gibsons's THE PASSION OF CHRIST--to stir Culture War and rally believers. WEST SIDE STORY is,"unsimply",American film making at its finest and cinema art of world class caliber. It is movie ICON,which,as The JETS challenge, remains at-the-ready: "to beat every last f.....'gang on the whole f.....'street!"(10 Stars)

powerful,realistic , the finest musical drama I have seen
This ia a very intense, fast moving story in which many of the scenes easily could have happened in real life in New York at that time.

The quality of the music and lyrics blends beautifully with the action, and the choreographed dances are breathtaking.The actors fit their parts to such perfection that I could not imagine anyone else than Natalie Wood playing Maria, or George Chakiris as Bernardo, and on and on for the rest of the Jets and Sharks. My favorite musicals are those from 1950-1970 and of all the great ones like Oklahoma, South Pacific, and the Sound of Music, West Side Story impresses me as the most exciting dramatic musical of all time. It is hard to find a boring moment in this movie. When I think about this movie, the ballet numbers, choreography, and excitement stand out the most in my mind. For a fast moving drama this is a classic against which to compare other musical drama. Who would have thought that a mere conflict between two gangs could have been portrayed into such a dynamic movie. The producers certainly succeeded in bringing up to date the Romeo and Juliet saga. The romance and tragedy of Tony and Maria will always be indelibly impressed in my mind.

Magnificent adaptation of Romeo & Juliet!
Robert Wise made his masterpiece with this film mixing the essential spirit of the shakesperian mood , recreating it in the modern times as a racial conflict.
Wise mixed the drama with a credible plot . The coreography is towering and the music ( Oh what kind of inspiration was in the mind of Leonard Bernstein , acquire buy also the soundtrack; Maria became a classic ), Rita Moreno won a deserved Academy Award and this became a personal triumph for Natalie Wood one of the most beautiful faces ever seen in the cinema story .
The sequence fights between the bunchs is perfect articulated , there is a fine balance between drama and music.
Enjoyable film and of course for all a generation of teenagers in that age , who actaully are grandparents , still remember with nosthalgie that unforgettable jewel picture .

The Best Musical
West Side Story is one of my favorite musicals. The music and the choreography is incredible. Natalie Wood and Richard Beymer make a perfect Maria and Tony. Now that it is on the 2 Disc Special Limited Edition, it is even better. You can have the original intermission music if you wish and there is a great documentary called West Side Memories which shows how this amazing musical was made. Along with the special edition you get a book that contains the original screenplay, a timeline of the show from when the idea was first thought of and to when it came to the screen, a pamphlet you could of bought in the theaters when it first opened in 1961, and newspaper clippings of what critics thought of the show. Even if you didn't get the special edition this show is still worth owning. The songs are incredible. My favorites are "Maria", "America", and "I Feel So Pretty" which a ninety minute instrumental version is used for the intermission.

Best movie Ever
This movie is a must anyone who loves musicals, it's a total classic. If you thought you knew a lot about the movie, think again, because with all the extra fetures will provide you with more knowledge that you than think about.

The movie has definatley got some of the best dance seguences ever made for a musical. ... Read more

Reviews (223)

The Citizen Kane of musicals
So many films in my collection are "important", "serious", "disturbing", or "great", and as much as I treasure them (films like Citizen Kane, Vertigo, and Ran), there is only so much self-importance a person can take before the pores fairly scream out for something just plain fun; something slight, buoyant, silly, and full of energy. Singin' in the Rain is just that kind of movie. The funny part is, I generally HATE musicals!

In 1951, Gene Kelly and Stanley Donen took a collection of songs by Arthur Freed and Nacio Herb Brown and - assisted by a pitch-perfect screenplay from the writing team of Adolph Green and Betty Comden - sculpted one of the great classic fusions of popular cinematic art and precision dance craft. It is the Citizen Kane of musicals: a virtual catalog of musical film technique, executed flawlessly.

But that alone would not be enough to separate Singin' in the Rain from the kind of musical I can't stand (which is to say, just about every other musical ever made). No, what makes this one special is that it knows what it is and celebrates it. It never for a moment asks you to forget you're watching a movie and then grinds to a screeching halt for the musical number. Instead, it deconstructs itself before your very eyes (and ears) as a razor-sharp, self-aware satire of the movie industry - as well as a joyous expression of the pure ecstasy of great song and dance. In that sense, it is one of the few so-called musicals that actually achieves a genuine symbiosis of drama, music, and kinetic performance art.

If all this sounds rather gushing and pretentious, so be it. This is great film-making. It is Rolex Oyster Perpetual film-making. This DVD edition sparkles with ultra-saturated colors, digitally remixed Dolby 5.1 sound, and some terrific extras (even if you're not particularly into musicals).

My favorite sequence is the eerily fluid dance work between Gene Kelly and Cyd Charisse against a Dali-esque background near the end of the film. Charisse is spellbinding as she trails a gravity-defying veil that must be 30 feet long. It hangs in the air, suspended by wind machines as she uses her extraordinary dance skill (and fantastic legs) to affect a wordless seduction of Kelly's naive, love-struck hero. Great stuff.

Even if you don't think of yourself as the "musical type", give Singin' in the Rain a try. After all that heavy, bitter, existential cinema, it makes one helluva fine dessert.

THE GREAT AMERICAN MUSICAL
Once upon a time there was a place called HOLLYWOOD. It wasn't just a town or even an industry, it was a state of mind. They didn't call the studios Dream Factories for nothing. This film is the epitome of the musical art and craft. This is a real "Movie Movie," made entirely on the MGM lot. The real creme de la creme of MGM contributed to it's creation; produced by Arthur Freed, starring Gene Kelly (with a brilliant turn by the dazzling ,long-legged Cyd Charisse), contract players like Debbie Reynolds and Kathleen Freeman (still going strong, currently appearing on Broadway in "The Full Monty") with costumes by my favorite designer Walter Plunkett (Gone With The Wind, 7 Brides For 7 Brothers, etc). Check out the sumptuous designs for the "Beautiful Girls" number and the outrageous spider dress at the opening night party. The real lowdown is that Jean Hagen and Donald O'Connor practically steal the show from the leads in possibly the best performances of their careers. This film is pure joy. The script by Comden and Green is not only clever but actually goofs on a real period of transition of the American film from silent to talkie.It is also a brilliant job of recycling a trunkload of old songs. This happy film has the courage to do what American musicals and comedies do best: be silly and make you forget you troubles for an hour and a half. Next time you are in bed with the flu or trying to get over a miserable love affair, take a look at Singing In The Rain. It can't help but curl up the corners of your mouth and drive the clouds away.

Wonderful Musical with Terrific Dancing -- a Trifle Dated
"Singin' in the Rain" is the definitive Hollywood musical, and charms and delights our 21st century audiences despite the (very few) characteristics of the genre that don't hold up quite so well.

There are so many high points to this movie -- the amazing cast, the songs, the choreography, and, most surprisingly, the satirical send-up of Hollywood and the "star system."

The plot is well-known. Silent film star couple, Don Lockwood (Gene Kelly, who also co-directed with Stanley Donen) and Lina Lamont (Jean Hagen) are America's sweethearts. At a Hollywood premiere of their latest romance, breathless fans ignore sidekick Cosmo Brown (Donald O'Connor, in perhaps the best sidekick performance in film history) and scream in delight as Lockwood and Lamont pander to their adoration. Nobody, however, seems to notice that the gorgeous Lamont never speaks . . .

Her imposed silence Lamont has a voice that recalls a cat with its tail caught in a wringer, although Lamont is such a "dumb blonde" (bless Hagen -- nobody ever played this stereotype better!) that she is blissfully unaware of her screech. No matter, 'cause it's the silent film era, right? Wrong! Progress brings in "The Jazz Singer" and the era of "talkies." No longer will clever staging of press events suffice.

Soon, Don Lockwood is staring career meltdown in the face as the first Lockwood-Lamont "talkie" sends the audience into hysterics. Not only is Lamont's screech audibly offensive, they can't keep the sound synchronized to the film, and the sound editing even when in synch is as amateurish as a high-school film production.

