Amazon.com

Paul Newman gives one of the defining performances of his career, and cemented his place as a beautiful-rebel screen icon playing the stubbornly tough and independent title character in Cool Hand Luke. And before he became familiar as a sidekick in 1970s disaster movies (Earthquake and the Airport movies), George Kennedy won an Oscar for playing Dragline, the brutal chain-gang boss who tries to beat loner Luke's cool out of him. It's a classic rebel-against-the-repressive-institution story in the line of One Flew over the Cuckoo's Nest or The Shawshank Redemption. Certain moments have become classics--particularly the hardboiled egg-eating contest, and the immortal line (drooled by Strother Martin, as a sadistic redneck prison officer), "What we have here is a failure to communicate." And don't forget, Luke is also the source of the oft-quoted driving ditty, "I don't care if it rains or freezes, long as I have my plastic Jesus, right here on the dashboard of my car..." He is cool, all right. The digital video disc is in anamorphic widescreen and digital stereo. --Jim Emerson ... Read more

Reviews (68)

My favorite movie of all time.
And I really mean it. They used to show this film often on the Superstation. When I was twelve, I watched it; the next time it came on, I taped it, and watched it probably more than 50 times over the next few years (I didn't know for a long time that the TV version has several scenes cut out for length, so getting it on video was a new revelation). What is it about "Cool Hand Luke" that is so moving? Well, it starts with Paul Newman's performance. Lucas Jackson is one of the most psychologically complex characters in the history of cinema, and Newman, criminally denied the Oscar for this film, makes him seem larger-than-life without saying much. Everything that comes out of his mouth is a revelation. The Christ allusions, which are fittingly done, heighten the sense of injustice that Luke is being slowly crucified by the lawmen, simply because he won't bend to their rules. On the surface, Luke seems self-destructive and ignorant, but in repeated watchings of the film, it becomes apparent that Luke is answering to a call that is bigger than the prison, bigger than the bosses, bigger than the law itself. I could go on and on about the myriad other ways in which this film is perfect, but why bother? I only get 1,000 words. Suffice it to say that this is the movie that makes George Kennedy, of all people, seem noble. YOU MUST SEE THIS FILM. The only flaw: I grew up in Georgia, and I can assure you that it is not filmed where it is set. Looks more like the Central Valley of California to me.

Just About Excellent
I cannot imagine why this film hasn't been more acclaimed. It is without a doubt one of the best of all time. I think the thing that appeals most of all to me is the unbelievable authenticity of all the characters. Except for Newman (because, hey, he's Paul Newman) nobody here appears to be acting. The guards are done just right--tough, good ol' boys who you don't wanna mess with. The prisoners meanwhile are a fairly diverse lot, some educated, some not, some with a whiff of femininity, but all have a refusal to be stripped of their dignity. Luke magnifies that element to the Nth degree.
The second best thing is the dialogue: Like "The Godfather", "Star Trek II", "Resoirovir Dogs", and "Jaws", Cool Hand Luke has several scenes which you'll easily memorize in their entirety.
Other elements: Boss Godfrey, The Man With No Eyes who doesn't say one word during the movie and who is one of the most chilling characters in a movie ever; Luke's mother, the car wash girl, the egg-eating contest, and Luke's excellent final monologue.
Luke's story has been compared to that of Jesus. When you look at it, you see that if Luke is a savior, he's a terribly flawed one, one who can't save himself. He's anti-authority, he's got nerve, and some major cojones, but he's got no aims, no goals, no beliefs. He's a Rebel Without A Clue. If he'd been born about 15-20 years later he could have made a good hippie. But this is still the early '50s and men who fail to conform end up exactly where he does. IMHO, this film accomplishes what One Flew Over the Cuckoo's Nest tried to do and does it much, much, better.

One final small note: The Lalo Schifrin score is great particularly during the "tarring the road" scene. Anyone who grew up in NYC in the 70s will instantly realize it as the theme to Channel 7 Eyewitness News!

