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With its high-intensity plot about an attempt to assassinate French President Charles de Gaulle, the bestselling novel by Frederick Forsyth was a prime candidate for screen adaptation. Director Fred Zinnemann brought his veteran skills to bear on what has become a timeless classic of screen suspense. Not to be confused with the later remake The Jackal starring Bruce Willis (which shamelessly embraced all the bombast that Zinnemann so wisely avoided), this 1973 thriller opts for lethal elegance and low-key tenacity in the form of the Jackal, the suave assassin played with consummate British coolness by Edward Fox. He's a killer of the highest order, a master of disguise and international elusiveness, and this riveting film follows his path to de Gaulle with an intense, straightforward documentary style. Perhaps one of the last great films from a bygone age of pure, down-to-basics suspense (and a kind of debonair European alternative to the American grittiness of The French Connection), The Day of the Jackal is a cat-and-mouse thriller that keeps you on the edge of your seat until its brilliantly executed final scene (pardon the pun), by which time Fox has achieved cinematic immortality as one of the screen's most memorable killers. --Jeff Shannon ... Read more

Reviews (72)

Why can't they make movies like this any more?
Rarely does a movie do justice to a book, but Fred Zinneman's production of "The Day of the Jackal" is wonderful adaptation of Frederick Forsyth's novel which, I continue to believe, is one of the greatest thrillers ever written.

It's hard to put a finger on what exactly makes this film great: excellent performances by relatively unknown actors, a wonderful plot, fantastic location shooting or a complete desire to avoid the bells and whistles, special effects laden movies that are all that makes up the "suspense" genre of films these days. Like other reviewers have said, be this the first or the fiftieth time that you watch this film, you will be left on the edge of your seat with its "cat and mouse" plot of the search for a lone assassin hired to murder President De Gaulle. The young Edward Fox is brilliant in the title role and the supporting cast excellent.

If anything, this film proves that you do not need big named stars, explosions around every corner or computer generated effects to make a fantastic film. The only downside to watching this film is that you realise that the movie industry just does not make films like this any more.

Highly, highly recommended.

ONE SHOT IS NEVER ENOUGH !
Fred Zinnemann's THE DAY OF THE JACKAL is not the kind of thriller you are familiar with nowadays. For once, french actors don't look silly and have the terrible task to trace Edward "The Jackal" Fox who gives an award-deserving performance.

DAY OF THE JACKAL made me think of these cold war spy movies of the seventies. Do you remember ? We had the impression they were filmed only in green and blue, the characters didn't speak much leaving to the audience the task to understand the plot by itself. You will feel this kind of atmosphere in this film with the difference that Zinnemann worked with a solid gold screenplay.

The final scene, the day of the jackal, is about 30 minutes long and is already part of Motion picture History.

A few problems with the images ; white spots, images standing still during 1 or 2 seconds. The sound is, in my opinion, the best we can expect from a 1973 movie.

A DVD worthy of multiple viewings.

Excellent adaptation from Forsyth's novel. A winner!
Why not the jackal?
This is the answer given by the hard and cold assasin who signs the agreement to kill De Gaulle.
The story runs through a set of historical issues who are part of the story. A group of officers decides by themselves to revenge the lost honor of France due the fact about the independence of Algiers.
Edward Fox - one of the best actors of his generation - played with sublime perfection the demanding role of the Jackal.
So from the first images of the film you'll be engaged with this chess film. All the movements of this exceptional mind are guided by an amazing sense of hunter behavior. He acts like a western samurai , without blinking , he kills when the circunstances don't let him other choice. The feelings don't exist in this professional.
You are invited to presence an authentical tour de force. And since the moment an important link is arrested , your histamina and cold sweat will invade you.
The efforts of Le Surete for following any possible clue leads to an unforgettable mind game to spark the human chase since the moment the Jackal decides to go ahead with the plan and drive to France from Niza.
The rest of the story runs for you when you acquire this legendary and hair raising punch thriller. And once more you'll admire how the famous film maker Fred Zinemann could win with this story.
The locations and the sense of the drama are extraordinary made. And the words are not enough to describe the countless sequences of hard beating you'll experience.
A perfect film and believe me ; you won't feel the 140 min of the picture.
This is the first and best version!

A First Rate Spy Thriller

Not so much "spy" as "assassin," though, for Edward Fox is cast as an assassin, doing a job that will earn him his retirement. He is to kill President Charles de Gaulle, "le Grand Charles" himself, in Liberation Day, as we eventually find out--but not until much later in the film.

The killer goes through many personalities, disguises, and changes, and manages to kill a few innocents on the way to his final conquest. He is unknown to the gendarme, who are on his trail early, with the help of an informer on the inside, but eventually his appearance becomes known to them--and even then, in spite of an alert commissioner of police in Paris who is every bit his match, Inspector Lebel (Michel Lonsdale)--he almost makes his kill. Had he done so, of course history would have had to be re-written because of a movie, an unlikely event--so we knew that he would fail, but still the plot was so well played that the suspense was never lost.

Written by Frederick Forsyth and directed by Fred Zinneman, perhaps this film was predestined for greatness, but in any case it is one of the great ones.

Joseph (Joe) Pierre

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

If only it had had a happy ending
_Day of the Jackal_ is one of the best film adaptations of a book ever done, the directors managed to keep the vital elements of the plot and the pacing of the book and successfully transfer them from one medium to another. When I read the book after seeing the movie I was amazed at how much they had managed to keep. Edward Fox was perfect as the Jackal, it's a pity that he's ended up starring in so many bad films in his career as he is truly a fantastic actor. There are some wonderful moments of irony such as when the leader of the French terrorists says that no soldier of France will ever raise a weapon against him and then is shown being shot by firing squad the next day. The only thing that would have improved this movie is if the Jackal had succeeded in blowing Charles DeGaulle's head all over the pavement in Paris, I mean really, the guy goes to all of this work and fails in the end, and come on, he's trying to shoot DeGaulle, it's not as if he was attempting to shoot a decent human being or something, heck, even Eisenhower and Churchill wanted to shoot DeGaulle because he was such a useless, vainglorious prick. ... Read more

Reviews (10)

Douglas Sirk's Magical Unrealism & the Lost Art of Melodrama
On the surface, John Stahl's 1934 version of IMITATION OF LIFE and Douglas Sirk's later adaptation in 1959 appear quite similar. Based on the novel by Fannie Hurst (originally published in 1933), each of the two film renditions renders the story of a young woman divided between two worlds and her desperate search for her true identity. While Stahl's rather understated approach accomplishes the translation of Hurst's penetrating tale onto the screen with commendable proficiency, it is Sirk who improves upon it, amplifying the story into a masterful and illuminating social drama by exercising the devices of the melodrama to underscore and mine the significant issues of racial prejudice, fumbled motherhood, and materialism in American society in the 1950s.

Putting the "direct" in director, Sirk triumphs with his unabashedly frank portrayal of racial hatred in his adaptation. He also uses color to great and conspicuous advantage to identify the immense social divide between blacks and whites in the film. In deep contrast to the white hearse carrying Annie's body, the very white-appearing "family" of Lora, Susie, Steve, and Sarah Jane are relegated to follow from behind in a black limousine. The black versus white theme displays the opposing magnetic forces between which the biracial Sarah Jane finds herself caught. She is attracted to the white side of life but is naturally pulled toward the black side despite constant resistance. Ironically, only when she finally gives in to the latter's natural gravitational force is she positioned by default and virtually blended into the white domain, fundamentally due to the loss of her only perceptible black affiliation: her birth mother. (A fascinating point: This daughter's appearance at her mother's funeral is inspired by a similar scene in Stahl's version, but in fact the daughter in Hurst's novel doesn't return for the funeral; she has moved to Bolivia with a white man who has no clue about her black heritage).

Sirk also succeeds at accentuating the momentous tug-of-war between a woman's desire to have a successful career and her domestic accountability in the context of the 1950s. Sarah Jane possesses an ambition to get more out of life than what her hereditary role has assigned her, which makes her a lot like the career-ambitious Lora. Likewise, Susie is just as submissive to the cards life has dealt her as Annie is. Lora becomes an unwitting role model for Sarah Jane, and Annie an equally unwitting surrogate mother for Susie. Like Lora's emotionally empty acting career, Sarah Jane's sham of a white existence fails to provide her with the love she so desperately needs, something she eventually recognizes she cannot truly "live" without. For Annie, life in this fleshly world is a mere imitation of the real life that awaits her in Heaven. The exorbitance of Annie's funeral testifies to the emotional price paid with the loss of such a benevolent human being.

Because Sirk's production style is so excessively augmented, the messages concerning social issues that 1950s viewers would rather not face directly are discreetly concealed in a fashion that makes such propositions easier for them to swallow. Sirk's interiors are extremely over the top, and his exteriors are so fake one cannot help but know they are not real, providing the film with a sense of "magical unrealism." Only in this artificial sense of reality can viewers accept the contrived closure given to the social problems that embody the film's plot.