What to do? Fortunately, Lockwood had fallen for young, beautiful Kathy Selden (a teenage Debbie Reynolds), a starlet in the making. Cosmo comes up with the idea of dubbing Selden's voice for Lamont's, and all is fixed . . . or not. Lamont, an imbecile but smart enough to know her value, insists on ruining Selden's career to preserve her own . . . and so on and so forth.

The plot, ingenious as it is, is really secondary. The main delight in this movie is the amazing dancin' and singin' that the performers offer up. While most of it is pretty silly, campy stuff (particularly the Kelly-O'Connor set pieces), they simply dazzle. Kelly is the most robust, athletic dancer of his generation, and O'Connor, well, the man doesn't have a bone in his body. While the movie's most famous scene comes from Kelly splashing in puddles during the title track, the most amazing dance number has to be O'Connor's comic flailings in "Make 'Em Laugh," where he runs up walls, flirts with a mannequin, and generally pulls out all stops.

Debbie Reynolds does a magnificent job keeping up with these two giants, and is generally a pleasure to watch, even though she's clearly outclassed as a hoofer.

While some great old films seem to get better with age (think "Casablanca," "Gone With the Wind," and "Citizen Kane"), "Singin' in the Rain" is an American classic that does not hold up quite so well in some minor respects. For example, when breaking into choreographed step, Kelly, O'Connor, and Reynolds sometimes appear too rigid, with smiles frozen on their faces, which is incongruous to those raised on more modern musicals like "Moulin Rouge," where the dancers take a more naturalistic, emotional approach to their dancing. The dancing in "Singin'" holds up, but the performers were constrained by the expectations of their audiences, which somehow demanded that the performers "look pleasant" while dancing.

Still, "Singin' in the Rain" remains one of the best tonics to a foul mood ever . . . I defy you to watch this movie and not feel a smile creeping over your face.

The Best Musical Comedy Ever Produced!
I fell in love with this film when I was seven years old; I watched it on a B&W television on "The Early Show" in NY (circa 1957 or 1958). I didn't know who any of the stars were - it didn't matter. It was magic to me. From the Hollywood opening (dignity, always dignity), the romp of the elocution lessons (Moses supposes his toes are roses!), and the trial and mostly error of trying to record the sound ("I can't make love to a BUSH!") when the gorgeous leading lady has a voice that rivals nails on a blackboard, all the way to the grown man dancing in the rain and the final rising curtain - pure magic. In glorious black and white - at the time, I didn't even know it HAD colour! I decided then and there, this was my absolute all-time favourite movie. (One of the highlights of my adult life was seeing this wonder on a full, big screen at a revival in the 1970s.) I have seen many films since then; I have reviewed them for friends & family, written reviews for a monthly entertainment publication. I have an extensive collection of my own (VHS & DVD). I know a lot more about films and production values now.

"Singin'in the Rain" remains my all-time favourite film. (No surprise, this.) It's not just another one of "those MGM musicals." It was released in 1952. Dated stuff? Not a bit. Unlike the marvelous "An American in Paris," which was done as a contemporary film to its time, "Singin' in the Rain" is a period film, and it's based in fact.

This film (which started out to be a western for Howard Keel) takes a fond and loving look at the birthpains of the sound film (the "talkies). Set in 1927, with authentic equipment from MGM's own history (Debbie Reynolds drives Andy Hardy's old jalopy, the microphones are real), it details the frantic efforts to get on the sound bandwagon - no one was completely sure of the new technology. What makes the plot classic is the basis in fact. Many silent stars had totally unacceptable voices or speech (too nasal, unintelligible foreign accents, too high, too low, etc.) for sound production. The songs used were true to the period.

Then we have the performers. Jean Hagen was nominated for an Academy Award for her role of Lina Lamont. The character (whose voice you don't hear for the first 10+ minutes of the film, although she's on-screen) is a one-of-a-kind. [Side note: the voice dubbing Lina's line is actually Hagen's normal voice, not that of Debbie Reynold's Kathy Selden.] Reynolds does an admirable job - it couldn't have been easy keeping up with her two male co-stars. It's still a joy to see Donald O'Connor's "Make 'em Laugh," and wonderful to see Gene Kelly teamed with a good male partner for "Fit as a Fiddle" and "Moses". Gene Kelly is, and always shall be, the best and this was done at his peak.

Of course, for anyone who has been living in the back of a cave under a rock (or too young to appreciate it), the title number is a delight. It looks like one continuous take, it is so smooth. This was not the first appearance of the song, but it's the one we all remember. The sheer exuberance of Kelly's performance carries us right along with him.

The extras with this set are valued items for anyone like me who is interested in the backstory of the era and this film in particular. And don't fuss for a widescreen version. This is the way it was. And now it always will be.

Thoroughly entertaining musical
I have to say first of all that I am *not* at all a fan of musicals (or comedies for that matter) - I am a drama fan. I have seen a few musicals here and there over the years and tried to like them - such as 1964's "My Fair Lady" and 1961's "West Side Story." I liked both of them *somewhat,* but not too much - because I have always strongly preferred films that are realistic --> in real life, people don't burst into song when they are in one particular circumstance or another. Yet, I couldn't help enjoying myself with a smile on my face as I watched this film that landed so high (#10) on AFI's list of the top 100 American films of all time. Donald O'Connor, in particular, as Cosmo, was so perfectly cast in his role. The film was at times hilarious and at times wonderfully romantic. I definitely would recommend everyone to try this film out. B+. ... Read more

Amazon.com

Made two years afterCitizen Kane, this 1943 version of Charlotte Brontë'sJane Eyre sure looks like star Orson Welles muscled his way behind the camera much of the time. (In fact, costar Joan Fontaine--who plays the title character--has maintained that Welles methodically did just that every day on the set.) Not that the film's official director was a hack: Robert Stevenson, who later had a busy career at Disney making numerous live-action hits for the studio, such asMary Poppins, gets the credit. But there's no mistaking Welles's masterful hand in the film's bold and creative look, and there's no getting away from his enigmatic charisma as Rochester, the widower who takes in Jane as a governess to his daughter. An engrossing, gorgeous film, there's even a small role for Elizabeth Taylor at the beginning as Jane's unlucky, doomed friend at a cruel boarding school.--Tom Keogh ... Read more

Reviews (40)

Dark Romance
Joan Fontaine stars as Charlotte Bronte's title character, a governess who began her life as an unloved orphan, raised at a brutal school, now living on an estate run by the mysterious Orson Welles. Lots of things go bump in the night at Thornfield, one of the many strange things about her new home. Welles dominates the film, with a forceful, blunt performance as Rochester, the man with the terrible past. Fontaine is subdued and quietly strong as Jane. The rest of the cast don't get much of a chance to shine with Welles in the film, although Peggy Ann Garner as the young Jane is quite memorable. The look of the film is often amazing. Dark shadows and fog are used to great effect, and there is an unreal quality to it all that matches the story well. When I read the novel in university, I enjoyed it for all of its gothic touches and mysterious tone. Although the film does not follow the novel's storyline exactly, it does maintain that Gothic feel. This film is yet another example why black and white filmmaking can be so effective.

Love is a mystery
Charlotte Bronte's story of an unwanted orphan child growing up in a cold strict school for orphans in 17th century England is beautifully told in the 1943 motion picture Jane Eyre, directed by Robert Stevenson and released by twentieth century fox this grossly under rated movie starting Orson Wells as the dark mysterious Edward Rochester, Joan Fontaine as the plain adult Jane Eyre who becomes a governess for Mr. Rochester's charge Adele. This movie is for anyone who fells like true love is a lost cause, which has had a bad childhood and thinks no one could ever love him or her.
Peggy Ann Garner plays the young Jane Eyre, who was not wanted by her late uncle's wife and children after the lost of her parents. She had never had a friend or family. While she was at the school she met Helen who was played by no other then twelve year old Elizabeth Taylor.
This movie makes you feel for Jane on a personal level. Mr. Rochester and Jane falls in love, but they both had troubled past. Jane had issues with her Aunt. Mr. Rochester has is own in demons in the attic. Jane being heart broken left the old Mysterious English Manor to face her past. When she received word that a tragedy has stricken the Rochester manor.

