Amazon.com

This strange and charming documentary by Al Pacino, in which he also stars, is an exploration of several topics: Shakespeare and his hump-backed villain, the impulse to act, the way actors work--and Pacino's single-minded effort to make the Bard accessible to all audiences and not just the effete few. Over the course of the film, Pacino alternately discusses the role and the text; roams Manhattan, talking about Shakespeare with everyone from scholars to people on the street; and re-creates scenes from the play in a production staged at the Cloisters, an evocative castle-like museum on the north end of Manhattan. He assembles a cast that includes Kevin Spacey, Winona Ryder, Estelle Parsons, and Alec Baldwin to perform the scenes, and he slips back and forth between text and discussion of the play in a way that makes Shakespeare comprehensible and fascinating to viewers who know or care nothing about his writing. --Marshall Fine ... Read more

Reviews (37)

Lost and Found
I have to admit I was skeptical of watching Al Pacino try his hand at ANY Shakespeare, much less Richard III, which isn't the easiest play to put on in the first place. But by the end I actually quite enjoyed the whole production, even if I wouldn't call it a masterpiece.

I'd recommend this film to anybody who enjoys the Bard, live at Stratford or even if it's some over-the-top movie version--and particularly for high school students who are still a little too dense to totally 'get' Shakespeare. It's informative for the uninitiated, and as a documentary, it works reasonably well, and moves at a brisk enough pace so you're not bored stiff.

Add to that some particularly insightful words from Derek Jacobi, and Sir John Gielgud (amongst others), it's well worth a rental, and doesn't embarrass any of the actors who were smart enough to take part in this.

And as a reminder to the bloke who trashed this in favour of Ian McKellen's excellent turn as Richard III, this wasn't meant to compete, but instead to enlighten the masses. Who to be quite honest, COULD understand Shakespeare if they put their minds to it, but most don't.

They're usually forced to in grade nine at best.

Amazing for an indepth look
I saw this movie in 1996 while in college on a "movie night" with other actors in my field of study. We were simply electrified by Pacino's depth and power that he put into the understanding of this amazing Shakespeare character. I have performed in Richard III, and believe me, i wished that i had this film to look at during that time to help me with some difficult scenes! I found Pacino to be extremely human, bendable, and thought-provoking; it's a definate must for the Shakespeare lover, and will expand your mind if you love Pacino! At least rent it!

Engaging!
I came across this movie on one of the movie channels on dish and, being a teacher of literature, got completely sucked in. I loved how the actors explore the characters of the play and the various plot sequences, then the audience is treated to the final outcome. Though the scenes are acted out at different locations throughout London, rather than on-stage, and one might say that it detracts from the film's credibility, the locations are well thought out and appropriate to the scene.

I can't wait to use this film as a teaching tool.

Mildly entertaining but also pretty deliberately dumbed down
I like Al Pacino in many movies, especially, of course, Godfather 2. I've seen him on the stage & enjoyed his performances in O'Neill & Mamet.

But to me Shakespeare is not his forte. In this film which I find to be mostly an exercise in actorly self-indulgence, he comes off sounding like Mel Brooks both as narrator & especially in character.

I also find the intent rather condescending & for the most part irrelevant. The gap between English & American actors doing Shakespeare has to do with Language & History. I didn't hear much commentary on these issues. Mostly the film sounds like a treatise for making Shakespeare palatable to grade schoolers.

Pacino's best film ... where's the DVD?
Although Richard III is one of Shakespeare's most violent and Gothic plays, Pacino's loving and intelligent exploration of the classic tragedy - and the legendary bard who penned it - emerges as one of Pacino's most compelling and inspiring films. A movie that makes me proud to be an Italian-American studying for his Ph.D. in British literature. ... Read more

Amazon.com

Best known for light, entertaining musicals such as Singin' in the Rain, director Stanley Donen grew more adventurous (and less successful) in the latter stages of his career, but this edgy romantic comedy from 1967 has proven to be one of Donen's best, most enduring films. Jumping back in forth in time, the film chronicles the marital ups and downs of a stylish British couple (Albert Finney and Audrey Hepburn) as they travel on various vacations over the course of their 12-year marriage. The separate vignettes combine to form a collage of joys and pains as the young couple struggles to maintain their fading marital bliss. In this regard, the film is refreshingly sophisticated in its treatment of the difficulties of long-term commitment, and with Hepburn and Finney in the leads, great performances are drawn from the acerbic wit of Frederick Raphael's screenplay. Fashion mavens will also marvel at Hepburn's astonishing wardrobe of late-'60s fashion--she's a showcase for summer couture, looking fantastic in everything from candy-striped bellbottoms to hip sunglasses and outrageously stylish hats. Some of the melodrama clashes with forced comedy (such as tiresome running gags or a cartoonish portrayal of crass American tourists), but that doesn't stop Two for the Road from being timelessly appealing and truthful to the challenge of lasting love. --Jeff Shannon ... Read more

Reviews (56)

A true classic.
TWO FOR THE ROAD had been nearly forgotten except by a few film buffs until Audrey Hepburn's untimely death. People are discovering it and finding it ageless for a number of reasons. The theme of a marriage changing through the years is a well-understood premise. It could be predictable were it not for the wonderful acting by the entire cast, primarily Albert Finney and Ms. Hepburn. Eleanor Bron and William Daniels are a terrific pair of American snobs who join them through a period of their adventure in marriage. The ingenious filmic vehicle(s) that moves the characters through various periods in time is unexpected and beautifully manuevered by the film's tender and loving director, Stanley Donen. Anyone who accuses Donen of being a one trick pony (Singin' in the Rain) should SEE THIS FILM!

Memory Lane Is A Bumpy Road
Some films from the Sixties have dated more than others. I loved this film when it first came out and for years had many pleasant memories of it. Some years ago, my English wife and I travelled across France by road from Calais to the Med and throughout the journey I had images of this film constantly re-playing in my head. So I looked forward to seeing it again after a long time. I don't know whether the times have changed that much, or I have. What once seemed witty, relevant, truthful, charming and modern now strikes me as a somewhat pretentious mess. I seem to remember more comedy than there actually is in the film. The scenes of the crumbling marriage are much too stark a contrast to the lighter tone of other scenes. Moving the storyline back and forth in time is not a problem, but the frequently uncertain tone is. Is it a comedy? A drama? A comedy/drama? A drama/comedy? Who knows? Certainly not Stanley Donen who was so much more assured directing Audrey Hepburn in Charade. Audrey is Audrey, even in the dramatic scenes. Albert Finney bounces between being a latter day Tom Jones and an upmarket Jimmy Porter. The chemistry between the two is marginal. The sequence with Eleanor Bron and William Daniels - two wonderful performers in other circumstances - now seems strained and tedious. The only saving graces are the French countryside and Henry Mancini's music (one of his best scores). Maybe someone seeing the film for the first time will enjoy it more. I remember once hearing that Meg Ryan wanted to do a re-make of Two For The Road. Lets pray to the gods of cinema that it never happens.

Fantastic!!
OK, this movie is just great!! It puts you in such a good mood and brings you to another land. I see there are a few people who made negative comments about the movie.... They are insane!! Two For The Road is a wonderful movie!! I recommend everyone watch it!! My boyfriend who has completely different taste than me even loved it!! Must see!!

If not the best romantic film ever made one of the five top!
Stanley Donen made an unforgettable film and futhermore a model film .
This is a film you'll enjoy always , for many reasons.
The script is supported by a creative edition , a road movie told at different narrative lines , where past present and future are mixed to create a excellent gaze about a simple couple in a road between England and French with thw forrest , the sea as powerful background.
The couple Hepburn - Finney was a hit. Both of them in the peak of his creative powers .

Delightful , a true song for the life and the love , and despite the crucial emotional croosroad at the end , it gives us amazing dialogues and funny situations.
In my opinion , behind Singin'in the rain , consider this one as the major work of this legendary film maker!