By riveting viewers' attention to the glamorous lifestyle Lora attains through career ambition, Sirk zeroes in on the genuine desires of women of the 1950s, particularly housewives or women who retreated from the workforce after WWII ended and their men returned home to resume their roles as the primary breadwinners. Having tasted the rewards of working outside the home, 1950s women dreamed of more than their contemporary home-based existence.

Ultimately, Sirk points out that people in life are forced to make choices based on the situations in which they find themselves. All people are, in some way, like Sarah Jane, stuck in a position wanting or needing more out of life than what has been provided freely. To obtain what they yearn for means sacrificing part of their own needs or wants. No one, he asserts, can realistically have it all, no matter how much they try to overcome the partitions that fabricate the very structure of society. Humans make choices in life based on what is most important to them. Annie believes life isn't much without the giving of love to the people around her. Like the message behind the theme song of Sirk's adaptation, Annie trusts in the notion that "every day would be gray and incomplete without the one you love." Lora seems to learn this truth about life near the end of the film, when she puts her career on hold so she can be with Steve and Susie on a full-time basis. (Interestingly, Hurst's novel ends with the white daughter falling in love with her mother's beau, much to the mother's horrific surprise.) Sarah Jane, however, learns this lesson too late, never to recover the time she could have spent bonding with her now-deceased mother.

Altogether, through his lavishly synthetic and ornate scenery, Sirk yields a high-pitched melody upon the dramatic canvas of life in his implosive acculturation of Hurst's tale of women struggling to find themselves in a complex world. In the end, he holds up his version of IMITATION OF LIFE as a mirror to his audience, showing them who they are and, perhaps more importantly, who they are not.

My Favorite Movie
Everytime someone ask me what is my favorite movie and I tell them "Imitation of Life" and they are amazed. Why do I say this movie? The story is amazing and I love how the Mother is loving and caring to her daughter inspite of her daughter's rejection of her race and her mother. I love the relationship between the mothers and the daughters. This movie is a must have.

Imitation of Life 1934/1959: GREAT COLLECTOR ITEM
I love the movie Imitation of Life. Although I had never seen the 1934 version before, I loved just as much I did the 1959 version. I watch this movie all the time and think that it's a movie that everyone should see. The message that the movie shows just how hard and the lengths that people will go to fit in into a society that tells them that they must look and act a certian way. This is a item that everyone should have in their DVD collection and I reccommand it to everyone.

Glad its only an Imitation
Douglas Sirk's Imitation of Life is a parody of an earlier film by John Stahl. The film portrays a struggling white actress who befriends a homeless black woman, and they end up living together. The black woman, Annie, takes on the rols of maid, servant, and nanny for the white woman Miss Laura and her daughter Susie. Annie's daughter Sarah Jane is half white, and throughout the film we see her attempt, time and time again, to "pass" as a white girl. Through the technique of gestic acting, or over acting, certain themes and messages in the film are impressed upon us over and over again. Miss Laura, for example is a struggling actress looking for work. She seems to be the picture of beauty and femininity. In John Berger's book, "Ways of Seeing,"he brings up the notion of the surveyor and the surveyed. This refers to the manner in which women are looked at and watched by the male eye. They then internalize that look and begin to see themselves as men want them to be, and begin to act accordingly. Throughout the film, we watch Miss Laura being surveyed, and eventually we see her internalize the look. At first she is watched and photographed by her future love interest Mr. Steve. He takes a picture of her at the very beginning of the film when she has lost her daughter and is frantically searching for her. In his picture she is a concerned mother. There are very few times in the film when Miss Laura seems to actually think about Susie. Mr. Steve, though, has framed her as a mother and wife from the very start. There is part of her that wants to fit into Mr. Steve's vision, but she first feels that she must pursue her career. Later on in the film Miss Laura and Mr. Steve are reunited. It is at this point when Miss Laura internalizes Mr. Steve's vision and begins to survey herself as she had been surveyed by Mr. Steve throughout the film. She gives up her career to become the housewife and mother that Mr. Steve had always seen her as. Another theme that become blaringly obvious in this film has to do with the intersection of race, class, and gender. We see this most clearly in Sarah Jane's character. In Smith's article she discusses the need to "pass" as a white person because of racism that is present in a dominantly white society, as well as in reaction to the discrimination against people of color. Sarah Jane struggles throughout this film, beause she has spent her life living in Susie's shadow. She sees all of the advantages Susie has because of her successful mother, and she is constantly jealous of her white privileged life. Try as she might, Sarah Jane can never break away from the intersecting characteristics that make her who she is. She tries to pass as
a white girl who is trying to make it on her own, but she cannot break away from her black roots. Thankfully this film is only an imitation of life and not the way that people really behave. The gestic acting is painful to watch but it does do the job of getting Sirk's messages across loud and clear.

Great Double Feature. Great Value. Disappointing Transfers
I was very excited to hear about the release of the two versions of Imitation Of Life together on the same DVD. I had never seen the 1934 version and found it to be an equally enjoyable film as the 1959 one, although quite different (the main character is an entrepreneur versus an actress in the '59 version). The transfer for the 1934 version is decent considering it's age. I was more disappointed with the 1959 one. Granted, it was filmed in Eastman Color so one could not expect Technicolor brilliance, but the transfer is grainy and faded. To make matters worse, the layer change occurs at the worst possible place, as someone is running down the stairs (as with all DVD's, there is a slight pause at that time). This is very jarring; what was the engineer thinking? Layer changes ideally should be placed between a fade-out and a fade-in of scenes. Considering the price and the content, I would reccomend this DVD if you can ignore it's flaws. ... Read more

Amazon.com essential video

Robin Williams won the Oscar for Best Supporting Actor, and actors Matt Damon and Ben Affleck nabbed one for Best Original Screenplay, but the feel-good hit Good Will Hunting triumphs because of its gifted director, Gus Van Sant. The unconventional director (My Own Private Idaho, Drugstore Cowboy) saves a script marred by vanity and clunky character development by yanking soulful, touching performances out of his entire cast (amazingly, even one by Williams that's relatively schtick-free). Van Sant pulls off the equivalent of what George Cukor accomplished for women's melodrama in the '30s and '40s: He's crafted an intelligent, unabashedly emotional male weepie about men trying to find inner-wisdom.

Matt Damon stars as Will Hunting, a closet math genius who ignores his gift in favor of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past, and as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another. --Dave McCoy ... Read more

Reviews (345)

JCMICHAELS.COM Good Will Hunting Review
Good Will Hunting is one of those films that I wasn't expecting much, since the writers, Ben Affleck and Matt Damon are so young. But surprisingly this young duo was able to write a sophisticated script that, with the direction of Gus Van Sant, became an Academy Award winner. Those awards, Best Supporting Actor and Best Original Screenplay definitely show the movies strong points. Unfortunately the acting is a little wooden and awkward at times, but is forgivable.

Luckily this movie has great bonus features including my favorite, audio commentary with Gus Van Sant, Matt Damon and Ben Affleck. Also included are 11 deleted scenes with audio commentary, production featurette, and "Miss Misery" music video. In other words this DVD is loaded.

Overall, with all the bonus material and sophisticated story this is definitely a great rental. If on the other hand, you are huge fans of Ben and Matt, and have already seen it and loved the movie, then it really is a no-brainer, just buy it.

Beautiful, thought-provoking . . . perfect
This movie is either perfect, or as close as it's possible for a movie to be. The acting is outstanding. The direction is terrific. The script is heartfelt and real. The soundtrack, featuring Elliot Smith, is perfectly suited to the movie. All in all, it's one of the greatest movies I've ever seen, and it's my personal favorite.

Will Hunting (Matt Damon) is a janitor at MIT who harbors a secret genius for mathematics. Rather than bank on his intelligence, he spends most of his time riding around and drinking with his buddies (Ben Affleck, Cole Hauser, and a particularly funny and excellent Casey Affleck). However, his gift is discovered by a professor at the university (Stellan Skarsgard) who bails Will out of jail (in on a count of assault) on the conditions that he start doing math regularly with the professor and that he see a psychiatrist. Enter the psychiatrist, Sean (Robin Williams). To add to the mix, Will meets a Harvard student, Skylar (Minnie Driver) who is possibly the first woman for whom he's ever had real feelings. Over the course of the movie, all of these characters in their own way try to make Will live up to his potential.

The movie doesn't have much of a plot other than this -- however, that's fine, because it's meant to be more of a character study and it's a great one. Pretty much every scene is two people sitting down talking to each other -- yet it holds the viewer's interest because the characters are so captivating. Sean and Will's scenes in particular are terrific. Matt Damon and Robin Williams, besides both being fine actors, have a natural chemistry that you just can't fake. Damon and Minnie Driver are also great together (of course, as it's widely known, the two dated during the filming of the movie) and it's my opinion that both were robbed of their Oscars.