Good 1940's movie but laughable adaptation of the book
Of all the cinematic Rochesters I've seen, Orson Welles most closely resembles him. But that's where the similarity between the book and this movie end: Welles' performance is a string of screaming fits, nothing like the multi-faceted character of the book.

Joan Fontaine is completely wrong for the part; she's absolutely gorgeous. She makes up for this fact by keeping her head down and shoulder's hunched forward, so we all know that she's plain and humble. Sorry Joan! It doesn't work! You still look gorgeous and completely wrong for the part. Furthermore, Jane wasn't beaten down psychologically, as she is portrayed in this film; considering all of her negative circumstances, she should have been, but she was always able to maintain her steely self-respect. Joan Fontain looks absolutely crushed throughout the entire movie.

The relationship between the two main characters consists, then, of Orson screaming at Joan and Joan hunching down -- not exactly romantic chemistry and nothing like the book which depicts one of the most romantic stories of literature.

I can understand the problem screenwriters have shortening a story for a screen adaptation, but this one really takes the cake: Jane is about to go back to Lowood School, of all places, when she hears Rochester calling her back to Thornfield; instead of almost making a choice to marry St. John Rivers, she almost decides to work for Mr. Brocklehurst again. Huh?

All that being said, a 40's movie is a 40's movie. If you like movies from that time period (and if you can forget about the book for a few hours), there are some very interesting and enjoyable aspects to this; it's a quality film. But if you love the book, I would recommend re-reading it instead of watching this.

Hauntingly Beautiful!
This video was the first black and white movie I had ever seen (with the exception of Lon Chaney's "The Phantom of the Opera," and Mexican Cinema star Cantinflas from the 40's). After watching this movie I became a weird teenager who was all into black and white movies.

This movie is missing some important stuff from Bronte's novel, but it is still a spectacular film with a plain but pretty Joan Fontaine and an intimidating tall dark and handsome Orson Welles. The whole plot makes the story perfect for the effects of black and white film. I've seen newer color versions and I must say that none of them come even close to this one.

I have no idea why in the world this movie isn't out on DVD over here. I've even written to the people that make the Criterion Collection and have suggested to put this movie in with all their other good stuff. Still, I keep watching the video every two weeks. I can't get bored of this one.

WOW!
I loved this movie! The beginnig DEPREESED ME THOUGH! This is movie is 10/10! It was great,suspensful and romantic! ... Read more

Amazon.com essential video

This silky smooth film noir pits gruff police detective Dana Andrews, stiff and blunt in his street-bred manners, against a cultured columnist and acidic wit (Clifton Webb at his prissiest) in a battle of wits during a murder investigation. The cop is a romantic hiding under a hard-boiled exterior who falls in love with the beautiful victim through the portrait that hangs in her apartment, when one lonely night he turns from the picture to see Laura walk through the door. It's not a ghost: both the cops and the killer mistook the mutilated corpse for the lady of the house. Gene Tierney, whose heart-shaped face mixes the exotic with the girl next door, brings the poise and calm of a model to her role as Laura, the object of every man's gaze and the target of a killer that missed once but is bound to try again. Laura, handsomely shot in dreamy black and white, is the first and best of Otto Preminger's cool, controlled murder mysteries. In the gritty world of film noir it remains the most refined and elegant example of the genre, but under the tasteful decor and high-society fashions lies a world seething in jealousy, passion, blackmail, and murder. Vincent Price costars as a blithe gigolo and David Raksin's lush theme has become a wistful romantic standard. --Sean Axmaker ... Read more

Reviews (59)

COOL, ELEGANT FILM NOIR....
Although toned down from Vera Caspary's novel, "Laura" is a classic example of sexual obssession in 40's film noir. Otto Preminger (with help from Rouben Mamoulian) created a masterpiece of a mystery film loaded with decadence and sexual tension. Tough streetwise police detective Mark McPherson (Dana Andrews) investigates the violent society murder of beautiful, enigmatic ad exec Laura Hunt (Gene Tierney) and enters the cold, calculating world of high society where everyone has dark secrets. He encounters a list of suspects including ascerbic Waldo Lydecker (superb Clifton Webb) as Laura's "benefactor" and companion who introduced her to the high end of advertising and her gigolo fiance' Shelby (Vincent Price) who is more or less kept by Laura's aunt (Judith Anderson). It is Lydecker who matches wits with Mark every step of the way. Mark has become obssessed with Laura's portrait, her perfume and letters and has obviously fallen in love with the "dead" Laura. The sexual obssession theme lies underneath the complicated relationships including Mark's fascination with Laura's relationships and her personal things and in the flashback sequences, it is clear that Lydecker fancied himself more than just Laura's "companion". He sought to possess her. But it gets stickier as it goes along when Laura turns up very much alive. There is so much to savor in this film along with the performances (especially Webb's) like the beautiful b&w photography that gives the film a dream like quality and the lovely "Laura" them by David Raskin that haunts the film and emphasizes the romantic longing Mark has for Laura and Laura's mysterious, paradoxical personality. Any way you slice it, "Laura" is a classic film heads up above the rest and needs to be available on DVD. It is not to be missed.

A MUST SEE
I saw this movie at least ten times. First time was in my early teens, when it was shown on local TV. I never heard of Gene Tierney before, but after seeing this film, I knew I would never forget her. She was the most beautiful actress I ever saw and her mannerisms reveal a classy keen intelligence. Everything about this movie will haunt you--Tierney's beauty, the musical score by David Raksin, the portrait, and the ending.

The film is about a woman who seemed to have everything--a successful career, beauty, brains, wealth--who is discovered murdered in her apartment. A detective, Mark McPherson, played by Dana Andrews investigates the case and starts questioning possible suspects. One is the Svengali-like Waldo Lydecker (Clifton Webb), a syndicated columnist and radio personality. Another is Shelby Carpenter, a smooth Southern gigolo played by Vincent Price (yes Vincent Price!). And there's Laura's middle-aged socialite aunt, Ann Treadwell, who was using Carpenter as her boy-toy until Carpenter meets Laura. Other possible suspect is Laura's maid, a feisty loyal Irishwoman.

The film shows narrated flashbacks by Lydecker. He idolizes her and intercepts Laura's suitors, all of whom he considers beneath her. He couldn't intercept Carpenter who attracts Laura, and who Laura was supposed to marry the week she was found murdered. The first twist of the film is when McPherson falls in love with Laura, who's presumed dead. From reading her diary and letters and continuously seeing her portrait, he discovers she's the woman of his dreams, an unattainable goddess whose physical presence he can only imagine. So when twist number two happens, the murder investigation understandably becomes secondary to this gumshoe detective.

This is the best film directed by Otto Preminger. I believe it's the first American film he directed, and his following films pale by comparison. Ironically, this is a film full of second choices. The lead was written with Jennifer Jones in mind, but she turned it down. It was then offered to Heddy Lamarr who also turned it down. Tierney claimed in her autobiography that she didn't want the role either and thought the film was going to bomb, due to the fact that many aspects of it were not prepared (the final script, the music) and that Dana Andrews (also a second choice) prior to this film never had a role as a leading man. The portrait that was originally intended for the film was painted by the wife of director Rouben Mamoulian, who was initially hired for the film but was fired by Preminger who was producing it. Paintings don't transcribe well to film so a touched-up photograph of Tierney was used as the portrait. Preminger took the directing himself. He wanted to use the song "Sophisticated Lady" by Duke Ellington as the musical score, but David Raksin made a deal with him, in which he would write a score Preminger would approve of in one weekend. Raksin claimed he kept looking at a photo of Tierney during the composition of the score and that she was his inspiration. Thus second choices made this movie a classic.