A rocky marriage, and a look back at a happier yesterday
When Mark and Joanna Wallace see a pair of newlyweds in a car, amid a throng of rice-flinging well-wishers, the following exchange is heard.

Joanna: They don't look very happy.
Mark: Why should they? They just got married.

It's clear that the Wallaces' marriage has seen better days from that cynical observation. Joanna is sick of seeing her successful architect husband at the beck and call of a certain Maurice, her husband's jaded indifference and extramarital affairs. That leads to an introspective look at their past, given by a series of questions is posed. Where did it all go wrong? You haven't been happy since the day we met, have you? Why do we keep on with this farce? Is it worth it? And of course, how long is this going to go on? These also seem to reflect Hepburn's own marriage to Mel Ferrer, which would last for one more year.

The series of flashbacks, told non-linearly, takes the viewer seeing how Mark and Joanna first met, their travels with another married couple, and the time when they had their first child, when Mark's preoccupation in his career rather than his family reveals the first cracks appearing in their marriage. And the film's running gag involves Mark unable to find his passport, because Joanna has taken it from him. This comes into play as the one consistent thing in their relationship, and a reminder of the past.

By far, the days when Max and Joanna hitchhike across France are the happiest. Sure, they are on a strict budget, being rained on, and a temperamental MG auto, which has a destructive sendoff when it finally poops out. But they were like a couple of kids without a care in the world, having fun. "What kind of people eat without saying a word to each other?" The answer is married people, they say during their romantic period. Years later, when their marriage is on the rocks, they make the same observation, only this time it's about themselves.

David, Joanna's extramarital lover, puts perspective on things when he tells her "there comes a time when one must grow, when the old things aren't amusing anymore." So what does one do when the old things include marriage or being together? Does one stick it out and become more miserable and self-denying, or does one call it a day? What's clear is that promises of never disappointing one another, that the marriage will be one of heaven, and the magic disappears once things don't become personal anymore, but driven by something else.

The transitions between the different times can be differentiated in the car driven, Joanna's hairstyle, dress, and how happy Mark and Joanna are. Donen's sudden jump cuts from present to the various pasts are effective and creative.

Audrey Hepburn is wonderful as usual, and there's growth in the kind of character she plays. Joanna is a variation of Anna (Roman Holiday) or Sabrina, full of fun and laughter, but she also represents a departure from those genteel characters. Scenes where it's apparent she's nude under the covers--unheard of for Audrey Hepburn, right? And her playing an adulterous woman who humiliates her husband? Albert Finney does well as Mark, and his manners of speech range from the comical Bogart-like voice during their premarital trek to a tired weariness.

Two For The Road is also the last movie Hepburn did with director Stanley Donen (Funny Face, Charade). And upon a personal request from Hepburn, Henry Mancini does another winning theme song, fittingly sweet yet nostalgic. It sets a precedent for Audrey Hepburn, away from the innocent virgin roles of before. Despite this being an analysis of a marriage going sour, with moments of frustration and pain, there are moments of fun, and showing how despite changes, maybe being able to accept things as happened and moving with the future will save a rocky marriage such as the Wallaces. ... Read more

Reviews (8)

an unfairly treated ELVIS " movie.
from the very first time i saw this film, i've been convinced that Elvis can act as well as sing. Unfortunately, he was not given too many chances to do so. His performance is credible, noteworthy, and unforgettable. The up-state NEW YORK scenery is beautiful,the veteran actors also in the movie- GIG YOUNG, CHARLES BRONSON, ED ASNER, all give outstanding performances.
The songs may have been few, KING OF THE WHOLE WIDE WORLD, I GOT LUCKY, etc, but still Elvis at his best.This movie is my favorite Elvis flick hands down. PLEASE MGM produce this movie on DVD FULLSCREEN AND WIDESCREEN 5:1 DOLBY DIGITAL . DO IT SOON, FOR I WANT TO ADD IT TO MY COLLECTION. THANKS,oldugly1911

Not enough meat on the bones
This was Elvis' first "bad" movie, in my opinion. The reasons for this lie in the awkward, and unnecessary, interpolation of musical numbers which bear little relevance to the on-screen action. While the film has a nice look, the locale is especially pleasant, and the supporting cast is good (particularly Gig Young) "Kid Galahad" strays from its original dramatic source to focus more on current youth fads such as tight sweaters and the Twist.
The film is burdened with lightweight, disposable songs (with the exception of "King of the Whole Wide World"), and concentrates more on standard boy-girl frolics than on the central dramatic story of a seriously gifted prize-fighter. Even with Charles Bronson and an uncredited Ed Asner in the supporting cast (indicating that the original intention was to make a solid action-drama film)"Kid Galahad" is the first serious mis-step in Elvis's film catalogue. With few exceptions, his subsequent films virtually jettisoned drama in favour of pop-gloss.

Elvis' best from United Artists.
"Kid Galahad" stars Elvis as an ex-G.I. who comes back to his hometown in upper state New York. Beautiful scenery, I might add. He wants to be an auto mechanic after returning from the Army, but instead he's reluctantly roped into being trained to be a boxer. Elvis has an anvil-fist and an iron jaw. Soon, he becomes boxing champ nicknamed "Kid Galahad". Joan Blackman returns and plays Elvis' love interest and the sister of the boxing camp owner Gig Young. Great picture formula, great songs and beautiful and breathtaking mountain scenery. Recommend this must-see to everyone.

Excellent Boxing Movie
KID GALAHAD (1962) is an excellent boxing movie. If you liked the ROCKY series, you will enjoy this movie of an ex-GI who has a winning knock-out punch. Elvis is credible as a boxer. The rags to riches story also rings true.

The opening scene is unforgettable with Elvis riding on the back of a Mayflower truck singing KING OF THE WHOLE WIDE WORLD. There are six songs including I GOT LUCKY.

This is a remake of a 1937 movie that starred Humphrey Bogart and Edward G. Robinson. The 1937 version was directed by Michael Cutiz who directed Casablanca and the Elvis movie King Creole. The movie examines the corruption of boxing and the gambling and crime associated with it.

Oscar-winner Gig Young is excellent as the promoter and DEATH WISH's Charles Bronson gives a spectacular performance as the trainer.

Elvis' acting is very good here. The song sequences are excellent especially one where Elvis and Young and Bronson are riding in a jalopy that Elvis restored and then painted red.

A man who can sing when he ain't got a thing, he's the king of the whole wide world. Indeed. Nobody proved it better than Elvis, the King of Rock and Roll and the Artist of the Century.

Kid Galahad- A Pleasant Surprise
I have not seen the original "Kid Galahad", but this one was very good, compared to anything, not just Elvis' other movies. I wouldn't agree with the "Oh well, at least it's not as bad as his others" angle that many seem to take. I think anyone would enjoy it. It has a good cast surrounding Elvis, most notably Gig Young and Charles Bronson. This movie also further proves that Elvis was a good actor, given the chance. The whole movie just seems to click, somehow. And about the songs, give them a break! It's an Elvis movie. The man can sing! Let him! Be thankful it wasn't a musical. It had a few songs, yes, but that fact is not nearly as annoying as others try to paint it. It had a great depiction of the corruption of the boxing industry, and some good fighting scenes. Elvis looked like he enjoyed his part and was interested, contrary to many other opinions, and by no means was he "chubby". He was very well-built, and worked with a real-life boxing trainer, who said that Elvis could've been a professional fighter. So anyone who says he wasn't convincing as a boxer should take a second look. Watch this movie, not compared to anything, but just as the movie itself, and there's a big chance you'll enjoy it. ... Read more

Reviews (540)

Simply Astounding
This movie has a very simple message and you read it in the title Life is Beautiful taking place during the holocaust in Italy no one could ever guess that this movie could be so touching and honest...Roberto Benigni who I believe won the Academy Award for his performance does the wonderful job in the role as a happy go lucky man who's whole life changes during the holocaust and it is up to Benigni to keep his family together...Another refreshing thing to see was the fact that this movie takes place in Italy during the holocaust and what is was really like for jewish families in Italy during the holocaust and very few history students know today that Italy was allies with Germany for a time...I love Benigni and enjoy watching his struggles and watching his love for his son and his wife. Why can't there be more guys like Benigi out there? The DVD features an English language track and of course English subtitles...I prefer the subtitles myself so I can get a real feel for the movie.I have been moved by this movie and you should rent or buy this movie for...by the end of this DVD you'll either be in tears or screaming life is beautiful!