Ben Affleck shows that spark in this movie which he showed in most of his '90s movies, and he's great in his role -- but even better is his brother Casey. Watch the movie with the audio commentary, and you'll gain so much more appreciation for both the role of Morgan and the actor Casey. The same goes for Stellan Skarsgard. Cole Hauser is good with the few lines he has.

All in all, this is a great movie -- beautifully shot, well-written . . . well, I've said it all before. If you're not offended by excessive use of the word "f***" (and yes, some people really do talk like that) you should love it. Forget the naysayers -- "Good Will Hunting" is one of the most heartfelt, poignant movies in recent history. Too bad all the awards that year automatically went to the movie with the grandest special effects instead of the one with better dialogue and better characters.

A drama with emotional depth
This quiet drama about what genius means was the surprise hit of 1997, with friends Matt Damon and Ben Affleck both collaborating on the screenplay and acting. Damon plays Will Hunting, a troubled, gruff young man who works as a janitor at MIT despite his incredible self-education and intelligence. When a mathematics professor discovers that Will has solved a complicated problem left on the blackboard, he pursues Will as a potential protégé. But Will is not good with authority figures, as his past includes abuse at the hands of his father. When Will lands in jail, however, and the professor manages to obtain his release with the stipulation that Will work on mathematics with him and see a counselor, Will's whole life begins to open up. As a patient of psychologist Sean Maguire (Robin Williams), Will forges a relationship that acts as a catalyst for a new future.

Matt Damon does a wonderful job with the title role, although at times he seems a little wooden. As the therapist with a painful history that Will eventually connects with, Robin Williams turns in one of his less flamboyant performances. His suffering is palpable, and his need to save Will from himself lends real passion to the film. Affleck provides solid balance as Will's friend Chuckie, although his performance is less memorable than the other two, more of a function of the role than the actor. Minnie Driver is charming and believable as Will's new girlfriend Skylar.

The screenplay is intelligent and skillfully developed despite some unbelievable facets of the premise, most notably that such a wounded individual, no matter how bright, would have the discipline to teach himself as much as Will knows. Still, this movie only gets better as it progresses. The relationship between Will and his therapist is dynamic, poignant, and meaningful.

This is a good film to own, as it uncovers additional subtleties on second viewing, as long as you don't mind revisiting emotional angst. Its feel-good story arc is somewhat predictable, but the dialogue and interactions are not, making this flick surprisingly complex given the young ages of Damon and Affleck when it was made.

Good film, good job for a first time screenplay/movie.
This film, which was the first time for Ben Affleck and Matt Damon, in writing a screenplay, turned into a movie, is an impressive piece of work. About a shy, yet with an attitude, young man (who as we find out later was abused) who demonstrates his brilliance, but who will not let people get too close. Ben Affleck (before all of this "Bennifer" nonsense) is good as his buddy, who really wants him to use his "gift". With an outstanding performance by Robin Williams (who deserved his award) and Minnie Driver, the lads have put together a funny, poignant, movie; which wasn't "overdone" as some movies might be. Williams and Damon interact with each other with the right amount of "attitude" as they help each other overcome their fears, hopes, missed opportunities, and dreams. A better film than I thought it would be. I'd recommend it. The downside (for peope offended by language, i.e., profanity, is that there is a lot of it, especially the "F" word). If one can overlook that, if one's offended [I'm not overly so]; then, this movie speaks to the person inside all of us, as we ask ourselves some basic questions; what do we want out of life, do we have regrets, did we try hard enough to succeed, what does success mean, and so on. Damon's character refused to be "manipulated" by anyone, including the professor who had his own issues. Definitely worth seeing. Had a pretty decent soundtrack too.

Some Outstanding Moments, but Not a Masterpiece
GOOD WILL HUNTING was actually written by two of its stars, boyhood friends, Matt Damon and Ben Affleck. I was surprised when I first learned this; the screenplay, while still a little rough around the edges, shows a lot of insight for the twentysomethings that Damon and Affleck were in 1997.

GOOD WILL HUNTING is the story of, who else, Will Hunting (Matt Damon), a janitor at MIT and a young man with a very troubled past. Will was an orphan and a victim of child abuse. As an adult he's a petty criminal with a short fuse and an uncanny ability to reduce the most complicated math problems and theorems to simple answers, something he does at night on MIT's chalkboards. Will is a mathematical genius with a photographic memory, but he neither recognizes his gift nor cares. He'd much rather be out with his other blue-collar buddies, drinking and getting into trouble.

Two things happen to change Will's errant ways. The first is the fact that his genius is found out by one of MIT's professors, Professor Lambeau (Stellan Skarsgard). Professor Skarsgard wants to do something to encourage Will to develop his gift. The second, and more pivotal thing that happens is that Will assaults a police office on one of his nightly binges and lands in jail.

Luckily, Will comes before a judge with some understanding of what he really needs. Instead of being sent to jail, Will is ordered to spend one day a week with Lambeau, studying math, and one day a week with a therapist in order to work through his short temper and his need to self-destruct. After a few false starts, Will ends up seeing Sean McGuire (Robin Williams), a teacher at Bunker Hill Community College and Lambeau's former college roommate. As things progress, it becomes more and more evident that Will is just as good for Sean as Sean is for Will. Will also receives help and encouragement from his childhood friend, Chuckie (Ben Affleck) and a pretty Harvard student from Britain, Skylar (Minnie Driver).

The plot of GOOD WILL HUNTING is very, very predictable, as is its ending, but that really didn't stop me from enjoying the film. There are some outstanding moments and set pieces, but overall, the film is only a little above average.

The dialogue is sometimes above average and, much to my delight, there was actually subtext, something so much screen and literary dialogue lacks these days. The thing that really rescues the film from mediocrity, though, are the performances from all the actors, especially an uncharacteristically subdued performance from Robin Williams. The scenes between Williams and Damon feel "real" and the chemistry between Affleck and Damon and Damon and Driver is palpable. Of course, the fact that Affleck and Damon have been lifelong friends and that Damon and Driver were romantically involved during the filming of GOOD WILL HUNTING didn't hurt the "chemistry" one bit. Still, it could have gone wrong. Jennifer Lopez and Ben Affleck were engaged when they made GIGLI and that fell flatter than any proverbial pancake ever could.

GOOD WILL HUNTING is a very solid, though predictable piece of entertainment, with strong performances from all concerned. I would recommend renting it before buying it, however, as it's not a film that one wants to see again and again. At least not in my opinion. ... Read more

Reviews (35)

The one Tracy-Heburn movie where she gets the upper hand
This 1957 film directed by Walter Lang was the eighth of the nine Tracy-Hepburn films and their first in color. Based on the play by William Marchant (which had starred Shirley Booth on Broadway), Katharine Hepburn plays Bunny Watson, a reference librarian who works for a television network. Bunny becomes quite concerned when she learns that the new computer being installed by Spencer Tracy's Richard Sumner is supposed to put her and the rest of her staff out of work. Gig Young has his standard role as the nice guy who ends up losing the girl in the end, while Joan Blondell, Dina Merrill and Sue Randall make up the rest of Bunny's brainy staff.

In terms of pairing Tracy and Hepburn "Desk Set" is certainly unique because it is the only film where she gets the upper hand at the end and he gets the comeuppance. Tracy is really nothing more than a misunderstood villain; his new toy is suppose to help the girls in the reference library not replace them. But none of this really matters because in the end it is clear than the women are a lot smarter than the machine (although they do get the baseball trivia answer wrong). The one priceless scene in the film is a roof top lunch between Tracy and Hepburn. He just has a few simple questions for her that turn out to be brainteasers, and Hepburn's character disposes of each and every challenge with an ease grace and guileless naiveté that is quite charming, while Tracy sinks lower and lower as she beats him at every turn. The rest of the film is fairly pedestrian as we wait for the expected happy endings for the computer and romantic plot lines.

After receiving Academy Award nominations for her work in "Summertime" and "The Rainmaker," Hepburn had made a film with Bob Hope that was totally butchered, the astonishingly unfunny film "The Iron Petticoat," and "Desk Set." It would be another two years before she made another film, although Spencer Tracy's failing health was as much if not more of a contributing factor as the sudden drop off in the quality of her films. Hepburn would turn to the stage and perform Shakespeare and then return to the screen with four consecutive Oscar nominated roles. Consequently, in retrospect, "Desk Set" clearly defines the end of a period in Hepburn's career. You can not help but look at the next two decades of her film career, where virtually every film is based on a play by a great dramatist (Tennessee Williams's "Suddenly Last Summer," Eugene O'Neill's "Long Day's Journey Into Night," Euripides's "Trojan Women," Edward Albee's "A Delicate Balance") and not think that this was very much a conscious effort by Hepburn in the wake of this particular fluff piece.