The dialogue is witty and biting, particularly that of Lydecker. The film was nominated for Best Adapted Screenplay, Best Supporting Actor (Webb), Best Black and White Cinematography and Best Musical Score. It only won for Best Cinematography, and I'd like to learn what films aced it in the other categories. Although awards are not considered important by many film connoisserus, the winners are the ones recognized by the next generation. Thus "Laura" remains one of the most underrated films of all time.

Revised Release Date
Fox now says Laura will be out November 04. We can just hope this is not just another tease after first announcing Sept 03. Are lawyers involved in this delay?

Release date
The review from Utica is correct: Laura was supposed to be out 9/03. It's been on my wish list for almost a year. Maybe Fox should get Eisner to oversee releases (he must be looking for something to do).

Wasn't this supposed to be out on DVD last November?
I ordered this DVD early LAST YEAR, and it is yet to be released. There are so many mediocre if not downright awful films that are always being released onto video and DVD, yet this film, which is truly one of the best classics of all time, is still not available. What is Fox doing? ... Read more

Reviews (13)

One Of My Favorite Movies
This movie is where I first saw Greg Peck, who is always a treat to watch. It is an adaptation of A.J. Cronin's book of the same name. I've read all of Cronin's books and they are a delight, so that is an additional reason for appreciating this film. It is a story about a priest who is a missionary to China and most of the action takes place in (a movie back lot that is supposed to be) China. Excellent characters; both good and bad people. The only flaw might be that the priest played by Peck seems almost too good to be true. But then again, I've known such men. If you like swordplay, guns, and things blowing up, this isn't your film (though it has some of those things). But if you like a good story, lovingly told, you'll like this film.

The Keys of the Kingdom
This is an excellent old movie showing how a Catholic Priest (Gregory Peck) overcomes adversity while trying to establish a Christian mission deep in China. When first arriving, he refuses to use rice to "buy" converts as the previous mission director had, and as a result has no "converts"----only one true believer who comes to offer to be his helper. They pray constantly for God to show a way, and eventually God does answer that prayer and reveals to Peck another way to win converts and save souls----a way of truth and integrity and compassion. This is NOT some dry, stale, boring story----the movie is filled with gun battles, war, the burning of the village, and a lost love, as China is caught up in the policital upheavel of the early 20th century. The best part is the end....one last battle back in the States....and the fruit of all his years in China is revealed.

"how the days tumbled into my lap"
Based on the best-selling novel by A.J. Cronin, who also had a part in writing the script, this is a quiet, inspiring film that follows the long life of Father Francis Chisholm, who was not talented or clever in the traditional sense, but who lead a courageous and adventurous life and touched so many people with his great love, generosity and faith.
It starts with him as a child in Scotland, and when he becomes a priest, he is sent to China as a missionary, where he endures a multitude of challenges and successes.
It is told in the form of a narrative, as Cedric Hardwicke, playing Monsignor Sleeth, reads through Father Chisholm's journal.

This was Gregory Peck's second starring role (the first being "Days of Glory", which was not well received) and it earned him a Best Actor Oscar nomination; he is wonderful in the part, and other great performances come from Thomas Mitchell as Dr. Willie Tullock, Rose Stradner as Sister Maria-Veronica, Benson Fong as Joseph, and Roddy McDowall as the young Francis.
Sensitive direction by John Stahl and music by Alfred Newman complete this film, which is satisfying viewing, and a must for Peck fans.
being 60 years old, the quality of the film shows a little age, but does not take away from the beauty of it. Total running time is 137 minutes.

What really counts!
Since Vatican 2 there has been more dialogue between Roman Catholics and Protestant Evangelicals. This movie should be shown before each discussion. It transcends doctrinal battles, not discounting them, but simply realizing that God saves people in both camps. In this religious strife humility and tolerance are best reflective of the New Testament call for agape love among all. Let God judge and punish, but let His people be kind even on doctrinal differences. The truth exchanged between the Presbyterian doctor and the Roman priest is worth the price of the movie. Psalm 130 is quoted by Father Chisholm at the death of his atheist friend Willie Tulloch despite the religious disgust of the Mother Superior. The contrast between Mealey, the proud bishop and Chisholm the humble priest is dramatically, but not unkindly presented. The cause of Christ would be greatly helped if His followers would show a tad more humility and let He Himself punish the heretics.
I strongly recommend the movie as a spur to buy the book by A.J. Cronin which will, I believe, be profitably read once a year.

Inspirational Film and Performance by Gregory Peck
This is a film perfectly scripted and directed for and delivered by Gregory Peck. This simple yet powerful story is so bright in its message of hope and honesty through good deeds of the human spirit. Gregory Peck the man seems so dedicated to his craft as an actor by putting his talents to such a sincere role as demonstrated in this film that one must take the time and give thanks that such a man as Peck ever walked this earth. This film is among Peck's finest as he demonstrates such dignity of this simple yet kind man. ... Read more

Amazon.com

How many ways can you count from 1 to 20? The folks at Sesame Street know them all and run through them several times in this delightful, funny, and educational half-hour video. Big Bird and Count Onetwothree are the hosts of this takeoff on "The Tonight Show," in which Big Bird (as our Johnny Carson stand-in) introduces numbers and the Sesame Street folks act them out. Learning About Numbersis a mixture of original material and skits and songs from Sesame Street. A personal favorite: Kermit the frog as a passenger on an elevator operated by the Count, who keeps passing Kermit's floor because he loves counting the numbers so much. --Marshall Fine ... Read more

Reviews (10)

A Change of Pace
At first, my children showed little interest in this video because they are used to watching the more modern, computerized visual effects now used on Sesame Street. But, after watching it a few times, they are showing much more interest in it. There are many sesame street classics in this video that are enjoyable and my son has learned to count better, but the reason why my children tend to lose interest is because too much time and emphasis is put on Big Bird's role as a talk show host.

One of the best of the Sesame Street videos
This video has a few of the very best clips from Sesame Street ever---like the one where cats go in a dollhouse and knock down the little cups, and the one where a ball goes down an elaborate roller coaster setup, and then is ground up into smaller balls which go on ice cream sundaes! My boys love to watch this. My only problem with it is Big Bird's try at acting like Johnny Carson---it's out of character. He acts nothing like his regular personality in the between clips part of this video, and that's a little annoying, but not terribly so.

Classic Sesame Street!
If you grew up watching Sesame Street, then you will LOVE having this video for your kids. You will recognize many of the songs and skits. No, it is not as flashy and digital as modern Sesame Street, but that's a good thing, in my opinion. If your children watch a lot of TV, their attention span might not allow them to watch this video. If you prefer to use TV/videos sparingly, like we do, your kids will love it as much as you will. I just hope they put this on DVD!

Toddlers LOVE this video
I am a daycare provider. My daycare kids just love this video. I have all the number and letter Sesame Street videos. This is the favorite of all the numbers ones. All the Sesame Street number ones are worth having. But if you could only get one. I would choose this one. I had this one for my daughter when she was a toddler and she loved it then too. As for the letter videos. I would pass on the Learning about Letter video. It was By far the worst of all the videos. No thought was put into making that video.

cute video
My son just turned 3. He recently started watching this video and he really likes it. He already knew how to count to 20 but this made it more interesting. In my opinion, this tape has some cute clips with alot of variation. Different from other counting tapes. The host is Big Bird and the Count. Ernie, Grover, Kermit, The Honkers and other classic Sesame Street people are also included. I have three other counting tapes from Babys First Impressions, Watch N Learn and one other Sesame Street counting tape. This Learning About Numbers is by far my sons favorite. I even enjoy listening to the tunes! ... Read more