An essential 60s movie - a touchstone for many
This is the perfect '60s movie. It is anti-authoritarian without being strident, a serious drama with whimsy, gritty and violent with a sexy side (who can forget the car wash scene?). Newman plays the "christ" figure and his prisoners as his disciples and believers (after he wins them over). The guards and the warden are the high priests and the Romans. And of course, they kill him in the end.

But we have some great fun along the way. Luke strips the heads off of a street of parking meters and gets a sentence far out of proportion to such a silly crime. To say that Luke chooses not to fit in is an understatement. It isn't that he takes on the system. Rather, his mere presence and indifference to the system causes it to change or to try and eliminate him as if he were some invading virus.

There are some wonderful and indelible scenes such as the egg eating, the fight with Dragline (George Kennedy), the race to the end of the road, the failure to communicate scene and the severe punishment Luke receives. It seems like you can sit around talking about scenes from this movie longer than the movie itself.

Paul Newman made Luke immortal, but George Kennedy as Dragline and Strother Martin as Captain are also essential to this movie's character and permanence.

Today's viewers might fine the pacing of the movie a bit slow and see some seams that those of us who love it might ignore, but so what? It is a classic and enjoyable film that is a touchstone for many who were young when they first saw it in 1967.

This film does NOT fail to communicate
This is the perfect '60s movie. It is anti-authoritarian without being strident, a serious drama with whimsy. It is gritty and violent and at the same time it has a sexy side (who can forget the car wash scene?). Newman plays the "christ" figure and his prisoners as his disciples and believers (after he wins them over). The guards and the warden are the high priests and the Romans. And of course, they kill him in the end.

But we have some great fun along the way. Luke strips the heads off of a street of parking meters and gets a sentence far out of proportion to such a silly crime. To say that Luke chooses not to fit in is an understatement. It isn't that he takes on the system. Rather, his mere presence and indifference to the system causes it to change or to try and eliminate him as if he were some invading virus.

There are some wonderful and indelible scenes such as the egg eating, the fight with Dragline (George Kennedy), the race to the end of the road, the failure to communicate scene and the severe punishment Luke receives. It seems like you can sit around talking about scenes from this movie longer than the movie itself.

Paul Newman made Luke immortal, but George Kennedy as Dragline and Strother Martin as Captain are also essential to this movie's character and permanence.

Today's viewers might fine the pacing of the movie a bit slow and see some seams that those of us who love it might ignore, but so what? It is a classic and enjoyable film that is a touchstone for many who were young when they first saw it in 1967.

Paul NewMan as Cool Hand Luke what a classic
newman (old blue eyes) stars as cool hand luke jackson, a war hero, who gets himself in trouble with the law, and is repeatedly beaten both mentally and physically savagely by the main boss of the prison he is in.

the main boss hates luke for several reasons: everyone likes luke. he is the typical rebel , yet he has a certain aura around that people love. even the people working in the prison like luke. the boss also hates luke, because he keeps escaping out of prison, which makes the prison's security and himself look bad. the movie from beginning to end, is one of the entertaining and powerful movies by newman. throughout the movie, we see luke's exploits including his status as "cool hand" which basically says that he can do anything. there is no better scene that shows this that luke's bet that can he eat 50 eggs in one hour. this scene is terrific and humorous to watch, time and time again. george kennedy plays greg dragline, luke's best friend and prison inmante. dragline's love of luke is evident through the whole movie. whenever, luke is mistreated dragline is there to try to pick up his spirits. whenever, luke is beaten severely for trying to escape the prison, dragline is one of the first friends that is there to pick him up and attend to him. then of course, this oscar worthy film has the memorable tunes and lines that all audiences all familiar with:

"what we got here is a familiar to communicate" is paul newman, legendary and household line that critics and audiences remember. this line has also been used in over a hundred, movies and tv shows including comedies, crime drama movies and much more. the line is a piece of cult phenomena and america which symobolizes a bad situation.