IT'S ABOUT TIME!!!!!
I've been waiting for this DVD forever because I love this movie but can't stand the pan-and-scan version. I just saw this mentioned on Turner Classic Movies, cried out "Yes! Yes!" and immediately came to Amazon to see if they have it. I am so glad they do! And in honor of this great movie finally being released in all of it's widescreen glory, I am cut and pasting my review for the video version here below:

"Like Floating Island...Delicious!"

The smart dialogue, the gorgeous fashion, the way you want to kick Gig Young in the teeth...I wish more modern comedy could be this clever. (My two favorite scenes are the rooftop lunch quiz and the rainy evening misunderstanding. As usual you never think Tracy is acting, he's so real. And Hepburn's Miss Watson (her name a inside-joke nod to the founder of IBM -Thomas J. Watson) is a character you root for to blow off egotistical beau Mike. Another bonus is the Sumners snooty EMIRAC assistant, Miss Warringer-whose come-uppance couldn't be better. I want a brown coat like Bunny's!

Thank goodness this is finally out on DVD and WIDESCREEN! It's completely enjoyable now without the distractions of pan and scan!

Tracy and Hepburn Forever!

The one Tracy & Hepburn match where she gets the upper hand
This 1957 film directed by Walter Lang was the eighth of the nine Tracy-Hepburn films and their first in color. Based on the play by William Marchant (which had starred Shirley Booth on Broadway), Katharine Hepburn plays Bunny Watson, a reference librarian who works for a television network. Bunny becomes quite concerned when she learns that the new computer being installed by Spencer Tracy's Richard Sumner is supposed to put her and the rest of her staff out of work. Gig Young has his standard role as the nice guy who ends up losing the girl in the end, while Joan Blondell, Dina Merrill and Sue Randall make up the rest of Bunny's brainy staff.

In terms of pairing Tracy and Hepburn "Desk Set" is certainly unique because it is the only film where she gets the upper hand at the end and he gets the comeuppance. Tracy is really nothing more than a misunderstood villain; his new toy is suppose to help the girls in the reference library not replace them. But none of this really matters because in the end it is clear than the women are a lot smarter than the machine (although they do get the baseball trivia answer wrong). The one priceless scene in the film is a roof top lunch between Tracy and Hepburn. He just has a few simple questions for her that turn out to be brainteasers, and Hepburn's character disposes of each and every challenge with an ease grace and guileless naiveté that is quite charming, while Tracy sinks lower and lower as she beats him at every turn. The rest of the film is fairly pedestrian as we wait for the expected happy endings for the computer and romantic plot lines.

After receiving Academy Award nominations for her work in "Summertime" and "The Rainmaker," Hepburn had made a film with Bob Hope that was totally butchered, the astonishingly unfunny film "The Iron Petticoat," and "Desk Set." It would be another two years before she made another film, although Spencer Tracy's failing health was as much if not more of a contributing factor as the sudden drop off in the quality of her films. Hepburn would turn to the stage and perform Shakespeare and then return to the screen with four consecutive Oscar nominated roles. Consequently, in retrospect, "Desk Set" clearly defines the end of a period in Hepburn's career. You can not help but look at the next two decades of her film career, where virtually every film is based on a play by a great dramatist (Tennessee Williams's "Suddenly Last Summer," Eugene O'Neill's "Long Day's Journey Into Night," Euripides's "Trojan Women," Edward Albee's "A Delicate Balance") and not think that this was very much a conscious effort by Hepburn in the wake of this particular fluff piece.

TRACY/HEPBURN MAGIC STRANGELY ABSENT!
This is one of Kate and Spencer's later efforts - post MGM, pre-"Guess Who's Coming To Dinner" and it generally lacks in the chemistry that most of thier work at MGM had in spades. Tracy's a method's engineer who's assigned to make the daily operation of a television station more efficient. Of course he's bound to butt heads with researcher, Bunny Watson (Hepburn). Unlike most Tracy/Hepburn movies, in which their love for one another is never in question, on this occasion,Gig Young is inexplicably and needlessly thrown into the mix as Bunny's boyfriend. But it's the old Hepburn/Tracy's stardust and magic that keeps this otherwise deadly boring film afloat.
TRANSFER: Desk Set is at last presented in its original Cinemascope 2:35:1 aspect ratio and it is anamorphically enhanced to take full advantage of 16:9 displays. Although colors can be rich, vibrant and bold, flesh tones have an uncanny pasty look in certain scenes and a reddish/pinkish overcast in others. There are instances where dirt, film grain and age related artifacts crop up throughout this print. Also, black levels tend to be weak in certain scenes. There's a hint of edge enhancement and some pixelization but the print is generally smooth looking. The audio, as with all Cinemascope films of the period, is vintage stereo and presented at a reasonable listening level.
Extras: Fox is genuinely inconsistent in the extra content they provide for their "Studio Series" titles. If you recall, "The Day The Earth Stood Still" contained a 70 min. documentary while "The Inn of The Sixth Happiness" contained only an audio commentary track. On this occasion we get an audio commentary and some truncated movietones junk that is short, boring and generally slapped together as an afterthought. Not what I would expect from any series dubbed, "Studio Series".
BOTTOM LINE: If you're a die hard Tracy/Hepburn fan than this is a must have. But it's not one of their best or even one of their mediocre. It's just big on...well, being big and short, unfortunately, on entertainment!

We get set up with Desk Set at last!
"A large market exists in the U.S. for classic movies on DVD. There can really be no excuse for withholding America's rightful cinematic history when Europe and Asia is already enjoying it!" That comes from another reviewer on these pages, and I second that emotion.

I'll go even further than that review and say that Desk Set is the BEST film with Spence and Kate. And don't forget the great Gig Young doing his perfect second banana routine, which has already delighted us in so many other films. They didn't hide behind so many physical gags or the safer facade of black and white. Instead they acted out the script in glorious full color widescreen and stereo, no less.

And did Fox drop the ball in giving us the proper widescreen version of this classic? No, they did not! The studio came through for us (which is more than we can usually say about studios) and put it out in widescreen! And they even added some actress commentary for good measure. Yes, it's been a long 9-year wait, since DVDs first came out in 1995, but it's here now, at least.

And what a great modern plot Desk Set has: an independent woman (instead of a cloying playtoy), a job for that woman as a research expert, (instead of the usual secretary trying to date her boss), a strong leading man but one with a sense of humor (instead of the usual he-man tough guy). And all smack in the middle of the early revolution of COMPUTERS!

The man vs. machine concepts in this film will reverberate down through the ages. Plus it has a great romantic plot, too. This film has everything! Many people say they love to see a well-restored 1957 Chevy, but I'll take this well-restored 1957 Desky instead! ... Read more

Amazon.com

M*A*S*H's fifth tour of duty finds the 4077th operating at peak efficiency. Harry Morgan, as Colonel Sherman Potter, and Mike Farrell as BJ Hunnicutt, pumped new blood into series, and in this, their sophomore year, became integral parts of the ensemble. Gary Burghoff joined the Emmy elite for his role as company clerk Radar O'Reilly. William Christopher was also promoted, finally earning his opening-credit stripes for his role as Father Mulcahy. This season was also pivotal for Loretta Switt's Major Margaret Houlihan. "The Nurses," one of Switt's finest half-hours, humanized her rigid, by-the-book character. Margaret's engagement provided the season with its dramatic arc, and set the stage for the departure of Larry Linville's Major Burns, who by this time had wrung all the music he could from his one-note character. In addition to "The Nurses," another episode that looms large in the show's legend is the Emmy-winning "Dear Sigmund," in which weary and depressed psychiatrist Sidney Friedman sought refuge at the 4077th. This episode further fleshed out BJ, and established him as the camp's practical joker. The episode "Hanky Panky," in which a compassionate BJ consoles a nurse whose marriage has fallen apart, ranks as one of his best.

Alan Alda's Hawkeye suffers physical and psychological crises in two of his most effective episodes, "Out of Sight, Out of Mind," in which he is temporarily blinded, and "Hawk's Nightmare," in which the war haunts his dreams. We also see the first warning signs of sanctimony that would infect the show in later seasons. Tell us, Hawkeye--and he does, in "The General's Practitioner"--why war is worse than hell. Whereas Hawkeye and Trapper in earlier seasons were partners in crime, Hawkeye and BJ become tireless (and sometimes tiresome) crusaders to right all wrongs in their "little corner" of the world, as witness their shutdown of a heartless junk dealer in "Souvenirs." One cure is "Movie Tonight," an ensemble episode in which camp members bond during a much-interrupted screening of My Darling Clementine. --Donald Liebenson ... Read more

Reviews (28)

My FAVORITE season...
Way, WAY back in the olden days of the early 1970's, when this amazing show premiered, I became an INSTANT and FAITHFUL fan, right to the end of it's run.