Amazon.com

Poor Charlotte Hollis. She's been shunned by the community for decades, ever since the fateful night in 1927 when her lover was hacked apart with an axe. Her antebellum southern mansion is slated for the bulldozer, as it stands in the way of highway construction. Charlotte's only hope lies in her cousin Miriam (Olivia de Havilland), coming down from up north to help settle things. Miriam, however, has other designs. Together with her boyfriend Drew (Joseph Cotten), she embarks on a scheme to systematically drive Charlotte out of her mind (not a great leap) and get her mitts on the family fortune. From there, things only get more complicated. Charlotte puts the "gothic" in southern gothic, as a great showcase for completely bizarre, overwrought, and out-of-control performances from all involved. Agnes Moorehead plays Charlotte's loyal, disheveled housekeeper to the hilt, with an odd inflection that calls to mind Amos and Andy more than southern gentility. As the drunken, conniving Dr. Drew, Cotten's accent is indeterminate at times, and seems to come and go. As great as the supporting players are, though, the crown goes to Bette Davis as the shrieking Charlotte, a portrait of isolation and decay stuck in a world oftragic delusions inside her crumbling mansion. De Havilland is a close second as the scheming Miriam; the scene where she slaps the holy snot out of a hysterical Charlotte is itself worth the price of admission. Mary Astor (in her last role) and Cecil Kellaway (as a kindly Lloyd's of London adjuster) put in the only performances with any restraint, acting as counterweights for the rest of the cast. Besides, you'll never get another chance to see Joseph Cotten playing the harpsichord andsinging, or caked in mud and lily pads! With Robert Aldrich's claustrophobicdirection, Charlotte is as Southern as a field of kudzu, and as subduedas a train wreck. --Jerry Renshaw ... Read more

Reviews (46)

Olivia De Havilland is the best part if this movie.
This is a good, creepy horror movie, although the plot is a big old mess. Bette Davis is quite annoying-- she was so good in "Whatever Happened to Baby Jane?" that she almost seems over-confident here. She just hams it up, and it gets annoying. Olivia De Havilland, on the other hand, is brilliant. There's something incredibly engrossing-- almost amusing-- at how harsh and bitchy she is. What adds to the amusing quality of her character is the datedness of her hair and clothing (she's supposed to seem very chic and fashionable, but by 1965 standards). Anyway, I think Olivia proves to be just as good a villain as any woman in any movie-- she's convincingly vile. And as much as I like Joan Crawford, I don't think she would have done as good a job in the role. I remember seeing the film as a child and being freaked out when Miriam beats up Charlotte in the car. This was a VERY violent and harsh scene back in those days-- especially for a female role.

Davis dominates this southern fried chiller
Bette Davis attacks the role of tarnished southern belle Charlotte Hollis, a woman who's been haunted by demons in her past.Hush... Hush allows Miss Davis to display her formidable talents as both vixen and victim. Charlotte believes she is responsible for the violent death of her lover. When her cousin Miriam comes a-calling Charlotte thinks Miriam's there to help her hang on to her decaying gothic mansion.Charlotte soon begins hearing and seeing ominous things, which doesn't improve her fragile state of mind.The cinematography, score, and performances give this unsettling thriller a real jolt.The scenes with Bette and Olivia de Havilland (Miriam) near the finale are fabulous. Better still is the scene with Bette getting a terrible fright at the top of Charlotte's staircase. Awesome film starring the most compelling and versatile actress ever on film!

Hush Hush Sweet Charlotte
This is a great movie to watch on a windswept stormy night.

I wish the DVD companies would get their act together so I don't have to keep making my own DVD's of these great film classics and creature feature movies.

Would love to see this on DVD in Widescreen!!!

Campy Fun
This movie is too over-the-top not to give it a full four stars (but not five--hey, it's not THAT good!). The movie was to be a "sort-of" sequel to Baby Jane, reuniting arch rivals Joan and Bette. But Joan (though I love her!) went a little too far for Aldrich, who canned her after she had spent weeks in the hospital feigning illness. However, Olivia diHavilland does a good job. Ultimately the movie is fun...yet oddly effective. And you'll be singing the theme song in your head for days!

Some great insanity by Bette, some cheesy gore, and a few genuine thrills make for a piece of schlock that rocks!

Three Stars of Yesteryear In Terrific Gothic Thriller
The 1960's decade saw alot of veteran performers who had their acting heyday in the 1930's and 40's moving into psychological thrillers and horror efforts as a way of continuing in lead roles. Some of these efforts were of very poor quality but once in a while a gem appeared that has stood the test of time. "Hush...Hush Sweet Charlotte", was such an effort and boasted the talents of three seasoned acting legends in the unstoppable Bette Davis, Olivia de Havilland and Joseph Cotton. Bette Davis indeed had one of her better later day roles in this film which followed on from her huge success in 1962's "Whatever Happened to Baby Jane". Contrary to popular belief however this film was not a sequel to that earlier success as it had an entirely different locale, story and set of characters. The film did not get off to a promising start production wise in that it was originally planned as a reteaming of Bette with rival Joan Crawford. The two had scored a total triumph with "Baby Jane", however due to a number of circumstances Crawford withdrew and after offering the role of Cousin Miriam to Vivien Leigh among others, director Robert Aldrich passed the role to a most reluctant de Havilland who didn't relish the chance to play the villianess of the piece.

"Hush ...Hush Sweet Charlotte", takes place in the decaying Old South of the 1960's. Bette Davis plays reclusive Charlotte Hollis who lives on her own in her run down Southern mansion that many years before saw a ghastly murder take place that robbed her of her one chance at personal happiness with young married John Mayhew (Bruce Dern). His brutal murder by a meatcleaver is shown in a flash back sequence after which the story moves to the present where the unsettled Charlotte finds her formally grand Louisiana home under threat by the bulldozers. Failing to scare off the workmen with a shotgun Charlotte writes to her cousin, the worldly Miriam Deering to ask for help in saving her property. Childhood rivals for the attentions of Charlotte's father Big Sam Hollis (Victor Buono) at first Miriam seems sweet and kind and totally concerned for Charlotte's welfare however all is not what it seems especially when Miriam teams up with old beau Dr. Drew Bayliss (Joseph Cotton) to see what is in the estate for them. Before long Charlotte is literally being driven out of her mind as she experiences what she thinks are nightmarish visions of her dead lover reappearing minus his hand and head , heads rolling down the staircase, eeerie voices calling out to her in the night and finally a belief that she has actually shot Drew by mistake. As her mental state starts to crumble and she is the victim of some mind numbing drugs courtesy of Drew, the old housekeeper Velma (Agnes Moorehead in an Oscar nominated performance), begins to work out what the pair are up to. That knowledge however eventually costs her her life . While at the mercy of the scheming Drew and Miriam, Charlotte however is not defenceless and when she finally discovers the truth of what has been going on she enacts her own revenge that frees her of the pair forever. Only after the intervention of visiting writer Harry Willis (Cecil Kellaway)who had an enduring interest in Charlotte's case, does she finally learn (only as she leaves her home for the last time), the real truth behind who murdered her childhood beau all those years ago.

The story of "Hush...Hush Sweet Charlotte", while fairly obvious does make riverting viewing and the large cast of veteran performers really show their expertise and years of experience in their parts. Bette Davis for once gets to play the potential victim of the piece and it is Olivia de Havilland, so often associated with kindly, sympathetic characters that really has a field day as the evil Miriam intent upon getting Charlotte's money for herself. These two women had worked together many times during their heyday at Warner Brothers but rarely has their screen work had the electricity that it does here. The scene where they supposedly dump Drew's body is sensational as Miriam for the first time really shows her evil menace and it is some of the best work that Olivia de Havilland did on screen. The supporting cast is top rate as well and full of wonderful character actors such as the already mentioned Agnes Morrehead who steals every scene she is in as the uncouth but devoted housekeeper. Cecil Kellaway, Victor Buono who had also been in Aldrich's previous "Baby Jane" effort and Ellen Corby all bring their special expertise to the large and small supporting roles and veteran Mary Astor makes a rare 1960's appearance in the important role of elderly Jewel Mayhew, John's jealous wife. Blessed with a much bigger budget than on his earlier "Baby Jane", project Aldrich was able to make good use of beautiful locations at a great old Southern Mansion in Baton Rouge. This really aids the spooky elements of this horror story and the stark black and white photography is a great asset in particular during Charlotte's ghostly nightmare sequences.