paul newman was nominated for best actor for this film, but didn't win. newman over his career has been nominated over 10 times for this aw ard: "Cat On A Hot Tin Roof" , "Malice", "Nobody's Fool", are several of the great movies that NewMan has been nominated for. "Cool Hand Luke" stands as one of the American movies ever made. It represents the abusive and mistreatment that a couple of prisons have. It also represents an intelligent and popular fellow who all through his life had one bad situation after another, yet like Greg points "Ah Luke, always had that great smile." Luke's character in a way is a reflection on individuals like himself, whose life have been filled with pain and aggravation yet people like these never give up. Taken from a novel by Donn Pearce and directed by Stuart Rosenberg this film is a bonified classic. ... Read more

Amazon.com

Conspiracies abound in Children of Dune, Sci-Fi Channel's praiseworthy miniseries sequel to Frank Herbert's Dune, loyally adapted from the Herbert novels Dune Messiah and Children of Dune by John Harrison, who passed directorial duties (due to a scheduling conflict) to Greg Yaitanes, a 31-year-old TV director and Dune neophyte tackling his biggest assignment to date. Uninitiated viewers face a disadvantage; it's best to read Herbert's books and/or see the first miniseries before plunging into this remarkably coherent tangle of political intrigue, unfolding 12 years after the events of Dune.

To his horror, Maud'Dib--Arrakis emperor Paul Atreides (Alec Newman, reprising his Dune role)--has become the unintended figurehead of a violent dictatorship, and his enemies are multiplying. Vanishing into the desert, he waits as destiny shapes his twin heirs Leto II (James McAvoy) and Ghanima (Jessica Brooks), who must contend with their scheming aunt Alia (Daniela Amavia) while Princess Wensicia (Susan Sarandon), of the enemy House Corrino, plots her own attack on Maud'Dib's familial empire. Exiled Atreides matriarch Lady Jessica (Alice Krige, giving the film's finest performance) returns to Arrakis, where the enormous, desert-dwelling sandworms face an uncertain future. As always, the spice must flow, and the universe's most coveted commodity remains at the center of this richly detailed and physically impressive production. Special effects range from awesome (fly-over shots of the capital city, Arakeen) to awful (the saber-tooth tigers look like Jumanji rejects), and Dune devotees will endlessly debate the miniseries' strengths and weaknesses. Some may desire more action to punctuate the film's inherent verbosity, but consensus will surely conclude that this is Dune done right, with monumental effort and obvious devotion from everyone involved. --Jeff Shannon ... Read more

Reviews (122)

Fine adaptation of an SF classic
This sequel to the mini-series "Dune" combines action from Frank Herbert's novels "Dune Messiah" and "Children of Dune." Paul Muad'Dib (Alec Newman) has taken control of Arrakis, but all does not go as planned. He has become the figurehead for a violent revolution that is spreading across star systems, various conspirators are gathering against him, and the greening of Dune is playing havoc with the traditional Fremen way of life. His children, Leto (James McAvoy) and Ghanima (Jessica Brooks), are destined to play pivotal roles in the complicated machinations for control of Dune and its spice.

This is a handsome production with mostly impressive special effects. The acting tends to be rather wooden, as a great deal of dialogue is given over to exposition about the various complex maneuverings that are ongoing throughout the story. However, if you enjoy complicated stories full of scheming and strategizing among the powerful, as well as an impressive, fully realized alien milieu, you should find something to enjoy here.

The Saga of Dune is far from over.....I hope
"History is written on the sands of Arakkis..."

So begins the tale of one of the most epic mini-series ever produced;and rarely have truer words ever been spoken.Based on Frank Herbert's second and third books in his Dune saga,Children of Dune is a breathtaking look into the mind of a genius.The science-fiction equivalent of Tolkien,Herbert has brought to life a universe unlike any other,that,without fail,sucks you into it in a maelstrom of love,lineage,and legacy.And much to the surprise and awe of a Dune junkie like myself,director Greg Yaitanes not only manages to do Herbert justice with this small screen outing,but manages to do him proud as well.