When each season became available on DVD, I was delighted at the prospect of being able to collect all the seasons for my own. Both the audio and video quality of the DVD's seems to me to be outstanding in each season's realease.

I was ESPECIALLY pleased to find that "Play All" feature" was FINALLY added on this season's menu. MAN! Having to manually start each episode in season's 1 - 4 was REALLY ANNOYING.
Substantively, season 5 is my favorite, being the year where Margaret FINALLY gives Frank the "boot". I love the way her character is allowed to make huge leaps of personal growth in this series. The only serious critisism of the otherwise completely wonderful M*A*S*H* television series, is the fact that the character of Frank Burns was never allowed equal opportunity for personal growth; I think that if this HAD occurred, Larry Linvile, an AMAZINGLY gifted performer, might not have left the series. I think Mr. Linville's downfall was that he was so incredibly awesome at making Frank Burns, the total Jackass, come to life. The truth is, I've always chaffed at the way they locked his character (as well as virtually ALL other conservatives and/or career military characters who appear on the show) into a farsical, bigoted stereotype; e.g.: "all conservatives are adulterers, liars, hypocrits, stupid, war mongering, greedy, selfish, insensitive, disrespectful, abusive pigs that BLINDLY pledge allegiance to a flag and a country that 'everybody knows' should not have even been involved in Korea." The fact is, all those who call themselves conservatives and serve America in uniform are NOT anything like the Frank Burns character. The writers and directors- the powers that were the driving force behind the series, certainly DID have their little adgenda- and more's the pity. The picture they painted of the way things were then was extremely lopsided; and at times, even slanderous.

Nevertheless, I, being a secure, FREE American, LOVE the series anyway, and will treasure it always. And all you other M*A*S*H fans, don't hesitate to buy this or any of the other seasons curently available. They are top notch quality. Can't wait for season 6 to come out!

M*A*S*H* : Classic TV Programming
It's not neccessary to watch this series from its premiere episodes. This series has become the favorite of legions of fans worldwide and the slapstick humor that was so rooted in each episode is the reason why. Hawkeye, Trapper John, BJ Hunnicut, Colonel Henry Potter, Major Winchester, Henry Blake. These were outstanding comic characters which made this series so enjoyable to watch.

I grew up on this series as a child, forced to watch it with my dad when I was growing up, and now they've released season five. I always resented having to watch this show but I've fallen in love with this this once again. For anyone who hasn't had the oportunity to catch this show, it was the original hospital drama long before E.R. appeared on the airwaves and had more entertainment value than General Hospital.

Was there anything better?
Dude if you would like to experince some of the best humor ever. Notice the experince part. Buy this DVD set. The packaging may not be all that great but who cares? Your getting to relive those classic M*A*S*H episodes all over again. And this time you can watch them when ever you want. Anyways. Best episode on here has to be " Movie Tonight". Its just so funny. Well hope you enjoy it.

OVERRATED
At the same time, Robert Altman's "M*A"S*H" came out. It, too found an audience, and truth be told many who enjoyed "Patton" enjoyed "M*A*S*H". It was just plain funny, and the anti-military theme was subtle. Altman walked a brilliant tightrope between a pro-American and unpatriotic premise. There is no doubt that Altman intended it as an anti-Vietnam movie. It was written by former Communist Ring Lardner, Jr. Lardner had been Blacklisted, and this fact featured prominently in the politics of the film's aura. It was based on a sexy paperback novel about surgeons in Korea. The film was set in Korea, yet made every possible attempt to convey the image that it was actually Vietnam. Many of the movie's set pieces were deliberately Vietnamese in nature and costume, for that very purpose. To the extent that it was unpatriotic, it subtly described "regular Army" officers as unyielding, intolerant Christians, utterly blinded by stupid jingoism. The draftees, however, are funny and attractive as they drink and love their way through a bevy of good-looking nurses, all while saving lives in the style of comic Galahads. Altman showed genius as a filmmaker. The movie avoided real controversy because it was just so darn good.
"M*A*S*H" spurred a television show that ran for years. In the 1970s it played for its time and audience. Re-runs, however, strain its credibility beyond Altman's original themes. Two doctors played the "bad guy." The first was a complete buffoon. Frank Burns was prominently identified as a Republican. He is given zero good qualities. He is ugly, a bad doctor, a coward, a racist and all-around mean SOB who cheats on his wife with Major Margaret Hoolihan, who at least is given some character. She is half-Vixen, half-Fascist, naturally Republican, a patriotic American in the "worst way," who worships the idols of war. Over the years the writers gave Margaret a little development. Very little. Burns was replaced by Major Charles Emerson Winchester, a Boston Brahmin, naturally a Republican whose father "knows Truman. He doesn't like him, but he knows him." Winchester, like Hoolihan, is allowed a touch of humanity when the liberal writers felt charitable, but generally was available for all possible bashing. Two hero-doctors anchor the show by showing their intelligence, medical skills and tolerance as direct contrasts to the war effort. The CIA is lampooned, and a military effort that in reality featured MacArthur's Inchon campaign, perhaps the most brilliant invasion in history, is also played as foolish. In the end, the TV show and the film avoid being really and actually unpatriotic because they do feature an emphasis on the basic goodness of the American spirit under stress, but you will not catch me tuned in to those old re-runs(...)

My Favorite Year
By the autumn of 1976, MASH was beginning it's fifth season, the one where Margaret gets engaged, the last one with Frank. It was also that autumn that I celebrated my 10th birthday, and my parents decided I was finally old enough to watch MASH and other adult tv shows. (How things have changed since those days). I had seen some of the last reruns of the fourth season during the summer of '76, but season 5 was the first season I actually watched regularly. In 1976, the war in Korea had only been over for 23 years, and 1976 was much closer in time to the actual events in Korea than we are today to this particular season of the tv show MASH. That's an odd thought.

Perhaps because it was the first season I got to watch in full, I remember season 5 as THE season. It remains my favorite season, and that year's season premiere, The Bug-out, is still my favorite episode of the entire series.

There are other reasons than my own nostalgia for this to be one of the best seasons -- some really classic episodes like "Movie Tonight" just to name one, some poignant moments, a lack of the "preachiness" that plagues the final 3 or 4 seasons. BJ was still a likable punster and practical joker instead of the grouch he later became, whereas Margaret stopped being so uptight as before. Seasons 5 and 6, in my opion were the peak years, in terms of humor balanced by pathos. ... Read more

Description

A poor little boy wins a ticket to visit the inside of a mysterious and magical chocolate factory. When he experiences the wonders inside the factory, the boy discovers that the entire visit is a test of his character. ... Read more

Reviews (224)

Candy is dandy, but liquor is quicker. ;)
1971's "Willy Wonka & the Chocolate Factory" is a colorful cult classic that includes both a witty score and a morality tale. Based on the children's novel by Roald Dahl, the story concerns Charlie Bucket (Peter Ostrum), a poor yet virtuous paperboy who dreams of a better life. With no father, no money, and four bedridden grandparents to support, Charlie's future seems bleak. However, that changes when a contest is started by the town's mysterious candymaker, Willy Wonka (Gene Wilder): 5 Golden Tickets are hidden among the billions of Wonka bars sold all over the world. The lucky buyers who find the tickets will get a lifetime supply of chocolate AND an exclusive tour through the factory. The first half of the movie shows the worldwide hysteria that results from the frantic search for the Tickets. Eventually, four winners are revealed one by one: Veruca Salt (Julie Dawn Cole) is Great Britain's ultimate spoiled brat. Augustus Gloop (Michael Bollner) is a chubby German who considers eating his most favorite hobby. Violet Beauregarde (Denise Nickerson) bears the rude, disgusting habit of constantly chewing gum. Mike Teevee (Paris Themmen) is a cowboy couch potato who bears a distorted view on reality. When Charlie himself discovers the final ticket, he and his Grandpa Joe (Jack Albertson) both enter the factory to savor the marvelous surprises awaiting them. However, temptation comes into play: Wonka's sinister rival Arthur Slugworth (Gunter Meisner) has offered each of the children $10,000 in exchange for an Everlasting Gobstopper, a brand new product Mr. Wonka was working on.
In the latter half of the film, viewers will meet Gene Wilder's Willy Wonka, whose elusive persona and literary quotes make him strangely appealing. Is this man lying or is he telling the truth? In addition, audiences (old and young alike) will catch the delightful sights of orange-faced Oompa-Loompas, a nightmarish Boat Ride, Fizzy Lifting drinks that cause drinkers to float away, and quadruple-size Geese that lay octruple-size eggs! Throughout the journey, the group's four nasty children (and their equally despicable parents), are eliminated one by one in gruesome yet amusing ways: The gluttonous Augustus falls into a chocolate river and is sucked into a boiler. Violet samples a 3-course-dinner gum (despite Wonka's warnings) and inflates into a gigantic blueberry. When Veruca Salt attempts to steal a Golden Goose, she falls into a garbage chute, one that happens to lead down to the furnace! After trying to get photographed onto Wonka's giant T.V. camera, Mike Teevee is shrunk down to the size of a pen; the only way to restore his size is by stretching him out on a taffy-pulling machine! With imaginative sets, clever confections, and pleasant tunes like "Candyman," "Pure Imagination," and "Cheer Up, Charlie," this movie was made to entertain adults first and children afterwards. It's a guilty pleasure to college graduates, much like H.R. Puffenstuff.
I chose to give this film four stars because I felt that a couple of mistakes were made. For one thing, the nature of Wonka's factory is a little too candy-coated; Roald Dahl himself wanted to have the story as a Grimm fairytale, not a wholesome musical. Also, I personally think that the scene involving the Wonkamobile should have been cut out. The device, which is fueled by gingerale, gingerpop, gingerbeer, and double-bubble burp-a-cola (among other carbonated fluids), really doesn't have anything to do with the story. As a result, it's a little too distracting.
Now that Tim Burton plans to reimagine the tale, I am gleefully anticipating what alterations he plans to make.