For a trip down memory lane when veterans like Bette Davis and Olivia de Havilland still appeared in major productions with roles tailored to them, "Hush ...Hush Sweet Charlotte", is unsurpassed entertainment. Certainly the special effects may seem tame by today's standards but the joy here is to see two actress's giving these roles their all. Davis and de Havilland make a great screen team and compared to the other "monsters" she often played in the 1960's it's a joy to see Bette Davis playing a victim role for a change. Gothic melodrama of the first order perhaps but hugely entertaining and sure to create a few chills along the way. Highly recommended for all old style mystery lovers. ... Read more

Reviews (3)

Wrapping candy, fake nose on fire, having a baby and more!
This second volume in the "Best of 'I Love Lucy'" collection begins with two of the show's classic comedy moments. "Job Switching" (Episode #36, September 15, 1952), is the classic episode of "I Love Lucy" that I always show to my television classes so they know what a classic sit com looks like. Ricky is tired of the way Lucy spends money without regard for where it comes from, so the boys and girls switch places: Lucy and Ethel will get jobs and Ricky and Fred will do the household chores. One of the greatest moments in television history comes when Lucy and Ethel have to work a conveyor belt in a candy factory. Elvia Allman is the supervisor ("Let 'er roll!") and Amanda Milligan, an actual candy dipper at the Farmer's Market in Hollywood is, uh, the candy dipper. Meanwhile, Ricky is ironing stockings and making rice while Fred bakes a cake. "L.A. at Last" (Episode #114, February 7, 1955) finds Lucy and the Mertzes heading for the famous Brown Derby restaurant while Ricky heads to the movie studio to begin working on "Don Juan." Here is where Lucy has her legendary encounter with William Holden in the booth behind her. Tired of being gawked at while trying to eat, Holden decides to stare at Lucy instead, making her so nervous she end up setting her false nose on fire. To set the record straight: Lucy getting her nose on fire WAS in the script, but her decision to dunk her nose into the coffee was an AD-LIB (she was supposed to take the nose off before dunking it).

But Lucy could make you cry as well as laugh. "Lucy is Enciente" (Episode #45, December 8, 1952) finds Lucy feeling run down and visiting the doctor, who tells her that she is going to have a baby. Having dreamed of this moment for over a decade of marriage, Lucy wants the moment to be absolutely perfect when she tells Ricky so Ricky is passed a note that there is a woman in the audience who wants to tell her husband that they are expecting and wants Ricky to sing "Rock A Bye Baby." Ironically, when Lucy and Desi were filming the climax, they got caught up in their own emotions when th and both started crying. The scene was considered ruined until it was screened and they discovered it was impossible not to cry watching the happy couple. This final scene is one of the most beautiful moments in television history. Just thinking about it gets you choked up.

"The Ballet" (Episode #19, February 18, 1952) is one of the better episodes where Lucy tries to get into show business. Ricky has an opening for a ballet singer and a burlesque comic in his show. So, of course, Lucy tries out for both parts. Finally, there is my favorite Ethel episode, "Ethel's Hometown" (Episode #112, January 31, 1955). On their way to Hollywood the Ricardos and Mertzes stop in Ethel's hometown of Albuquerque, where they discover that everyone things that the former Ethel Mae Potter is the big celebrity. As Ethel performs her famous number "Short'nin' Bread," the other three upstage her behind her back. For some reason, living outside Albuquerque when I first saw this one just added to the enjoyment. Go figure. Get both of the volumes in the "Best of 'I Love Lucy'" collection and you will have what most everybody agrees are the four funniest moments in Lucy history PLUS the biggest tear jerker!

All "I Love Lucy" episodes celebrate 50th Anniversary.
In this decade, every episode of "I Love Lucy" will be celebrating its 50th Anniversary. Every episode is still funny as funny as it was when they first aired. The shows are good. The shows are wholesome. They are healing and warm and will make you feel good. Buy them on VHS or DVD today.

Ethel May Potter- We Never Forgot 'Er!
This is a great video that showcases the genius of Lucille Ball in her first television series, "I Love Lucy (CBS, 1951-1957)!

The first episode "Job Switching" is a classic. The men and women change places, with Ricky & Fred being the homemakers, and Lucy & Ethel getting a job. This episode is famous for the scene in which Lucy stuffs her face with chocolates.

Another episode on this volume, "LA at Last" is also a classic. In this episode, Lucy meets William Holden at a famous restaurant in less-then-favorable conditions. Ricky later brings him home, and hilarity ensures. Lucy even sets her (plastic) nose on fire!

"The Ballet" and "Lucy is Enceintre" also two great episodes.

Last, but certainaly not least, is "Ethel's Hometown". The gang, on their way to LA, stops at Ethel's hometown (Also Vivivan Vances) of Alberque (I know I mispelled that :D). Her father and the town are in an uproar of happiness over seeing her, since they believe she is going to be in a movie, when in reality it's Ricky. The gang takes great measures to humiliate Ethel, and hilarity ensues! So remember, "Ethel May Potter-We Never Forgot 'Er!") ... Read more

Amazon.com essential video

It always comes up when people are comparing their most traumatic movie experiences: "the death of Bambi's mother," a recollection that can bring a shudder to even the most jaded filmgoer. That primal separation (which is no less stunning for happening off-screen) is the centerpiece of Bambi, Walt Disney's 1942 animated classic, but it is by no means the only bold stroke in the film. In its swift but somehow leisurely 69 minutes, Bambi covers a year in the life of a young deer. But in a bigger way, it measures the life cycle itself, from birth to adulthood, from childhood's freedom to grown-up responsibility. All of this is rendered in cheeky, fleet-footed style--the movie doesn't lecture, or make you feel you're being fed something that's good for you. The animation is miraculous, a lush forest in which nature is a constantly unfolding miracle (even in a spectacular fire, or those dark moments when "man was in the forest"). There are probably easier animals to draw than a young deer, and the Disney animators set themselves a challenge with Bambi's wobbly glide across an ice-covered lake, his spindly legs akimbo; but the sequence is effortless and charming. If Bambi himself is just a bit dull--such is the fate of an Everydeer--his rabbit sidekick Thumper and a skunk named Flower more than make up for it. Many of the early Disney features have their share of lyrical moments and universal truths, but Bambi is so simple, so pure, it's almost transparent. You might borrow a phrase from Thumper and say it's downright twitterpated. --Robert Horton ... Read more

Reviews (49)

Disney's Personal Favorite - "Lion King"-like Masterpiece!
This Animated Feature, from Walt Disney Studios' "classic" period, showcases Disney's favorite themes: Natures majestic beauty and the miracle of life itself.

From the birth of "the young Prince", to his rightful place at the throne of the forest, Bambi is a delight to watch. My favorite scenes are the time when the new generation of "young ones", one by one, get "twitterpated" (as the wise owl explains it).

The dazzeling animation includes many moving moments, highlighted by the scene wehre Bambi's mother is killed. Searching for the mother, young Bambi is told "your mother can't be with you anymore". It is not until this moment that the father acknowledges his place in Bambi's life.

I first experienced this piece of movie magic as a child during the annual "Disney Feature" at the renouned MGM Theatre in Frankfurt, Germany. Of the films I was privileged to enjoy on their giant screen, this is the one I will always remember most fondly. From the reminders of Stomper's father (related by the mother) to the warnings of danger in the great meadow, and certainly the revitalized forest after a devestating fire, as well as the first signs of spring after a cold and snowy winter, "Bambi" was and always will be a memorable experience.