With awesome special effects(check out the worms!!),perfect casting,mindblowing cinematography,and the greatest soundtrack I have ever had the privilege of hearing,the Children of Dune mini-series is the ultimate science-fiction saga of our time.Arakkis is as real,raw,and powerful as any Shire,Hogwarts,or galaxy far,far away.

Step inside a world of political intrigue,action, and drama.Bear witness to the triumphs of men as well as his tragedies.Behold the Fremen at his best,and also at his worst.And watch as life is born,ended,and given meaning in a beautiful epic that is,in the best and only way to describe it,undying.

Step inside the majesty of Children of Dune.

Dune Messiah and Children done RIGHT!
When I rented and watched the first Dune miniseries, I was shocked at how poor a job had been done. True, the story was kept pretty much intact, but the costumes were horrible, the acting wasn't credible, and the sets were even less credible. Most of the time, you could easily tell that the backdrop was a wall painted to look like dunes and mountains. This time, however, the makers got it right. First, everybody who returns for this second mini-series must have gotten acting lesson in between the two. I was shocked at how good some of the performances were (Paul and Irulan for example). Second, some of the special effects are truly impressive. Throughout most of the miniseries, I could believe that this was a very respectable theatrical release- I love Alia's "fight" scene. Also, the music this time around is unbelievable. I don't think it would be an exaggeration at all to say that this is the score that should have won best soundtrack at the most recent Academy awards.

Many people display disappointment over how some plot points were changed or ommitted. However, in my eyes, the miniseries accomplished the highest note that I think it possibly could have reached: it REALLY made me want to read the books again.

I also think that the miniseries accomplished something that the books did not. I think it added more emotion to the characters and made it easier for viewers to empathize with them. I can return to the books, perhaps, with a better idea of what the characters are going through.

Overall, a very commendable effort- not to be missed by any Dune fans (unlike the miserable first mini-series)

The saga of Dune is far from over.....well, let's hope so- on to God Emperor!

Read the book
I bought this DVD recently, after a 20-year lapse since I last read the Dune books. With only a vague memory of what was supposed to be going on, the movie was pretty much incomprehensible.

What was the reason for Leto II transforming himself into a sandworm? I don't remember, and the movie didn't explain. Somehow, this was supposed to be the next evolutionary step, or some such thing, but why? And why did Leto seem so confident and at peace with his decision, when later we find out that he sobbed in his sister's lap and asked her to help him die?

A lot of the acting is truly dreadful, and seems more appropriate to a stage play than a movie. Many of the costumes look like they came from old the original Star Trek series. And many of the sets were obviously just that ... sets with painted backgrounds.

As with the other adaptations of Dune books, too much had to be left out in the interest of time, and if you aren't very familiar with the story, you can easily be left scratching your head.

Considering it's a TV production, a great effort.
John Harrison wrote the script for this , as he did for the first Dune series. I think some are being too hard on this installment(double). It's the best sci-fi TV to come about in a very long time. The acting for the most part was a great surprise. There's some real talent here. Daniela Amavia's Alia puts most disturbed bombshell ladies in horror films to shame. It's true it's more of a petty political soap opera but that's how the sequel novels also seemed. Like another reviewer said, a knockout scene was where Duncan Idaho had to face the moment of truth and a lot of principle characters get killed off, a la Godfather. The scene captured the moment in story in just about the best way possible. The "wierding" effects like the first Dune are a rush, but the directors wisely use it sparingly and go for build up to dramatic highpoints just as Herbert's books do. Considering the recent sci-fi in the movies, this new director hopefully will get to the big screen sometime. ... Read more

Reviews (56)

Laugh Out Loud Funny!!!
I absolutely loved this movie, not only because of the great writing, but because of the cast that brought the characters to life. The one who stands out, as many people know, is the wonderful Steve Martin who gives a terrific, hilarious performance as George Banks, a father who just wants to see his daughter Annie (Kimberly Williams) after she has returned from Rome. His reaction to her announcement is stupendous. I love the way the producers decided to suddenly make Annie a little girl of probably five years old.