Timeless classic!
(Spoiler included) I watched this movie on TV for rhe first time when I was 6 years old and I haven't outgrown it since! It is a wonderful story about the power of imagination and how good things eventually come to those who do the right things.
The movie is based on the Roald Dahl book "Charlie and the Chocolate Factory." Willy Wonka is an eccentric candy maker who starts a contest offering a factory tour to five lucky winners who find a golden ticket in their Wonka bars. One of them is Charlie Bucket, an impoverished, but good natured, child who hopes for a better future for himself, his mother and his four grandparents. The other four winners are nasty obnoxious and bratty children. Augustus Gloop is an overeating glutton, Violet Beauregard is a gum chewing fanatic with no manners (digging up her nose while talking about how disgusting spitting is), Veruca Salt is a spoiled brat who wants everything she sees and whines until she gets it and Mike Teavee is a television addict with a smart mouth. One by one, they are eventually done in by their bad habits. Augustus falls into the chocolate river against Wonka's protests and is sucked into a pipe, Violet chews a piece of Wonka's "meal gum," once again against his objections, and turns purple and blows up into a giant blueberry, Veruca goes on a tantrum when Wonka tells her she can't have one of his giant geese and she falls down a garbage chute and Mike wants to be on television so badly, he willingly gets zapped into the size of an insect by Wonka's TV camera. Charlie, by being the respectable child that he is and by not compromising his integrity, not only completes the tour, he wins a prize beyond his wildest dreams.

The parents make it obvious why their children are so impish. When the children get into trouble at the factory, the parents blame Wonka instead of the kids' own bratty behavior. From the moment they step into the factory, they're complaining and finding fault with everything Wonka does and they take things way too seriously (much like the critics of this film)! I bet if the Oompa Loompas, with their wisdom, raised these little demons, they'd be much better.

Don't miss this film. It is not only a fun to watch diversion from reality, the messages are very timely and it makes you think about the good that still exists in this world. The critics and nitpickers may not get it but anyone who watches with an open mind and doesn't take it too seriouly will.

Still a great one!
OK, I know you are saying to yourself, that movie is ancient ~ my kid wouldn't enjoy it. Well, trust me your kid will enjoy it. It is a great movie! For all who may have missed it over the years (is there anyone out there?), the story is about a giant chocolate factory run by a never seen owner (Wilder). Over the years of the factory's operation he has become quite the legend. He decides to open the factory to a few lucky winners of a contest ~ all but one of the winning kids are truly rotten. And as all good stories go, the bad kids get their just "desserts" (sorry, couldn't resist the pun) leaving the good kid to win. A lot of good lessons taught about sharing, greed, gluttony and theft. Pop some popcorn and enjoy it with your kid; you'll be glad you did.

A Great Metaphor for Life
"Charlie and the Chocolate Factory" was my favorite book as a child, this movie remains a favorite of mine even to this day.

This film was made back in 1971 and is very simple in its style. The special effects are see-through and campy but the story line is a facinating metaphor for life that is forever timeless in its message. Willy Wonka is the creative genius who becomes a recluse in his chocolate factory because of society and its greed and malice. But he never loses his belief that someone in the world exists who can still believe in imagination and dreams. He finds this person in Charlie, a poor child who lives with his mother and four grandparents in a dirty basement home. Charlie has every reason to become dispirited and negative yet he remains a shining light of great positivity regardless of his circumstances. I suspect his attitude comes from the fact that his Grandfather Joe always supports his dreams, the boy never has to hear the word "can't"!

The chocolate factory holds a contest and several children, including Charlie, get invited behind the doors with Willy Wonka. While on tour they are tested with fame, fortune, greed and honesty until one by one they succumb to the failure of a human heart. All except Charlie, who keeps a smile on his face and wonder in his eyes while being faced with the simple adversities that cause the other children to fail. Sadly I feel the parents are to blame creating children who thrive on material wealth, constant TV watching, gorging on food, and looking for constant attention. The parents of the children who fail refuse to believe in the dream of Willy Wonka surrounding the atomsphere with doubt and negative beliefs. How could anyone survive under such circumstances?

The Chocolate Factory is filled with wonder, color and silly songs. Regardless of your age it will satisfy your sweet tooth and fill even a hardened heart. It certainly brings to life how parent's affect their children with their own actions and attitudes. Telling a child they "can't" accomplish all that they imagine only assists in stopping the world from greatness. Don't be afraid to dream!

Candy is dandy...
The film is based on a much-loved children's book, 'Charlie and the Chocolate Factory', by Roald Dahl. Dahl wasn't always happy with the changes made between his book and the film, and wasn't always consulted on them. Today probably more people are familiar with the film sequence of events than the book. Charlie is a down-on-his-luck boy who is nonetheless optimistic and happy. He and his mother work to tend for their bed-ridden family members, all living together in a one-room home.

One day there is an annoucement that Wonka is going to open his factory to visitors, to be chosen more or less at random through finding the Golden Tickets, contained in Wonka bars (a brilliant marketing device back then). Scenes of shoppers' frenzy are shown all around with world, including a Wonka delivery van shown arriving at the White House.

The five golden tickets are found all around the world - the first one in Dusselheim, Germany, by the fat boy, Augustus Gloop (played by Michael Boliner, who is now a tax accountant in Munich, and is still rather large). The second ticket was found in the UK, by spoiled brat, Veruca Salt (Julie Dawn Cole, the only Wonka child still acting), whose father, Roy Kinnear, is a well-known actor in British cinema. The third ticket was found in the USA, by gum-chewing Violet Beauregarde (Denise Nickerson, now an accountant at a nuclear plant in Colorado), whose used-car-salesman father was played by Leonard Stone (who was selected over Jim Bakus). The fourth ticket was also won in the USA, by Mike Teevee (Paris Themmen, considered a real brat by most of the cast and crew); his frantic mother was played by Dodo Denny (later Nora Denny), who was one of the few minor characters in the film to consistently act after this film. The final ticket at first is reported to be won by some shady businessman from Paraguay, but in the end, that is proven to be a forgery. Of course, Charlie buys a Wonka Bar expecting nothing, and gets the ticket.

An ominous figure, Slugworth (the arch-enemy of Wonka - who knew chocolate makers also made arch-enemies?), appears to each of the winners, whispering in their ears. Charlie is also confronted, and promised a reward should he bring Slugworth an example of Wonka's latest creation, the Everlasting Gobstopper. One wonders why (a) any candy maker would make a candy that never wears out (thus defeating re-sales), and (b) why Slugworth can't just buy one himself when they are released, analyse it and ruin his own factory the same way? But I digress... Gunter Meisner, a very prolific German actor, played the villain, who wasn't in the book (nor was the 'gobstopper plot').

The grand day of the event, the winners enter the factory with great fanfare, meeting Wonka (Gene Wilder) for the first time, and get the first taste of his bizarre sense of theatre. (It is reported not only Wilder's idea for the limping/somersault introduction to the crowd, but also a condition of his accepting the role.) From that point on, what was truth? It is ironic that Wonka's entrance doesn't occur until the film is half over. What we remember of the film comes after this, but over half the film is actually set-up. This is rather like the Wizard of Oz, where most of the film is done before we see 'the major character', although admittedly Wonka is far more prominent than Oz's balloonist.