Life is Beautiful, Movies can be Weird
After skimming the reviews here, Roberto Benigni has obviously struck a chord with a lot of people.
I would not argue with them but I found myself with the reviewer who called this film MR. BEAN GOES TO AUSCHWITZ. Actual history proved just too distracting for me to get caught up in this "fable."

Actually, the film I kept thinking of has never been seen: Jerry Lewis' THE DAY THE CLOWN CRIED. I've read the script and I can only imagine the reviews of that film if it was ever released! (Now there's a film in itself: a daffy but deranged filmmaker, popping pills and performing pratfalls, producing his movie about a German clown entertaining Jewish kids on their way to the ovens. Yikes.)

LIFE IS BEAUTIFUL doesn't go that far, but I found myself constantly distracted by Benigni's rubbery slapstick taking place in a concentration camp. Yeah, it's sweet that he wants to spare his son the horrors of the camp...but they're in a camp, a concentration camp.
The first half of the film actually plays like a whimsical, slightly-more-witty Jerry Lewis movie. Then the Nazis arrive. Individual scenes manage to touch and charm, but overall it just feels very odd.

Jerry Lewis must have gone nuts when Benigni won the Best Actor Academy Award (William Goldman, the sage of screenwriters, certainly did in print by saying this was the greatest Oscar abomination since THE GREATEST SHOW ON EARTH won Best Picture in the 1950s). I admit I was put off at Benigni's antics at the Oscars--"I LUFF YOU, I LUFF YOU ALL, I MAKE LUFF TO YOU ALL!" I can't even picture Jerry Lewis carrying on that much if he'd won Best Actor for THE BELLBOY. Now that I think about it, maybe he would....

Yes, movies are a great escape from reality--but there are some realities that shouldn't be part of that escape.
We have new generations of kids coming up who are quite removed from the terrifying reality of the Holocaust and the near-slapstick version of it portrayed in LIFE IS BEAUTIFUL could diminish the true horror of it.
That heaviness, that memory, made buying into the humor nearly impossible.

"I want to make love to all of hollywood"
The pride of Italy Roberto Benini in his WWII masterpiece, tastefully combining comedy with drama in an oscar winning foreign film. A must have. Make sure you watch it in Italian with the subtitles.

ETMR - Life is Beautiful
1. Humanity: How does Guido express the human quality of endurance?

2. Implications: Life is Beautiful expresses the need for family strength. What does this mean for today?

3. Evolution: Life is Beautiful employs a style that is at first jarring to watch, and then succeeds on its own as a force of comedy. How has this affected cinema since its release in 1998?

4. Realism: Is the game Guido plays with his son feasible realistically?

5. Stageplay: The basic story is one of a man trying to remain optimistic during a time of intense suffering. How does the light-heartedness of the plot change the realistic consequences of the Holocaust?

A Beautiful film
Never before has such a brilliant hybrid of comedy and the tradegy of war been so skillfully woven togen. The film, although disjointed slightly in its early stages, presents a delicate balance between the otrocities of the second world war and the genuine warmth and kindness of its protagonist. There are times when you will you laugh, others that you will feel deeply saddened by the plight of the characters, with the comfortable compromise reached at the film's conclusion leaving a pleasant after taste in spite of the circumstances. Brilliantly acted and filmed, Life is Beautiful presents a different take of what life was like in that dark period of history whilst leaving intact the integrity of the central themes and the brutality of war. This is a movie that can be enjoyed on multiple levels and is a worthy Oscar winner. ... Read more

Amazon.com essential video

Barbra Streisand made her directorial debut with this 1983 adaptation of the Isaac Bashevis Singer story about a young Eastern European woman (Streisand) who disguises herself as a male at the turn of the century in order to get an education. Except for an excessive musical score with too many songs and Streisand's tiresome tendency to play characters who suppress their beauty, the film is crisp and engaging, and the gender-bending love story complications are fun, if gimmicky. Streisand gives a smart, vulnerable performance and gets fresh work from costars Mandy Patinkin and Amy Irving.--Tom Keogh ... Read more

Reviews (56)

A Triumph for the Director, Not the Actress
When "Yentl" was first released it proved to be neither the I-told-you-so triumph producer-director-star Barbra Streisand hoped, nor the total failure nay-sayers gleefully predicted. In years since, "Yentl" has become the punchline for many jokes (men who were dragged to see this with their wives or girlfriends can't seem to say enough nasty things about it), but most of those jokes aren't warranted.

As a director, Streisand has much to be proud of. She gets stellar performances from co-stars Mandy Patinkin and Amy Irving (Streisand has proven herself to be an actor's director), the photography is lush and she makes the non-commercial story quite compelling. The movie's main weakness, though, is Streisand's work in front of the camera. Being miscast is nothing new for the star of "Hello, Dolly!" and "A Star is Born," but usually she's buoyed by her star power. In "Yentl," that star power is a detriment. This is a movie that needed an actress, not a star.

However, not many film actresses have Streisand's voice, and this is a musical, after all. The songs in "Yentl" (all sung by Streisand; fellow singer Patinkin doesn't even hum along) function as internal monologues, and as such they work fine in the context of the movie. But this is no "Funny Girl"--despite a finale that looks very similar to that movie's "Don't Rain on My Parade" sequence. There are few tunes that'll be stuck in your head by the final credits. Turning "Yentl" into a musical seemed more of a concession to the studio, anyway.

Despite its shortcomings, and despite what all those snarky husbands and boyfriends say about it, "Yentl" proved Streisand's formidable talents aren't just limited to singing and acting.

Why isn't this on DVD!
I just adore this movie. Great acting, sweet story, lots of culture and absolutely fabulous music... I listen to the soundtrack all the time.

Barbara Streisand is perfect at playing an intelligent, yet vulnerable woman in a time and place in which women were supposed to be illiterate and considered to be silly. Her father was a more forward-thinking man in a culture that considered teaching a woman to read something perverse and criminal. When her father dies,she loses everything... women can't read, own property or make decisions concerning the course of her life.

She decides that her persuit of knowledge of the holy scriptures is too important to let the opportunity slip through her fingers, so she cuts her hair and lives life as a male Rabbinical student. Life takes a twist she doesn't expect when she falls for her classmate and subsequently is forced to marry a young girl.

There are a lot of laughing-out-loud moments, but this is mostly just an extremely sweet story of love, sacrifice, tradition and freedom. It's definitely a feel-good movie that will put a lump in your throat. I highly recommend this film.

Poor Quality Copy
The VHS desperately needs remastering. If people want to see Babs dressed up like a man, then we need to get this released on DVD.
I know I can't wait!!!

LESS WOULD OF BEEN MORE
I love Barbra. I saw her final Concert in Los Angeles so I am a fan! I like this movie! HOWEVER I did not Love it! I think this movie is TOO LONG! Since this is Streisand's baby you can see every frame was a labor of love! If you want to see a great Streisand movie get "Funny Girl" However Barbra if your reading I would trust you would do a great job of acting and directing in the muscial adaption of Sunset Boulevard! You are the greatest star of them all!

There are moments you remember all your life...
... and seeing Yentl certainly was such a moment. The movie had a profound impact on my life when I was a girl of 14. More than 10 years later, it has not lost any of its message. "Revisiting" Yentl from time to time has helped me choose the path I really want to go. Some of my dreams have come true, but there is more to come, I am sure. It also gives me courage to do what I need to, like Yentl, and like Mrs. Streisand whose work as female director was groundbreaking at the time. Chapeau! ... Read more

Reviews (11)

A great film of a great Hollywood period!
The Story of Ruth was released in 1960 and I remember seeing it on a wide wide screen, curved, and in stereophonic sound; it was glorious, as were all Cinemascope films.