Diane Keaton is wonderful as George's wife, Nina. She is the one who is in control the whole time, and who keeps her husband from doing really stupid things. I especially loved the scene where she goes to bail him out of jail and makes him promise a few things before letting him out. It was great! Kimberly Williams is wonderful as Annie Banks. You can really see how much she loves her dad, even when he does not-so-smart things, like taking the McKenzie's bank book and then accidentally throwing it into the pool, which results in *him* falling into the pool!

And how can anyone forget Martin Short. He was so, so funny as Franck (not Frank!), the Wedding Coordinator. His accent is so funny and very original. It makes me wonder if he thought it up himself. If you want to see a funny and quite original, I might add, comedy, see this one. You won't be disappointed!

A Father's Love.
FATHER OF THE BRIDE is a romantic comedy in a different vein. Most movies of that type are about a boy meeting a girl and the two falling in love. That happens in FATHER OF THE BRIDE. However, the movie isn't about the romantic love between a couple; it's about a father's love for his daughter.

It is true that the cast didn't have very difficult roles. Nevertheless, Steve Martin, Dianne Keaton, Kimberly Williams and the rest of the cast do a remarkable job, making the Banks family seem like real people you know instead of just some characters on a screen. Also, Martin Short, as the wedding coordinator, Franc, steals every scene he is in.

I enjoyed watching this film alot. I laughed quite often and, even though I'm a bachelor, found myself crying during some scenes. The film is a family picture and for any man who has a daughter, ranks up with FIELD OF DREAMS for bringing a tear to your eye. It's a nice movie to bring the past into prespective, remind one of what really is important in life, and thank God for the blessings you have.

So-so
Spoiled daughter and enabling mother guilt-trip dad into paying for ridiculously expensive and overdone wedding. Forgive me if I'm not entirely sympathetic. Plus, the movie gets overwhelmed in sap, sap, sap towards the end and loses its humor. It has its moments, though, so it's worth a viewing or two, even if it's not a must-own. My favorite bits: Steve Martin as father George Banks in the supermarket removing hot dog buns from the package so as to rectify the 8 hotdogs per package vs 12 buns per package situation and the scenes with Martin Short as wedding coordinator Franck ("George, why are you wearing blue tuxahdo?" "Franck, Armani doesn't make a blue tuxedo." "Armani also don't make polyester"). The actors are a talented bunch and the presence of Martin and Keaton do a lot to hold together a movie that otherwise wouldn't have much going for it.

The comedy about letting go
In 1950,Spencer Tracy was in the original film,the FATHER OF THE BRIDE and a young Liz Taylor was the bride. Forty-one years later,Steve Martin portrayed the father(his character is George Stanley Banks) and Kimberly Williams was Annie,the bride. Martin narrated the film,himself on camera in the first scene,dressed in the tuxedo he wore at Williams' wedding. Annie's romance with Bryan MacKenzie began six months before their wedding. Annie was studying architecture in Rome,where she met Bryan(George Newbern). According to the scene where Bryan went to the Banks' home to meet Annie's parents,Bryan went to Annie to ask for directions and one thing led to another. George left his workplace,Sidekicks,an athletic shoe factory which he runs,immediately after he was told that Annie had arrived home. For a homecoming gift,George buys her a ten-speed bike,all polished and ready to ride. Then,Annie announces her and Bryan's engagement at the dinner table to her father,her mother Nina(Diane Keaton) and her brother Matt(Kieran Culkin,MacCaulay's brother). George is very shocked,believing she's too young to get married(Annie is 22 and Bryan is 26). Bryan is an independent communications consultant,which he assembles and connects communication systems. Then,George and Nina go to the home of David and Joanna MacKenzie,Bryan's dad and mom. They toast the wedding of their respective children and other joyful events that will possibly follow(i.e. Annie's and Bryan's children). At one point in the film,a heated argument between Annie and Bryan causes them to split up and cancel the wedding. The Bankses meet with a wedding coordinator named Franc Eggelhoffer(Martin Short with a European accent). The glorious wedding day comes in early January,following a snowfall(a rarity in Los Angeles). Heaters were brought in and immediately taken out of the Banks' home,where the reception took place, since they were melting the ice sculptures. In the final scene,after the wedding,Annie phones her exhausted parents saying goodbye,"I love you" and "thank you for everything". Annie and Bryan were at the airport where they were about to fly to their honeymoon in Hawaii. Those who have seen this film may have also seen "Betsy's Wedding" and "My Big Fat Greek Wedding". It was released in theatres just before Christmas 1991. It was directed by Charles Shyer,who would direct the sequel,FATHER OF THE BRIDE PART II,four years later.