Until the long-awaited DVD version becomes available, the double lazer disc is the most sophisticated media for this wonderful film. The final side includes many "extras". The DVD format will certainly be filled with "gimmicks" as well. This film receives my highest recommendation for viewing by "children" of all ages!*****

Walt Disney's greatest
"Bambi" is said to have been Walt Disney's favorite picture, and it's no wonder of that. This movie has my favorite songs from any Disney picture I've seen, including "Love Is a Song" and "Little April Shower." My favorite character is, of course, Thumper. He steals the whole show and he has a lot of great lines, which are usually hard to find in animated films nowadays. I hope that the Disney company will re-release this classic in theaters or on video, but one thing I hope they don't do is sell a whole lot of merchandising on it. Almost every Disney movie these days does that. Anyway, one more thing I want to say about this movie. The scene where Bambi's mother dies has left an emotional and lasting impact on generations of children who saw it. Although I'm only 16 years old, I saw this movie about a month ago and I felt the same way during that scene. That is what made Bambi so different from Disney's other efforts and what made it so important.

A simple little film -- NOT!
On one level, "Bambi" is just a little, animated film, just under 70 minutes, that tells the story of an orphaned deer growing up. Right? And an acorn is just a nut.

"Bambi" was made in 1942, but is still impressive in its animation, even in comparison to the computer-generated graphics of today. The colors are so lush, that you want to freeze some of the frames and hang them up on your wall. The beauty of Nature is captured here as well as in any film, animated or not.

"Bambi" is the story of one deer, but it is also a case study in the very basics of life: parental love, loss and grief, friendship, loyalty, balancing risk and need, growing toward independence, being at one and in harmony with Nature, and romantic love. It is a small film that covers more ground than many epic, megabuck productions.

"Bambi" did something else significant: for many, it altered people's view of deer and their relationship to Man. I recently read a study that looked at this issue, and one finding is that two things decreased markedly after the release of "Bambi" involvement in deer-hunting, and the value people in general place on deer-hunting.

Sometimes, in simplicity, there is perfection.

Simply Charming, and Very Touching
As any true Disney Classic will, Bambi touches and warms your heart. This is one of those movies that stays with you for the rest of your life, after just one viewing, because of its impact.
Bambi was the first animated film to ever touch on the subject of ecology, and man's effect on nature. However, while it explores such a heavy subject it still maintains a simple beauty and charm. It has all of the elements of an animated masterpiece: beautiful animation, an interesting story line, loveable characters, and great voice acting. However, it also brings the added joy of remembering all of the wonder that the world has to offer. There are very powerful scenes, including Bambi's well known trama at losing his mother, and its sure to make you stop and think.

Very cute, raises an important issue as well...
This movie really made me think. That sounds silly when it's just a cute and heart warming little cartoon but I cried when Bambi's Mummy was shot. What about all of the deer that go down each and every day in the real world? ... Read more

Amazon.com essential video

Francis Ford Coppola took some of the deep background from the life of Mafia chief Vito Corleone--the patriarch of Mario Puzo's bestselling novel The Godfather--and built around it a stunning sequel to his Oscar-winning, 1972 hit film. Robert De Niro plays Vito as a young Sicilian immigrant in turn-of-the-century New York City's Little Italy. Coppola weaves in and out of the story of Vito's transformation into a powerful crime figure, contrasting that evolution against efforts by son Michael Corleone to spread the family's business into pre-Castro Cuba. As memorable as the first film is, The Godfather II is an amazingly intricate, symmetrical tragedy that touches upon several chapters of 20th-century history and makes a strong case that our destinies are written long before we're born. This was De Niro's first introduction to a lot of filmgoers, and he makes an enormous impression. But even with him and a number of truly brilliant actors (including maestro Lee Strasberg), this is ultimately Pacino's film and a masterful performance. --Tom Keogh ... Read more

Reviews (82)

I know it was you Fredo
Director Francis Ford Coppola does the impossible with this film. He creates an original piece better than its wonderful predecessor! After the phenomenal success of the GODFATHER, Coppola didn't have the studio watching every move he made like a hawk, and the results are a better, more diverse film. He lifted a concept he was saving for another movie, one where a father's story and his son's story are intermingled, comparing them both at the same age. Robert DeNiro won an Oscar for his mostly silent portrayal of the soft-spoken Italian, Vito Corleone, played by Marlon Brando in the first film. This was the first time in history that two people were both given an Oscar for portraying the same character. Running parallel with Vito's story is the continuing saga of Michael Corleone, Al Pacino returning to play the crime boss. His Michael has grown into a man bent on his own fate, battling hubris like a Shakespeare character. The production design and music are once again wonderful, Vito's past is a gorgeous pastiche of immigrants at the turn of the previous century, while Michael now rules an empire that extended into the sleazy world of gambling. Coppola uses some of the same tricks as the first film (If it ain't broke...). The result is a three-hour plus tragedy that is sure to make a hit with you. The first 2 films together make for interesting viewing. On occasion, they have even been needlessly presented chronologically. Followed by an unfortunate third film.

The apex of American film making
To call The Godfather 2 a sequal would be a travesty and an unfair conclusion on what a stunning achievement the film was. Not only is it the greatest sequal of all time (the only one to receive the best film oscar, at the expense of the brilliant Chinatown) but perhaps the greatest movie of all time.

It's an even more towering achievement than it's predecessor with Coppola now telling in parallel the rise of Vito Corleone from a seemingly harmless kid fleeing Sicily at the turn of the century to a fully fledged Mafia Don(now De Niro)in his twenties, contrasted with his son Michael carrying on the Sicilian legacy in 1950s New York.

The intricacy of the flashback sequences is suitably stunning as is the flawless design of both time periods, especially that of 1910s New York. The costume design and focus on detail are simply immaculate with De Niro delivering an electrifying portrayal of the young Vito(speaking Italian for much of his part) as he becomes a player with a gun wrapped under a towel and hoarsely imitates Brando at one stage "I'm gonna make him an offer he can't refuse."

Both won Oscars for their portrayal of Vito but i believe it is De Niro who excels more, not relying on the heavy makeup Brando was employed with for the first film but again proving his versatility of being a method actor and a natural gift of playing gangsters. However, it is often argued that Panino tops De Niro's peformance. He delivers a masterfully cold and distant performance as Michael, carrying on the family business after his father's death (much to his brother Fredo's disapproval).

He moves scrupulously and speaks with rivetting conviction as he attempts to protect his family from the corruption and threat of the era. While being corrupt himself, Michael is also a caring family figure, doing all he can to end this power struggle for the sake of protecting his children. At one stage his wife Kay Adams(Diane Keaton) threatens to take his children away from him but Pacino makes his feelings clear "You know that could never be possible. You know i would do anything in my power to stop that from happening."

The supporting cast are also great, with maestro Lee Strasberg, Robert Duvall also picking up Oscar nominations. At 3 hours and 20 minutes the movie doesn't seem overlong at all. It's an emotional powerful study in family loyalty, betrayal, corruption and greed and the apex of American filmaking. Movies don't come more accomplished or perfect than The Godfather 2. An oustanding piece of showmanship and one of the most important forms of art in any medium.

Even better than the first!
I watched this version first and I've always liked this movie more than the first because it ties up loose ends and it gives you a better understanding of who the family is, where they came from, the origin of the Corleone name (The family name is Andolini, the town he comes from is Corleone.), etc. I wished Richard Castellano was in this one (He wouldn't because of a contract dispute.). His replacements were classic. Michael V. Gazzo & Lee Strasberg give outstanding performances in their roles. This is an epic tale never to be forgotten.