This film is not the Bible, but a meditation on it, factual, no, but it gets the point of The Book of Ruth across.

The best bits are a very moving perfromance by Peggy Wood as Naomi, and some stylish acting by Elena Eden and Stuart Whitman.The Wood scenes are excellent, and Naomi's prayer is quite striking, all filmed in a small house in earth tones...very good. Peggy Wood's many scenes of emotional upheaval are instances of excellent screen acting.

The Moabite scenes are crazy, as is all of that Chemosh stuff, but this film has great appeal...for die hards only, and especially for cinemascope afficionados of yore who can re-imagine it all even on the tiny screens we must put up with now, TV and movie alike. Buy and enjoy. Still not letterboxed.

Good TV watching
I saw this movie just last night on AMC. There are two ways to look at this movie: Scripturally and story-wise.

Scripturally the movie is not that good. There is a lot of license with Scripture (not surprising considering how small the book of Ruth is). But the license isn't really congruent with revelation. For example, this movie makes Ruth out to be a high priestess of chemosh and married for about 1/2 second to a Jewish man just before he dies. Boaz is a bitter man who makes a Moabite man drink poisoned water. The roles of kinsmen-redeemer is not even close to accurately portrayed. These things were done to try to make the movie have additional action, but detracts from the very real story. Also, here Naomi does not change her name, Moab tries to track Ruth down and kill her, and so on and so forth.

From a story perspective, the story is your classic structure. Boy meets girl, girl is coy, boy gets into trouble, girl rescues, boy says sappy stuff, girl falls in love, boy dies, girl moves on, girl meets new man, girl marries new man. And the actors do a good job with this standard plot line. For a movie made 41 years ago, it's still enjoyable watching. The production is pretty good and the acting is good. The sets remind you of Ben-Hur. The pacing of the story is standard for a movie made at that time, kinda slow (for today's tastes).

Overall the movie is fun to watch as long as you can overlook the Scriptural errors.

beautiful ruth
Elani Eden is drop-dead BEAUTIFUL! Buy this movie just to look at her.I hope this comes out on DVD soon.

Inspiring Story of a Woman's Devotion!!
Stuart Whitman, Jeff Morrow, Peggy Wood, and Elana Eden star in this screen version of the story of Ruth.

Ruth is a young Moabite woman who was raised from childhood to become a priestess and revere a pagan idol, but when she meets Mahlon the Judean (Tom Tryon), she's deeply affected by his belief in a merciful God who demans no human sacrifices, so she marries Mahlon, and when he dies, she renounces her own culture to remain with her mother-in-law, Naomi (Wood).

Now she comes into Judea, where she meets Boaz (Whitman), and the story begins anew. There is a wonderful depiction of loyalty, romance, faith, and devotion, and although the film is 132 minutes, it seems so short once you get into it.

Highly recommended, and the whole family with enjoy it.

A Classic!
This movie is captivating and a treasure! This film needs to be released on DVD!
PLEASE! ... Read more

Amazon.com essential video

When Samuel (Lukas Haas), a young Amish boy traveling with his mother Rachel (Kelly McGillis), witnesses the murder of a police officer in a public restroom, he and his mother become the temporary wards of John Book (Harrison Ford), a detective who's been assigned to solve the crime. After suspect lineups and mug-shot books yield nothing, Samuel, in the most memorable scene of the film, recognizes the murderer as a narcotics agent whose picture he sees in the precinct. Once Book realizes that the police chief is in on it, too, he whisks Samuel and Rachel back home to Amish country, where he himself goes into hiding as a plain Amish man. The juxtaposition between the life of the Amish and the violence of inner-city police corruption work surprisingly well for the story, and Kelly McGillis as the falling in love widow gives an almost perfect performance. Directed by Peter Weir, the film is extremely successful in drawing the viewer into its world and, accordingly, is immensely entertaining. The only thing that mars its polish is the one-dimensional, almost cartoonish handling of the upper-echelon police corruption--a subtler, more realistic treatment of this aspect of the story would have rendered the film near perfect. --James McGrath ... Read more

Reviews (62)

An extraordinarily good film ...
At the end of a disappointing summer movie season, I've started watching some of my favorites on tape. This movie is near the top of my all-time list; here's why:

ACTORS -- Most of the actors gave career-high performances in this movie. "Witness" helped establish Harrison Ford as a serious (i.e., non-Star Wars) action hero, and he demonstrates emotional range in this movie that doesn't show up very often in more recent films. Kelly McGillis is compelling, gradually and believably transforming from a shy widow out of her element to a strong, spirited member of her Amish community. Lukas Haas, who plays her son, offers a level of child acting that has only recently been matched by Haley Joel Osment. As other reviewers have noted, his wordless scene with Ford in the police station is a brilliant piece of acting -- an enormous amount of information and emotion is conveyed in complete silence. And Alexander Godunov brings a gentle grace to his role as the Amish farmer competing with Ford for McGillis' affections. It's sad that he didn't get more opportunities to demonstrate his acting ability before his death a few years later.

CINEMATOGRAPHY/SCORE -- As with most of Peter Weir's films (cf. "Dead Poet's Society"), "Witness" is visually stunning. The shift from the gritty heart of Philadelphia to the rolling hills of Amish country is jarring, and leaves one with a palpable sense of longing. I think the barn-raising scene in the middle of the movie is one of the most beautiful scenes I've ever seen filmed, both visually and thematically. Underscored (so to speak) with music reminiscent of Copland's "Appalachian Spring," it drives home the value of community and shared endeavor. It's a marvelously uplifting segment.

ROMANCE/EROTICISM -- The relationship between Ford and McGillis is very well done. The attraction that arises between them (driven in no small part, apparently, by Ford's kindness to the young boy) is constantly and realistically tempered by the awareness that they come from fundamentally different cultures. That slows the development of a relationship between them, which provides the movie with a delightful undercurrent of romantic tension. That tension reaches a peak in a powerful scene in which Ford sees McGillis giving herself a sponge bath. There is nudity in this scene (McGillis turns and shows herself, topless, to Ford), but it seems to be precisely the kind of nudity that, as actresses like to say, "is essential to the story." Given the way in which the Amish are portrayed in this film, McGillis' character is making a very bold (and risky) offer, and the difficulty of Ford's refusal is evident in his face. There certainly is a lot of gratuitous nudity in film, but "Witness" is not in that category.

This movie is aging extremely well, in large part because of the sweep of its vision, the powerful simplicity of its story, and the skill of its execution. It is a terrific movie.

Impressive film!
"Witness" is defineately one of the greatest thriller/romance movies ever made. Directed by Peter Weir, the plot concerns a yuong Amish boy (Lukas Haas) who witnesses a murder in a Philadelphia train station bathroom while traveling to the city with his mother Rachel (Kelly McGillis in her best performance). Detective John Book (Harrison Ford) is assigned to the case, and quickly discovers that a corrupt narcotics cop (Danny Glover) is the killer. After a close shave, Book, Rachel, and her son escape to Amish country, where Book hides out as an Amish farmer--while also protecting the witness and his mother.
Of course, at the end there is one whopper of a scene when the corrupt cop & friends discover Book's safehouse.
"Witness" received several Academy Award nominations including Best Picture, and won for Screenplay, Cinematography, Sound, and Film Editing.

Ford at the top of his game
Some of the most powerful romances can spring up when both sides have to be restrained; here, the widowed Amish woman and the cop-in-hiding know that they come from different worlds, know that a relationship between them will not practically work, and so fill the screen with unresolved sexual and romantic tension.

Woven into the more grisly details of murder and police corruption are scenes of humor and beauty. Dancing in the barn to "Don't Know Much About History". Having to wake up at 4 a.m. to milk the cows. It's funny to see how the cop, John Book, tries to fit himself into Amish life the best he can. And it's very moving to see his growing love for the Amish woman who nursed him through a bad gunshot wound and has enchanted him with her character and beauty. The movie's climax is also riveting; it's not often that one sees gunfighting at an Amish farm.