Wonka, the man of mystery, only ever became even more of a mystery as the tour progressed. He is constantly switching his words ('we have so much time and so little to do'), and there are surprises at every turn. Wonka borrows a lot of his key phrases (Ogden Nash, Shakespeare, Oscar Wilde) and there are a lot of fantasy-inspired elements (Alice in Wonderland, Lord of the Rings).

At each major scene, something ghastly seems to happen, but in epic-fantasy form, it doesn't seem to matter to the majority, who proceed onward with their quest. In the chocolate room, Augustus Gloop meets his untimely exit from the factory by falling in the chocolate river. Violet turns into a blueberry by chewing experimental gum, and has to be squeezed (squoozed?). Veruca, in the room with the geese who lay the golden eggs, turns out to be a bad egg herself, but has a sporting chance of going down a chute with an inactive furnace. Mike Teevee shrinks in the Wonka version of the Star Trek transporter beam, leaving in the end only Charlie, who is denied his prize of a lifetime of chocolate for a minor infraction.

It would seem that Wonka had a sinister side in many ways - the boat that carries the prize winners only seated eight, implying that Wonka knew someone would be missing. The Wonkamobile only had seats for four guests. Of course, the children apparently all had sinister sides, too, including Charlie, until the end. None of them let Wonka know of their Slugworth contact.

In the end, we never know what becomes of the fallen questers - we are led to believe that in this candy factory they got their just desserts. The Oompa-Loompas put the moral to each downfall in song, with a 1970s karaoke-type presentation of the lyrics as they sing. In the end, of course, goodness and justice win out, as the factory is given to Charlie after his act of unwarranted kindness toward Wonka.

Director Stuart always saw this film as a 'realistic' fantasy film. Those things that are not over the top are very ordinary. The people are not superheroes, and the situations, while fantastic, are not beyond the credible. Stuart also did his best for 'real' reaction - the kids had never seen Gene Wilder before his appearance at the door, the chocolate room in the factory, or the Oompa-Loompas prior to the first scene, either, so their reactions are more natural.

A great film for children and adults! ... Read more

Description

Bourgeois convention is demolished in Luis Buñuel’s surrealist gem The Phantom of Liberty. Featuring an elegant soirée with guests seated at the toilet bowls, poker playing monks using religious medals as chips, and police officers looking for a missing girl who is right under their noses, this perverse, playfully absurd comedy of non sequiturs deftly compiles many of the themes that preoccupied Buñuel throughout his career—from the hypocrisy of conventional morality to the arbitrariness of social arrangements. ... Read more

Reviews (6)

Bunuel's next-to-last film is one of his best
Made two years after 'The Discreet Charm of the Bourgeoisie', this film is both similar to and different from its predecessor: it is episodic and bourgeoisie is one of its main targets, but it contains more shots and scenes (it feels more dynamic), its tone is somewhat cruder and it is mostly geared towards individual quests, whereas 'Charm' usually dealt with almost all of the main characters at the same time; the 'Charm' elements 'Phantom' tends to recall are the stories that were told by supporting characters, and the bishop character himself (the man who played him, Julien Bertheau, has another very good role here). As strange as it may seem, the narrative is fairly linear throughout since the apparent breaks always flow from what has just gone on, although Bunuel characteristically chooses the most unpredictable transitions; it reminds me of a painting by the surrealist Yves Tanguy, 'Le Ruban des Exces', in which abstract forms mingle audaciously from the left side of the picture to the right without any interruption. Authority figures - policemen, judges, doctors, teachers, clergymen, parents - are first established in their customary roles only to lose their power and dignity soon after, often in surprising ways. The film's vignettes have been deemed 'existential' - I'd argue that the absurdity Bunuel considers here is not a source of anguish, but of art, absurdity being a means for the artist; it also hides a meticulous structure. This work's reputation is not quite as high as that of 'The Discreet Charm...', but it might be even better.

Bunuel at the top of his form
Another great work by Luis Bunuel, The Phantom of Liberty has more outright humor in it than probably any of his other films.When the private and public functions of eating and evacuating are reversed, and monks congregate in a room to watch a man get spanked by a dominatrix, and a soldier passionately kisses a statue, and a haughty professor's butt gets tagged with a full-of-pins paper cutout by some immature cadets, you know you're having fun.

Here it really seems as though Bunuel was essentially making fun of his own intense desire to engage in biting satire, because the feeling is much more of letting loose with some laugh-out-loud antics rather than the need to mercilessly slash and burn social conventions.This is a much lighter film than one would typically expect from Bunuel, and yet that is not at all related to its significance.It's a sharp piece of cinema, full of irreverence that, as many have already indicated, is closer to Monty Python than anything else.

Bunuel's sense of fun here does not require a plot, just as many of his other films don't.But in this film the lack of formal narrative actually seems to work better than in several of his other works; we keep waiting for the next scene to see if it will top what we've just seen--regardless whether there's logic in the seguing or not (there almost always isn't).

A lot of fun and very highly recommended.

A minor Bunuel masterpiece, but still a masterpiece
The Phantom of Liberty is made up of a series of surrealist vignettes held together by the loosest of narrative structures - Think of a Monty Python episode without the laughter-track. The opening scene has prisoners facing a firing squad, defiantly clenching their raised fists, and shouting, "Down with freedom" and "Long live chains." This pretty much sets the tone for the rest of the film. In another memorable scene, guests sit down at the dining table, but instead of chairs, they sit on toilets. To talk about food at the table is the height of vulgarity. There are other scenes just as good. This film may sound arty-farty, but it works and works brilliantly, and in no small part due to Luis Bunuel, who directs with the minimum of fuss and the maximum of effect. Don't let the surrealist tag put you off. This film is fun and was meant to be so. This may not be quite up there with the rest of Bunuel's classics : Belle De Jour, Simon of the Desert, or The Discreet Charm of the Bourgeoisie, with which The Phantom of Liberty has something in common; but it is still a minor masterpiece and will delight and baffle in equal measure.

The first half...
...is the most beautiful and stirring sequence ever produced by Bunuel.The second half drags a little, but the ending is stunning.You are left with a sense of having peered into a dream.

Surrealism at it's funniest!
How does one describe a Luis Bunuel film? Moreso, how does one describe this particular Bunuel film? Take for example a scene where a man is taken to court found guilty, but, in this film guilty means you are set free and turned into a celebrity lol. Take for example a scene where a mother and father are called to school due to the fact they say their daughter is missing. At first we are shocked to hear this, then we find out that the girl is actually still IN the classroom, but, no one pays attention to her. Her mother and father are speaking to her, and continue to talk about trying to find their daughter lol! It's because of truly inventive and funny moments like this I'm able to say this is one of Bunuel's best films.
"The Phantom of Liberty" was a sequel to "The Discreet Charm of the Bourgeoisie", while, this film has not aged as well as "Bourgeoisie" I feel "Phantom" is a better film. Bunuel's cynical humor seems to gel better here. He's was able to express his ideas better in this film. And entertains us moreso here.
Despite the fact that this film is out-of-print in the US, my local library had a copy of it, if anyone ever gets a chance to rent this film or buy it, do so! Even if it's only for the fact that it's rare. If your a Bunuel fan, this film should entertain you. If your not a Bunuel fan yet, this would be just as good a place as any to start with to get a feel of Bunuel's style. ... Read more

Amazon.com essential video

A note-perfect cinematic event whose immortality was assured from itsopening night, Amadeus is an unlikely candidate for the director's-cuttreatment. Like one of Mozart's operas, the multiple Oscar-winning theatricalversion seemed perfectly formed from the outset--ideal casting, costumes, sets,cinematography, lighting, screenplay, music, music, music--so the reinstatementof an extra 20 minutes simply risks adding "too many notes." Yet though thisextended cut can hardly be said to improve a picture that needed no improvement,it does at least flesh out a couple of small subplots and shed new light oncertain key scenes. Here we learn why Constanze Mozart bears such ill willtowards Salieri when she discovers him at her husband's deathbed, and we seedeeper into the reasons why Mozart has no students. The structure of the pictureis otherwise unaltered.