A VERY AMAZING SEQUEL TO A VERY AMAZING MOVIE
THE STORY CONTINUES AS MICHAEL CORLEONE [AL PACINO] CONTINUES HIS DECEASED FATHER'S BUSINESS. THIS SEQUEL SUCCEEDS IN BEING WHAT MANY OTHER SEQUELS COULD NEVER BE, A GOOD MOVIE, MATTER OF FACT, AN OUTSTANDING MOVIE. ALONG WITH ITS PREDECESSOR, THIS IS ONE OF THE GREATEST MOVIES OF ALL TIME. THIS SEQUEL IS VERY AMAZING, AND I RECCOMEND ALL GANGSTER MOVIE BUFFS GET THIS AND ITS PREDECESSOR ON TAPE OR DVD AS SOON AS POSSIBLE. LIKE THE 1ST MOVIE, THIS WON SEVERAL OSCARS, INCLUDING BEST PICTURE.

great character study, great acting
I love this movie even more than Part I, because I love the way you can see Michael's character disintegrating over the course of the story. You watch him strip away all human connections in order to protect the "family." He finally asks his mother "Can you lose your family?" She doesn't understand the question, but of course Michael has lost his family, as well as his own soul. The paradox in this--killing your family in order to protect the "family"--is wonderful.
As in Part I, Diane Keaton is kind of a weak link--just not a credible Mafia wife. De Niro gives one of the greatest performances ever--channeling Brando. I also love the young versions of Don Corleone's sidekicks when they first go into business doing things like stealing rugs. And Robert Duvall has had to work very hard ever since to equal this performance.
The only disappointment is that we don't get to see Sonny (James Caan), since he was killed in Part I. His role was so wonderful that it's a pity Coppola couldn't work him into the flashbacks of Part II, except in the brief final scene. ... Read more

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James Stewart reunites with his Harvey director, Henry Koster, in this 1962 comedy, which is charming enough even though it doesn't seem quite up to the level of talent involved. (The screenwriter is the legendary Nunnally Johnson--writer and director of The Three Faces of Eve, among many other titles--and the music is by Henry Mancini.) But it is pleasant, summery entertainment with Stewart and his screen wife, Maureen O'Hara, taking their urban family to a crumbling, seaside house for a vacation. The film was calculated to pull in older fans with Stewart as well as draw in a younger crowd that would enjoy the fairly extensive beach scenes with pop-star Fabian. Stewart is deft with the easy jokes about bad plumbing and such, and golden in several nice moments where he gets to play an attentive dad to his kids. --Tom Keogh ... Read more

Reviews (11)

Very funny movie.
This is an enjoyable movie, with some very funny scenes and lines. One of my favorite lines takes place in the scene when Jimmy Stewart's shy daughter is at a dance, being the wallflower, and none of the boys ask her to dance. He asks Fabian to ask his daughter to dance (for a $5.00 fee). While they are dancing, Maureen O'Hara (his wife in the movie) asks "How did you find that boy?" and Jimmy Stewart answers "I yelled out 'Joe' to a group of boys. There is always at least one Joe in a group!"

Very Funny!
Mr. Hobbs Takes a Vacation and Harvey are two of the funniest Jimmy Stewart movies. Vacation is especially fun because of the relationship between Maureen O'Hara and Jimmy. You will not be disappointed with this movie.

cute movie!!!
My wife loves the scene in this movie when Lauri Peters and Fabian sing "cream puff,shortcake" at the pizza place.Lauri is so cute trying to hide her braces.

Wonderful Jimmy Stewart at his comedic best!
I am still amazed at the number of people who haven't seen this movie! Mr. Stewart even narrates, here and there, throughout the story, this wonderful tale of his summer vacation with his family at a rented beach house, along with the family maid. There is a running gag throughout the picture about the plumbing and the maid misunderstands the English language, and Mr. and Mrs. Hobbs try very hard to understand their adorable teen-age daughter (Lauri Peters) who falls in love with an adorable boy (played by none other than Fabian!), who shows up at the local dance and then there's a son who prefers to watch westerns on TV all day and night. There's a sexpot neighbor that lives in a nearby beach house who attempts to read War and Peace, and later the Hobb's daughters show up with the misbehaving grandchildren and want nothing to do with "Boompa", otherwise known as Mr.Hobbs! Don't miss the scene when Jimmy Stewart bird-watches with his son-in-in-law's boss and learns "the proper walk". The chemistry between Maureen O'Hara and James Stewart is so wonderful, it's no wonder they were so successful in several films together! She is so convincing as the jealous wife, especially when Jimmy innocently tries to help his son-in-law's boss's wife (Marie Wilson) while she is in the shower and runs into trouble........don't miss it, you'll laugh all the way through this marvelous movie. Let's hope Twentieth Century Fox soon gives us a widescreen DVD version with extras, like an interview with Maureen O'Hara & Lauri Peters!

Very cute family movie
You can enjoy this with the kids and everyone. Good clean funny entertainment, that will make you laugh and remember a more innocent time. ... Read more

Amazon.com

Part mystery, part wartime polemic, Lifeboat finds director Alfred Hitchcock tackling a cinematic challenge that foreshadows the self-imposed handicaps of Rope and Rear Window. As with those subsequent features, Hitchcock confines his action and characters to a single set, in this instance the lone surviving lifeboat from an Allied freighter sunk by a German U-boat in the North Atlantic. A less confident, ingenious filmmaker might have opened up John Steinbeck's dialogue-driven character study beyond the battered boat and its cargo of survivors, but Hitchcock instead revels in his predicament to exploit the enforced intimacy between his characters.

Indeed, we never actually see the doomed freighter--the smoking ship's funnel beneath the credits simply sinks beneath the waves, and we're plunged into the escalating tensions between those who gradually find their way to the boat, a band of eight English and American passengers and crew, plus a German sailor (Walter Slezak) rescued from the U-boat, itself destroyed by the freighter's deck gun. Heading the cast and inevitably commanding their and our attention is the cello-voiced Tallulah Bankhead as Connie Porter, a cynical, sophisticated writer whose priorities seem to be hanging onto her mink and keeping her lipstick fresh. Gradually, the others find Porter and her lifeboat, forming a temporary community that inevitably suggests a careful cross section of archetypes, from wealthy industrialist (Henry Hull) to ship's boiler men (John Hodiak and William Bendix).

Hitchcock juggles the interpersonal skirmishes between the boat's occupants with the mystery of their German prisoner, which itself becomes a meditation on the fine line between nationalism and morality, a line that Slezak walks delicately until his identity is resolved. Visually, Hitchcock transforms his back-lot set and its rear-projected cloudbanks into a desolate stretch of ocean, while capturing the horror of an amputation through an economical set of images culminating in an empty boot. --Sam Sutherland ... Read more

Reviews (22)

A Forgotten Film From The Master Of Suspense
Lifeboat where do i begin? well for starters i guess it would have to be that this is one of my all time favorite Films from Alfred Hitchcock. But to most people they have never heard of Lifeboat. Yeah it was one of his early works but one of his best. Most people when they think of Hitchcock they think of Psycho ans The Birds and Vertigo. But this is better than the birds. It has a human story and ever increasing the tension. In a by gone era of hollywood when movies were grand in spectical not budget.

Lifeboat is about a freighter that is heading to New York. But is sunk by a German U-boat and in the opening scenes there is Tallulah Bankhead in a lifeboat all by herself with all of her belongings. Then one by one they pick up more survivors the tension increasing when they pick up a crewman of the U-boat. Only Hitchcock would make his backlot movie with fake clouds seem so real and make a the ocean look vast and barren. He also manages to elict good performances from Bankhead,Walter Slezak, Canada Lee and others.

I would highly reccomend that you check out this film from the master of suspense. this is not to be missed of put of. It is very suspensful i mean would you come to expect less from Hitchcock.

SEE THIS MOVIE I BEG YOU.

Lesser Known Hitchcock
Lifeboat isn't as famous as some of Hitchcock's other films, but it deserves to be seen today. It's a chance to see Tallulah Bankhead, who if anything, had a very interesting screen presence. She was an original. It's also a chance to see a very human portrayal of an African American character (Canada Lee) at a time when Hollywood rarely did that. There is also a lot of commentary about the Germans and the war, which given the time when this film was made (during the war), makes it all the more fascinating. The performances are good (including a very young Hume Cronyn), and Hitchcock manages to keep the action moving despite having so limited a space in which to do so. If you like Alfred Hitchcock, this is one you should see.

BANKHEAD -- HITCHCOCK
Tallulah Bankhead was one of the 20th century's best actresses, taking over from Ethel Barrymore as the Toast of Broadway and the London stage. She made few films, and this is her best role. (For a very long time the joke was that Bankhead's stage roles were taken over by and became film hits for Bette Davis. Certainly that's true with Hellm