Great film, poor quality transfer
"Witness" captures director Peter Weir's first exploration of the cultural clash between America's Amish community and modern society. We witness two worlds that collide and two people that can't bridge the gap between their two worlds despite their blossoming love for each other.

The story revolves around Samuel a little boy who has witnessed the murder of an undercover police officer, his mother Rachel (McGillis)and John Book (Ford) who investigates the murder discovering corruption, deceit and a conspiracy at it the heart of his department. After he discovers that his witness isn't safe, Book whisks them back to their Amish farm where he's forced to hideout as well.

One of Weir's finest films to focus on America, this so-so transfer looks grainy and has lots of compression issues. The transfer isn't a widescreen anamorphic transfer but is presented in that format (i.e., it's presented with the black bars at the top and bottom of the screen but the transfer isn't high definition). The picture occasionally comes across as soft and the rich use of color and light that vividly brought the film to life in theaters isn't well represented here. Hopefully Paramount will update this and remaster it the way it deserves to be done.

The extras include an interview with Weir obviously done around the time the film was made or first appeared on video and the original theatrical trailer. I would have expected a commentary track but since Weir isn't all that big on them to begin with, that would be hoping for too much.

A great film just a poor translation to DVD.

Comparing Witness: 1985 and 2004
As I write my title, it is weird to think this film is nearly 20 years old! How time flies! Anyway...I first saw this film when it first came out and I remember I really really liked it. I was 23 years old and not a Christian at that time. Now, I am soon to be 42 and have been a Christian for over 18 years. For 10 years of my life, I lived as a Mennonite (like Amish in many ways, but we drove cars, had electricity, etc.) I am no longer a Mennonite, and now I watch films again. I appreciate classic cinema very much, but recently have wanted to watch Witness again, to see if I would like it as much as the first time, and to see if I thought they portrayed the Amish correctly.

So, I watched it last night. It was interesting in that I remembered so much, even some small details about it. So it really did impress me that first time when I was young. This time, I enjoyed it, but I wouldn't say it is a film I would watch over and over again, as I watch some classic films. To see it once more was enough to just satisfy my curiosity about my memories of it.

I did feel they portrayed the Amish quite well, with the clothes and such. What they did wrong about the portrayal was that in no way would it be allowed for an Amish woman to tend to a wounded man who wasn't her husband, by herself in a room alone with him. It just isn't proper, isn't done. In reality, a man would have done that, or an older woman would have done it, with another woman there. I think the movie allowed the Rachel character to have way more "access" to a man alone than would be allowed in a real Amish or Mennonite community. I doubt he would have really been allowed to stay in the house. In reality he would have been placed in a home with a family who had a bunch of boys and he would work with them and the father, and not have all that time alone with Rachel.

I don't like violence...I knew that the bad part happened in the train station in the beginning, so we were able to fast forward that part. Also, we were able to fast forward the ending "shoot out" stuff. I didn't care for the bad language. The scene with Rachel taking her sponge bath, well when I was young and not a Christian, I found that very romantic. Now, I found it rather silly. A devout Amish girl/woman would not have just calmly turned around and let a man stare at her while unclothed. And later on, when she and he finally "meet" for the romantic moment, I found that sort of offensive. Why kiss out in the yard where anyone could see you? Eli could have easily looked out the window (a real Amish father would have kept better tabs on his daughter with a strange man around the place). I felt that scene was very much just an animal passion thing...sort of vulgar. Not at all romantic, truly loving or gentle. It seems people sure knew how to kiss and show romantic love a lot better in the old movies! And right before she went out there, she took her prayer veiling off. Which again, no Amish woman would do. But then she obviously was rebelling. There was that other time too, when she and John Book were in the barn listening to his radio, and she had it off then, and I am not sure why, for no Amish or Mennonite woman will go without it in front of people or outside the house.

The ending left me wondering...would Rachel just go ahead and marry Daniel? Would she really be happy with him? She really would have to repent of her sins with John Book to be truly happy. I also noticed that the film never showed a church service. Also, none of the Amish folks never seemed to care to tell John Book how to be a Christian. But then there are many Amish who are not born- again Christians, but just are "culturally Amish"...they live the way they do because they have always done so. These must have been that type of Amish. It did seem that Grandfather knew the Bible...he quoted some good verses when talking to the boy about the gun. That was good to see, yet sad that such violence had to even be witnessed by this child.

Oh, of course any film with Amish must have a barn raising scene, and this one did. Also, so many movies with cows mus have the scene where the city person doesn't know how to milk a cow. Of course John Book must learn. He makes a joke about "teats" in this scene, and grandfather Eli laughs at it, which again, I doubt a devout Amish man would do.

Well, these are my thoughts. It was interesting to revisit this film again. In closing, I would say it is an okay film for adults but I would not recommend it for children. ... Read more

Reviews (29)

Bergman shines in religious epic
Overlong but fairly engrossing bio of Gladys Aylward, an English-woman who, despite her lack of qualifications, becomes a missionary in China. The film is episodic and covers Aylward's brief career as a parlor maid (saving money for her trip to China), her journey to China, her work at the Inn of the Sixth Happiness and the Chinese-Japanese war which results in her guiding 100+ children in an arduous journey through the mountains to a safer village. I didn't find the film as moving as other reviewers but it is well mounted and nice to look at. Bergman is outstanding as are other supporting players, most notably Curt Jergens and Robert Donat. This was Donat's last film (he died before it was released) and his last screen words are prophetic - "We shall not see each other again, I think. Farewell."

What is most notable about this dvd release is the excellent commentary by Nick Redman, Aubrey Solomon and Donald Spoto. Redman talks about the real Gladys Aylward, Solomon talks about the film production and Spoto discusses Ingrid Bergman. There were many things changed for the film version and many of them are small and inexplicable. For example, Aylward's given Chinese name was Ai-weh-deh (not Jenai), an adopted child was actually named Ninepence (Sixpense in the movie), etc. Other changes were more larger in scope - Aylward's journey to China was quite harsh and she almost died several times. The inn-keeper, Jeanne Lawson (memorably played by Athene Seyler) was no as agreeable a woman as portrayed in the film - she was actually a cantankerous person prone to fits and thought to be quite mad by the villagers. Aylward herself was thought by many to be fanatical and to put it bluntly, off her rocker. Many other fascinating aspects about the film and the women (both Aylward and Bergman) are included.

A must for every video library ! An inspiring tear-jerker !!
One rainy afternoon I was channel surfing and came across this movie and fortunately for me it was very close to the beginning. I was so drawn into the story and captivated by Ingrid Bergman's performance that I forgot I was even watching television!! This is one of the most touching and moving stories I have ever seen and (I won't give this part of the movie away) when the Chinese gave "Gladys" a new name and what that translated to in English I thought I was going to go through a whole box of tissues right then and there. The storyline, scenery and acting are superb and the fact that it is based on a true story only makes it more inspiring. My cousin is 18 years old and wants to pursue a career in the mission field and I told her many times that she has to see this film. So I'm not only going to purchase one for MY video library but one for HER'S as well.

following God's call
This is a magnificent film in every aspect; the acting is brilliant, the landscapes beautiful, the drama intense. Based on the true story of Gladys Aylward, a house maid in England who was "not qualified" to be sent to China as a missionary, so went there on her own, saving every shilling earned for a ticket on the Trans-Siberian railroad. Taking place in the pre-WWII era, it's an adventure story of great spiritual courage, the chaos of war, and a romance between two independent people who never thought they would find love.