The director's cut of Amadeus finally accords this masterful work the DVDtreatment it deserves. The handsome anamorphic widescreen picture is accompaniedby a choice of Dolby 5.1 or Dolby stereo sound options, and it's all containedon one side of the disc. Director Milos Forman and writer Peter Shaffer providea chatty though sporadic commentary, but they're obviously still too mesmerizedby the movie to do much more than offer the odd anecdote. The second disccontains an excellent new hour-long "making of" documentary, with contributionsfrom Forman, Shaffer, Sir Neville Marriner, and all the main actors, taking inthe scriptwriting, choice of music, casting, and problems involved in filming inCommunist Czechoslovakia with half the crew and extras working for the SecretPolice. --Mark Walker ... Read more

Reviews (363)

Rock Me Amadeus
Milos Forman's Amadeus is a hugely entertaining adaptation of Peter Shaffer's play. The movie is told in flashback style from the memory of Antonio Salieri. Salieri was a successful and popular composer who was a rival of Mozart's. History has speculated on the death of Mozart and some people are of the opinion that Salieri had a hand in his death (possibly even murdered him). The film explores this angle of the legend. Salieri is consumed by his jealousy and hatred of the infantile Mozart. Mozart is a musical genius, but a wild spending and is always looking for the next good time. His operas are utterly brilliant, but are unsuccessful. He is in constant debt. Salieri concocts a plan for Mozart to compose a requiem. This work is actually planned as Mozart's own requiem. Mozart is shown as slowly going mad and at the end of the film, Salieri helps him by writing the musical score down for a very weak Mozart. The morning after Mozart and Salieri work together, Mozart is found dead and we are left speculating whether he died through natural causes or if Salieri did something to him. F. Murray Abrham is absolutely amazing as Salieri. He brings across the jealousy and hatred, but doesn't make Salieri a fiend. He has major respect for Mozart's musical talents, but doesn't understand why God would give them to such an obvious heathen. Tom Hulce is equally as good as Mozart. He plays him with a reckless abandon and in an over the top fashion that is perfectly suited for the role. The film took home the 1984 Best Picture Oscar, Mr. Forman won Best Director and Mr. Abrham beat out Mr. Hulce for Best Actor. This was a case where a tie would have been more than appropriate. The new director's cut adds 20 minutes of footage, but the real standout is the remastered sound. The Dolby 5.1 version brings alive the sounds of Mozart in brilliant detail.

Memorable cinematic achievement gets a new look
I was way too young to have seen AMADEUS in its original cinematic release (unfortunately), but it's not hard to see why it not only took home the Best Picture Oscar, but caused a rebirth of "Mozart mania". The story, although fictionalized, is an intriguing one. Salieri, the pious man who prayed to God to be given sublime musical talent, has to face the fact that God has given it to Mozart, who is exuberant, childish, and bawdy. Salieri's subsequent jealousy drives the entire movie. You can see his character becoming more and more consumed by his extremely negative feelings. The character of Mozart, on the other hand, is fun, even though the real Mozart wasn't really that over-the-top. I might add, however, that the distinguishing giggle is actually historically accurate. Listen to the commentary on the DVD and Peter Shaffer himself even mentions something to that effect. Although it was delightful to see the film in its entirety, I could see why some of the scenes were deleted. They simply weren't that strong or they distracted the viewer from the main focus. The only real complaint I had was that there weren't more extras. It does have the commentary, the original trailer, and the short featurette which consists of various people looking back at making the film, but I would have liked to have seen an actual "making of" documentary from around the time the film was being made. Overall, though, a worthy addition to any movie collection.

a mythical, fabulous portrait of genius
Peter Shaffer wrote the "Amadeus" screenplay based on his play, which is a quirky, fanciful vision of Mozart and Salieri, and how God gave Mozart the gift of musical genius despite his character flaws, but bypassed Salieri, who tried to strike a deal with the Almighty, vowing pious devotion, if He would only grant him brilliance and fame.
F. Murray Abraham is marvelous portraying Salieri's pride and envy, and having to suffer the indignity of mediocrity; the part garnered him a Best Actor Oscar and a Golden Globe, among other awards, and as Mozart, Tom Hulce is stupendous, with his high pitched raucous giggle, fluffy wigs, and energetic appeal.
Others in the cast of note are Elizabeth Berridge, excellent as Mozart's wife Constanza, and Roy Dotrice as his stern father Leopold.

The biggest star of the film however, is the music...the glorious sounds of Mozart's operas, and his magnificent Requiem. Many of my favorite scenes are depicted, from the ballet music from "The Marriage of Figaro", to "Don Giovanni a cenar teco", as well as portions of "The Marriage of Figaro", "The Magic Flute", and much more.
Some of the great voices heard are Samuel Ramey (Figaro), Richard Stilwell (Count Almaviva / Don Giovanni), June Anderson (Queen of the Night), Brian Kay (Papageno) and Gillian Fisher (Papagena), though the parts on screen are played by actors, and not those singing.

Twyla Tharp's choreography is fresh and exhilarating, Miroslav Ondricek's cinematography is exquisite, and Milos Forman's direction imaginative and well paced.
As well as Best Actor, the Academy bestowed Oscars for Best Adapted Screenplay, Best Picture, Best Director, Best Adapted Screenplay, Best Art Direction/Set Decoration, Best Costume Design, Best Makeup, Best Sound, all well deserved.
Total running time is 160 minutes.

As close to "perfect' as a movie can get
When I saw this movie in its original release in 1984, it was only due to the fact that I was dragged to the theatre. (A movie about Mozart -- BORING!!) I have never been so quick to change my mind. From the opening moments, hearing F. Murray Abraham shout out the word "MOZART" I was hooked, and my eyes never waivered from the screen. I anxiously awaited the release of this Director's Cut, due primarly to the extras that were purported to be included. The extras more than deliver on their promise.

Not only did I get the joy of watching once again one of the best movies to have ever been released -- to remember how enthralled I was by the performances of Tom Hulce, F. Murray Abraham and Elizabeth Berridge (unfortunately, most reviewers tend to exclude her contribution to this movie, but her performance as Constanza, Mozart's wife, is as powerful as the others) -- but the extras (behind the scenes, the commentaries) added to my delight.

I truly find it hard to put into words how wonderful this movie is. I have spent the last 20 years telling people "Trust me, just watch it, and you will understand what I am talking about." It is more than just a grand journey through the worlds of these two men (yes, granted, told from a "movie" point-of-view). The entire package, from the scenery, the costumes, the story and THE MUSIC, THE MUSIC, THE MUSIC!!! shows you how a movie should and can be produced. Even if you can't stand classical music, you will adore the wonder that is Mozart.

Please -- I'm begging you -- WATCH THIS MOVIE. You will NOT be disappointed!!!

Love it, warts and all
I loved "Amadeus" the first time I saw it and every time thereafter, on tape, DVD and now in this DVD package. It is a very great film, exceptionally worthy of its Oscars, and the role of a lifetime for Tom Hulse. The operatic and musical scenes in this film succeed on a scale never seen before. The finale of "Don Giovanni" is better in this movie than in the two live performances I've seen and the performance Herbert von Karajan led that was shown on PBS in 1990. The direction, acting, script and locations are all sumptuous. It apparently does not follow the play on which it is based, but artistic difference is the basis of enjoyment. Having said all this, I would caution viewers not to judge the real-life Mozart by the portrayal of Hulse in this film. The real Mozart, I have read, was a prudish workaholic that would never go out drinking with his buddies. He also played by the rules of the day and adored Salieri, respecting his role as the musical director in Vienna. Still, it's fair to set history aside in a work of art this fine. Anyone that likes great music or great movies will enjoy this. ... Read more

Description

You'll die laughing!Frank Capra directs Cary Grant, Raymond Massey, Peter Lorre and stellar cast in the hit Broadway farce about a nutcase family with well-intentioned homicidal tendencies. ... Read more

Reviews (108)

Grant, 2 Old Ladies & Elderberry wine=hilarity now on DVD!!
Frank Capra delivers a great film adaptation of Joseph Kesselring's Broadway hit, "Arsenic and Old Lace". Originally filmed in 1941 just prior to WWII, but not released until 1944 because of the contract agreement to allow the play to complete its Broadway run. (The play ran for 1,444 performances.)

Cary Grant in the leading role as nephew, Mortimer Brewster is at his comedic best in this black comedy of wine, family & insanity. His 2 fabulous Aunts played by Josephine Hull & Jean Adair were encored to the screen and are perfect in their roles. Boris Karloff's obligations prevented him from doing the movie and was replaced by Raymond Massey in the movie version as Grant madcap brother. The great ensemble cast also included Peter Lorre, Edward Everett Horton, Priscilla Lane & John Alexander as a delightful zany crazy, thinking he is President "Teddy Roosevelt".

Summary: It is Halloween, Mortimers wedding day & his life is about to change forever. Visiting his 2 Aunts (Hull & Adair) with his wife (Lane - Ministers daughter!) on their way to their honeymoon to Niagara Falls discovers a body in the window seat. Thinking his crazy cousin, (Alexander) has committed the crime approaches his Aunts. They not only know about the body, but they know who he was & how he died. Their elderberry wine laced with a mixture of arsenic. Oh by the way, he is the 12th to be buried in the cellar. What is Mortimer to do & is his entire family insane? We began a very entertaining & hilarious journey to answering these & many more questions.

This DVD is an excellent Black & White Full Screen (before WideScreen) transfer. Extras include Production notes.

"Arsenic and Old Lace" film adaptation is very close to the actual Broadway play & is a great classic to have in your DVD library. Enjoy.