Ingrid Bergman is luminous as Gladys. It is one of her very best performances, and my personal favorite. Robert Donat, who passed away before the film was released, is also marvelous as the Mandarin of Yang Cheng, and Curt Jurgens as Captain Lin Nan is handsome and believable as the man who falls in love with Gladys. In a small but pivotal part, Athene Seyler is terrific as Jennie Lawson, the elderly missionary who helps Gladys in her early years, and Peter Chong is a delight as Yang the cook.
It is odd that the only Oscar nomination went to director Mark Robson; perhaps Bergman was overlooked because she had received a "Best Actress" for "Anastasia" two years earlier, but Bergman fans will give this film their own five-star award.

The fabulous location filming by Freddie Young was done in Snowdonia National Park, North Wales, a remarkable substitute for Shaanxi Province, in the heart of China. The village reproductions are very well done, and look incredibly similar to films I have seen shot in China. The lovely score by Malcolm Arnold adds much to the film, and Alan Burgess, whose book "The Small Woman" is the basis of the story, wrote the script, which is witty, wise and wonderful, with Isobel Lennart.
Many times I've laughed out loud , and many times I've cried watching this film; it's good for several viewings, as it is epic in scope, and the script has an intelligence that makes it a rare gem. total running time is 158 minutes.

In the film, Chinese tradition has five "Happiness" wishes: Wealth, longevity, good health, virtue, and a peaceful old age and death. "Each person must decide in their heart what the sixth happiness is".

Break out the Kleenex...
...for this manipulative, mawkish tear-jerker. The story feels superficial (you never get a feeling for Aylward's sense of spirituality, only the very ocassional bit of tacked-on religiosity), and it's all grossly sentimental. All those feel-good moments with singing kids and long hugs actually detract from the important message about selfless service by making self-sacrifice seem all too easy and romantic, even in the face of brutal Japanese invasion.

The casting choices will try your suspsension of disbelief, to say the least: a Swede as an Englishwoman, a hulking German as a half-Dutch/half-Chinese colonel, and an Englishman as a Chinese mandarin. That said, this is still a fun film if you take it for what it is. It boasts an unusual story and exotic setting, and Bergman is as radiant as ever (even if she overacts in a couple scenes). Donat and Jurgens are uqually winning, in their own way.

Hardly Bergman's best film, but certainly worth a watch if you're a fan.

Noah visits the baby Jesus
The Inn of the Sixth Happiness was filmed in Wales and the scenery is beautiful. Ingrid Bergman is in top form as Gladys Aylard would be missionary to China. One of my favorite scenes is when her assistant Yang, who has a fondness for Noah and his ark, is telling the diners at the inn that Noah came in his ark to visit the baby Jesus along with the wise men. When she gives him a disapproving look he goes on to explain that even though Noah was born long before Jesus people lived alot longer back then, so no one could say for sure that he couldn't have been there. ... Read more

Reviews (103)

Ultra-Sentimental 2nd Treatment of "Aunt Jemima Story"
"Imitation of Life" is the bitter sweet story of a black maid struggling with her light skin daughter who wanted to pass as white. The story begins in post WWII NYC when Lana Turner (in the role of a struggling actress) hires the maid to work for and live with Turner and her then 7 year old daughter (same age as the maid's little girl). Times are tough at first, but the 4-some gets on fine. Only little Sarah Jane (the maid's daughter) has constant trouble accepting her color.

The story spans about 15 years and shows various instances where the loving black maid is humiliated by her daughter who in the end disowns her mother. The ending is the ultimate heartbreaker; the film deserves 5 stars for that alone!

This is the 2nd Hollywood treatment of "The Aunt Jemima Story". The first version (1934) with Claudette Colbert has better acting, but is not quite as sentimental as the Technicolor Lana Turner film. The latter also has a memorable title song by Earl Grant (who usually plays the organ in his recordings, but here he sings).

I could watch this movie anytime, for no reason at all...it's the best in its class! This film is the ultimate in Hollywood tear-jerkers, and one of my favorite movies ever. Lana Turner was not exactly "Oscar-material", but neither was Marilyn Monroe--still they both captured an audience with their presence like few other actresses ever did. Nothing but pure "Hollywood Candy" here! ...

a true classic
One of the great Hollywood melodramas, IMITATION OF LIFE is based on the book by Fannie Hurst and is directed with style and emotion by Douglas Sirk.

A chance meeting throws together Lora Meredith (Lana Turner) and Annie Johnson (Juanita Moore), two struggling widows who both have troubled relationships with their daughters. Lora is a Broadway starlet intent on hitting the big time, which will come at the cost of her daughter Susie (Sandra Dee), while Annie's daughter Sarah Jane (Susan Kohner) is a black girl with a pale complexion, who chooses to pass as white in order to avoid the hatred of a prejudiced world.

As years of denial and unawareness pass, the two girls slowly revolt from their mothers, and the story moves to its emotional and tearful conclusion.

Still compelling over 50 years later, IMITATION OF LIFE still has a message for modern audiences, and preserves the tour-de-force performances of Juanita Moore and Susan Kohner. Both were Oscar-nominated for their work here. The performances of Sandra Dee and Lana Turner (and Troy Donahue as Sarah Jane's violent boyfriend) are just as impressive.

The supporting cast includes John Gavin, Dan O'Herlihy, Robert Alda and Mahalia Jackson. The DVD includes the trailer. (Single-sided, dual-layer disc).

MOORE AND KOHNER - THE HEART OF THIS MOVIE
In 1959, Susan Kohner and Juanita Moore lost the Best Supporting Actress oscar to Shelley Winters for "Diary of Anne Frank." While Winters certainly was a seasoned and excellent actress, I don't see how one can overlook Susan and Juanita's gutwrenching performances. In spite of the star presence of Lana Turner and John Gavin, this movie's heart lies in the story of Annie and her mulatto daughter, Sarah Jane.
Director Douglas Sirk and his glamorized movies was the inspiration for the much acclaimed film, "Far from Heaven." One can see why Todd Hayes wanted to venture into this director's turf. Ross Hunter's glitzy production begged for its audience to become embroiled in Lana's problems becoming a big actress. But with the performances of Ms. Moore and Kohner, IMITATION OF LIFE achieves the status of one of our finest tearjerkers. Sadly enough, neither actress had much of a career after this, and what a shame. Their scenes together are so electric and heartwrenching, they deserved more. The final portion of the film wherein we lose Ms. Moore and her subsequent funeral are the stuff of Kleenex heaven.
Definitely one of the finest remakes of our time. Because of Juanita Moore and Susan Kohner!!!

Lana Turner and Juanita Moore
The struggles of two mothers with very different problems are detailed in this glossy but overly sentimental film. Lora Meredith and Annie Johnson establish a friendship purely by accident but they forge a bond that brings them together for life. Lora eventually finds stardom on the stage after many setbacks and disappointments but Annie has the impossible task of trying to make her mulatto daughter accept her racial heritage. Sarah Jane's shame at having a black mother is the main theme of the film while Lora's ups and downs on Broadway and eventual career success provide a counterpoint to the troubling themes of self-loathing and racial intolerance. Sarah Jane's relationship with Lora's daughter Susie is by turns sisterly and contentious because of Sarah Jane's jealousy and resentment towards Susie because she is white. Another sub-plot is Lora's relationship with Steve Archer, which also spans many years. Their romance always takes a back seat to Lora's stage career ambitions, which frustrates her handsome suitor immensely. Steve eventually becomes the object of Susie's affections as she grows into womanhood and her obsession with Steve causes problems later on. The film's famous last reel is touching and has the added effect of having Mahalia Jackson sing spirituals for the beloved Annie. Lana Turner is very beautiful and glamorous in this film and was never lovelier, but Juanita Moore's tortured Annie and Susan Kohner's ungrateful, mean-spirited Sarah Jane are the reasons for which this film is remembered.

Imitation of Life ( Germ241F @ SUNY Binghamton
Douglas Sirk's 1959 remake of John Stahl's 1934 film, Imitation of Life, is a parody of the original. In a comical rendition, Imitation of Life, addresses intersections of race, social and economic class, and gender in the film, as well as existing stereotypes, through the use of Neo-Brechtian gestik acting which means over-the-top, melodramatic and campy acting that is quoting a character and his/her emotions and exaggerates the role of a character in a situation. Sirk deliberately wanted to use gestik acting and avoided method acting (acting out what your emotions would really be, if you were in a certain situation) because he didn't want audiences to think that this film was real and to be taken seriously.
Two single-parenting mothers, Annie and Lora meet on the beach of Coney Island, in search of Lora's daughter Suzie. When Lora and Suzie find out that Annie and her daughter Sara Jane are homeless, Lora decides to let them live in her apartment as long as Annie agrees to contribute some help around the house, and do the dirty work for Lora. Annie is depicted as a parody for blackness, just because she has typical attributes of any nanny. A loving, nurturing, understanding, and caring mother is the stereotypical mother that society adores which is played out by Annie. On the other hand Lora is a neglecting figure in the eyes of Suzie. Annie is more like the mother for Suzie, but not Sara Jane. Sara Jane refuses to admit that she a daughter to a black woman and passes as a white girl while in school. Sara Jane fires up the racial tension in this film because of her denial and mistreatment towards her mother.
Lora meets a man named Steve, who almost right away, proposes to her. She denies the proposal in an effort to pursue her dream of becoming a Hollywood actress. Steve tries to make her stay, by telling her that she doesn't have to work, and that he will bring home to money. This shows us how Steve along with the majority of society view women and their roles of life. A women's life should be to stay home, clean, take care of the kids, and put dinner on the table, which is the old fashion way that much of male Americans viewed women to perform in. Opposite roles of gender for the male figure in this film was shown through Steve, who has found a detective out of now where, who has found Sara Jane and her place of refuge from her mother. This situation renders Steve as if he were Superman, the one being able to fix any problem.
This campy imitation of life is viewed throughout most of the film, except for the scene of Annie's funeral, where Mahalia Jackson sings a gospel song. Eulogy of Annie is brought to her through the singing voice of Mahalia. This scene is supposed to be a serious one among the other witty scenes, because the character of Mahalia is the only realistic one in this film and is not to be criticized. Mahalia does not exemplify the overly dramatic acting. ... Read more

Reviews (24)

An all time classic !
This movie is simply one of my favorite movies of all time. I did'nt realize it could be bought anywhere on Earth. I have been looking for it for years since tv stations stopped running it years ago. I hav'nt seen it in over 10 years and am ordering my copy now. I would suggest that anyone else who loves railroad movies do the same before it disappears from production. Hands down the best rail movie ever.Excellent.

This movie takes place in the Salem-Eugene area of Oregon during the great depression. It involves the sadistic engineer of the #19 named Shack (played by Ernest Borgnine) and the hobo who tries to ride his train (Lee Marvin). I was in Salem Oregon recently and was glad to finally see for myself the beautiful countryside first brought to me by this movie. A must have movie.

Great movie!
This is one of those good movies that don't need a lot of words to describe why it's great. "Lee Marvin vs. Ernest Borgnine on a train" should be enough. This is also one of those movies that cries out for a major DVD release, what with the rugged scenery, vivid action and great dialogue. As "A.No. 1" tells Cigarette in one of my all-time favorite lines: "You could be a meat eater, kid, and I mean people, not their garbage!" But while you're waiting for the DVD release (which, incidentally, I hear is to be timed to coincide with the freezing over of hell) snag this VHS release while you can. This film has only been released once on video and it's famous for being one of the hardest to find films of all time.

even some of us women love this flick.......
a lot of great acting here. ernie as the cruel train bull/enforcer. Lee Marvin as the old seasoned depression era Hobo. Keith Carridine as the young punk newbie. Simon Oakland as the rail yard cop who strays into the hobo's camp and is lucky to come back out. and the poor engine driver and Borgnine's flunkey who has to keep his eyes out for any bo's trying to board Shack's train. I love this picture because of the trains, the scenery and the music. Marty Robbins' "a man and a Train" seems to have been written for this film. It is a realistic and very graphic film for the years in which it was made. you feel for all the parties involved in this tale. The near miss with the other freight train is a nail biter for sure. Not for the bleeding hearts, but if you like any of these actors, trains and american history I recommend this film for a little eye opener on what our parents or grandparents might have seen or gone through in the depression days of the us of a...... A++++

Get the facts straight....
Too bad Shack IS NOT a conductor. He is a Bull, law enforcement of the railroad. And that's what Bulls did in those days. Keep hobos off.

Great movie. I wish they had it in DVD form too.

good hobo movie
this is an entertaining enough 'bo movie,with a nice gritty sense of realism initially,then a fairly exciting action end to it.i wont bother with going over the plot in too much detail,basically a hobo wants to ride a train,which the train conductor says specifically NO HOBOS.he has a sign and everything....well,not really.but it is a great hobo movie,see "hobos christmas" for how NOT to make a hobo movie.3 out of 5,hardly a classic but good fun all the same. ... Read more

Amazon.com essential video

Based on the mid-'70s novel by Judith Rossner (whichitself was based on a true story), this film was supposed to be the one that established Diane Keaton's credibility as a "serious" actress--and yet she won the Oscar for the other film she did the same year, Annie Hall. Still, Looking for Mr. Goodbar is a solid and intriguingfilm, which offered the first substantial film roles to Richard Gere and Tom Berenger. Keaton is a repressed Catholic school teacher who works with deaf children. In the midst of the sexual revolution, she discovers her own appetite for carnal pleasure--but tries to keep it physical, avoiding emotional entanglement, until she meets Mr. Really Wrong. Keaton is solid but director Richard Brooks can't keep this from dragging. --Marshall Fine ... Read more

Reviews (30)

Annie Hall Meets Mr. Goodbar
Released in 1977 and based on Judith Rossner's best-seller, "Looking for Mr. Goodbar" was touted as the star turn for Diane Keaton, but it was "Annie Hall" that swept her to the Academy podium that year. A Catholic teacher of deaf children, Keaton's portrayal of a sexually repressed woman looking for scores in all the wrong places is unsettling in an generally inaudacious - and brutal - film. But, the talent that she is, Keaton keeps our attention and is nearly upstaged by Tuesday Weld in an Oscar-nominated supporting role. "Goodbar" takes us to the darker side of casual sexal encounters and issues a warning that we ought not delve too deeply into the darkness without a light on in our brains. The film also marked the first substantial work of Richard Gere and Tom Berenger. But it remains Keaton who carries the film, and she does it splendidly and achieves the intended goal of making us squeamish about the dangerous underpinnings of sexual experimentation. The film's closing scene is harrowing and also achieves its own goal to send the viewer off with an unsoothed boding of doom, and it gives us no hope. Panned critically at the time, the film nonetheless is a showcase of Keaton's dramatic talents, something she'd had little chance to do until then. She alone makes the film worth watching.

Very dark seedy film
A very dark film and shocking for the time period 1977 actually it would qualify today as well. Diane Keaton stars as a sexually adventurous teacher from a strict catholic family who escapes the normality in her life by retreating into the sordid vacuous world of New York City's singles bars. She has an affair with her older college professor but that doesn't turn out good so she spends her nights doing cocaine and picking up random guys until one night she picks up the wrong cowboy. Tom Berenger plays a bar hopping drifter and is the final man she brings home. The ending is quite shocking & disturbing, the cinematography and use of light/sound. It would hold up to todays shock value easily. Keep in mind this movie came out in 1977. A story about an insecure woman constantly rebelling, misguided search for love & acceptance who could not come to grips with her estranged relationship with father. In a sense looking for a father figure. One of my favorite dark genre films.

Looking for trouble
"Looking for Mr.Goodbar" is a cautionary tale of the swinger lifestyle. It is set in the 70s, but it's just as prevalent today as it was then (more so with AIDS and other STDs). Diane Keaton plays Theresa, a school teacher for deaf kids by day, and by night she's a very promiscuous party girl. As time goes by, the night life interferes more and more with her teaching job. Eventually she decides to get out, but by then, it's too late. I liked the idea, but I thought the cast was all wrong (of course I have over twenty years of sterotypeing to try to get over). Diane Keaton may not have been the best actress to do this kind of role, after playing Kay Adams/Corleone or "Annie Hall", playing the "whore" dosn't seem right. Tuesday Weld dosn't have enough time to establish the sister as anything. Richard Kiley plays an adultourous professor, kind of a one note character. William Atherton is the red haring. Richard Gere is obviously at the beginning of his career, he isn't the typical Gere persona, he is acting more like John Travolta from "Saturday Night Feaver", he got on my nerves bad. The movie has an interesting concept, the dangers of casual sex and partying, but it is defeated by the ending. ... So what is this movie? It is a good idea with the wrong cast and the wrong ending.

Takes the viewer back to New York City in the 1970's
This movie was highly recommended to me, and now that I've seen it I can see why many consider it a memorable film. The suspense was brilliantly built up and Keaton's performance was worthy of the Golden Globe nomination it received.

The movie depicts many of the problems of being a liberated single female in the 70s. The main character, Theresa Dunn, moves out of her oppressive Catholic family home to find her place in the world. She becomes a compassionate teacher of deaf children during the day, and ventures out at night into the bar scene. Through Keaton's ability to capture the emotionally vulnerable Theresa, the viewer connects strongly to Theresa's journey to find the life she wants.

Richard Gere's performance is also worthy of note, as are the cinematic effects. Unfortunately the lighting in the film is too dark and this detracts from the overall impression of it, and it also makes it seem dated. The moral messages in the film are interesting and leave more questions than answers.

...and the pursuit of happiness
On its best level, "Mr. Goodbar" showed the audience how you can be an intelligent, cultured and sensitive person and yet become a tragic figure, a victim of circumstance.

The Keaton character realizes the entity of her own sexual frustration and takes to casual sex as a form of emotional therapy. When she decides it's time to get her act straight, she fails, fatally, to put her experience to fruition: not because it's morally too late for redemption and she must be punished, but simply out of bad luck.

I don't think Brooks had a 'this is what you're going to get if you stray from the straight and narrow' agenda. I have a feeling he was more interested in the intrinsic tragic potential of being human. ... Read more

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Released at a time when psychic auras, near-death experiences, and Kirlian photography were all the rage among early New Age proponents, Resurrection achieves a spiritual depth rarely found in Hollywood movies. In one of her finest performances, Ellen Burstyn stars as Edna McCauley, a transplanted farm girl who develops healing powers following an accident that left her widowed and paralyzed. Returning to her Kansas homeland, she attracts awe and controversy, performing healings while deflecting any pretense of religion. That's a risky position in the Bible belt, and even Edna's new beau Cal (Sam Shepard) responds with zealous incredulity, fearing what he can't understand while others embrace Edna with unquestioning faith. Through it all, Edna remains calmly resolute as the conduit of an extraordinary gift.

Sensitively written by Lewis John Carlino (The Great Santini), Resurrection tenuously mixes spiritual significance with John Ford's homespun tradition, but for the most part it works: Burstyn superbly conveys Edna's heartfelt determination, and both she and stage veteran Eva LeGallienne (in a rare and final film performance, as Edna's grandma) deservedly earned Oscar nominations. The movie dares to suggest that miracles reside within everyone, and that pure grace will manifest itself in unexpected ways. To that end, Richard Farnsworth is warm and wise in a brief but perfect role; Burstyn's final scene with Roberts Blossom (as her disapproving father) is a heartbreaker; and the film ends with an act of compassion that brings the story full circle as an affirmation of life's greatest mysteries. --Jeff Shannon ... Read more

Reviews (36)

The Best Film I've Ever Seen Ellen Burstyn Do
Ellen plays a woman who suffers a near death experience and tragedy to find that she has developed the power to heal people. The scene where she climbs into the tragically stricken womans hospital bed to heal her and visually takes the womans deformity into her own body is nothing short of Oscar winning acting at the highest level.The film has a slow start, is typically dated in the costuming and sets, but Ellen shows the actors of today how to take a sow's ear and turn it into a silk purse.This movie is a fantastic choice to curl up with on a bad winter day and get lost in. I highly recommend it and I don't waste my time reviewing ANYTHING unless I truly believe in the product. Buy it.

ONE OF THE BEST EVER!
I taped this movie from TV, a long time ago. I thought it would be reshown, but it has not been, to my knowledge. Despite my e-mailing the networks, they seemed uninterested in showing it again, therefore my copy is in very poor condition; needing to be replaced, badly. I have been looking for it, on video for ages, either with no success, or an unusually high price tag attached, for some reason. I absolutely love this movie, as it has something for everyone. It is a very well written and acted drama, with both Ellen Burstyn and Sam Shepard "playing off" each other perfectly. The supporting cast is also as good as it gets. Not only does Ellen's character want to leave this "gift" behind, but Sam Shepard does not appreciate it, as he views it more a curse, than blessing; feeling it is something that will distroy, their already, struggling relationship. Even when he sees what the "gift" affords to people in need, it is beyond his grasp to accept. This is a hard-edged movie, but has such a soft undertone and so much feeling and love, plus the struggle by Ellen Burstyn, as she tries to reason why this gift has been given to her, as she feels totally unworthy, therefore she rages against it, trying to throw it away..then.. the final acceptance of something that is truly a gift from God and therefore, should not be questioned. Anyone who wants to be inspired by a truly wonderful movie that will leave you with that "feel good" feeling... this is the movie to do just that! I hope others will enjoy it, as much as I have.

An Outstanding Film
If you like Ellen Burstyn, or even if you don't and have a bit of an open mind, you'll love this film. It is a moving and sensitive portrayal of the painful journey of someone blessed/cursed with perception and abilities that we normally discount. Ellen Burstyn is magnificent, and the story is compelling.

Another Ellen Burstyn Classic
Anyone captivated by the 70's Ellen Burstyn ("The Last Picture Show," "The Exorcist," "Alice Doesn't Live Here Anymore," "Same Time Next Year") ought to have this gem as well. As Edna, she steps across the line between life and death but returns, now with the gift to heal. The why is asked, but Burstyn's portrayl of a not-so-perfect human who is given an extraordinary gift makes the why irrelevant. The genius, though, is that the gift - to be healed - can be given only to those who "accept" it (some people need their sickness, Edna explains, after one unsuccessful tent "healing"). "Ressurection" is clearly a Burstyn-driven vehicle, but she's nearly upstaged by French actress Eva LeGallienne as Edna's grandmother. Both women were justly Oscar-nominated, and both are stunning. The film's conclusion is classic. A terminally ill boy whose only fear is for the parents he will leave behind doesn't know he's been healed, and the freeze-frame on Burstyn ends the film with a dosage of "feel-good" for the viewer. A must-see!

bioenergy healing
From an insider at Universal Studios I learned that this screenplay portrayed an amalgam of a number of "healing" episodes into one. This reviewer, is also a healer even though not as powerful as the character depicted. The healing power related in this picture is also known as bioenergy and is not connected to any religious power. It is within all of us, if only we would let it emerge.The very basis or successful bioenergy is based solely on unconditional love for an even total stranger. The emphasis is on the unconditional reaching out to out to another person, who is ailing. Remember though that not everyone can be healed, especially those who use illness for attention.The portrayal by Ellen Burstyn in her actions is overwhelming in its accuracy and also the thoughts of the maniacal fundamentalist who believes that this gift is from the devil; it isn't. ... Read more

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Beautiful young French people romp on an idyllic country estate in Tender Cousins. The story, set in 1939, centers around Julien, a young adolescent boy in love with his cousin Julia, who is in love with the foppish Charles, who is engaged to be married to Julien's older sister Claire, who... you get the idea. Julien and Julia's little sister Poune, who seems to know what everyone is up to, engage in pranks; a visiting actress puts on a theatrical revue; everyone pursues the new maid; a scientist believes he has isolated the soul, which he captures in balloons; and, when war against Germany is declared, the adult men must go off