Here Comes the Bride: Give Out a Laugh
This movie is a classic, a 1990's update of the original Father of the Bride, starring Spencer Tracy and Elizabeth Taylor. A befuddled father is trying to deal with his daughter's engagement and marriage. What a storm in the midst of the Bank's home! George Banks, the father, is shocked with Annie's anouncement over dinner, she is going the marry a complete stranger that she met in Rome. The poor father is really loving and caring of his only daughter, and he wants only what is best for her. His sensiable wife, Nina, tries to make him understand just what a big deal the wedding really is. George gradually gives in, ready to help prepare for his daughter's dream wedding and rception. However, the off-the-wall caterer and his crazy ideas, the expense, and the rush and hurry of life in general is enough the drive him up a wall. This movie indeed has a happy, fairy-tale ending. Funny situations are pulled off in this movie, including huge dogs, a bank book, a large swimming pool, and the new in-laws. Great music "My Girl", "Chapel of Love", and other songs are included. This movies promises to deliever magic and true love to those who have it and watch it. It will capture your heart. ... Read more

Reviews (43)

A great cast helps this movie to shine
The Dirty Dozen is one of the classic movies about World War 2 with an all star cast. Released in 1967, it tells of a mangy group of men which bands together to pull off an amazing WW2 escapade. The target is a German-controlled chateau in Reims, Brittany.

Lee Marvin is the Major that gathers the group together. The cast includes Donald Sutherland, Charles Bronson, Telly Savalas and many other greats. John Cassavates, who plays "Franco", was nominated for best supporting actor. The movie did win an oscar for best sound effects.

The group heads out to an English field , creates a camp, and begins to train. With a series of ups and downs during six weeks they become a strong fighting force. The test comes during divisional maneuvers in Devonshire, when they have to take on an elite force and take control of the HQ. Of course they do the job, with a good dose of cunning and subterfuge.

On to the French chateau. Amazingly, this was a huge set built just for the film that is destroyed in the finale. Indoor scenes were done at the MGM British Studios in Borhamwood, England.

While some might find the storyline unbelievable, the following year's release was a movie which told a true story of The Devil's Brigade - about a run-down group of misfits who went on to fame and glory.

High action war classic
The Dirty Dozen is one of those classics you can watch over and over again. It tells the story of Major Reisman, who has to train 12 convicts for a suicide mission behind enemy lines. We see the training and then finally the Dirty Dozen's attack on their target, a French chateau full of high-ranking German officers. The action scenes are excellent. The movie never slows down from the beginning even with a running time of 150 minutes.

The performances in the movie are great. This huge list of Hollywood notables took part in this movie. Lee Marvin is awesome as Major John Reisman with Charles Bronson, John Cassavetes, Jim Brown, Donald Sutherland, Telly Savalas, Clint Walker, and Trini Lopez as some of the Dirty Dozen. Also starring are Ernest Borgnine, Robert Ryan, Ralph Meeker, and George Kennedy. This is a great movie that shouldn't be missed. The DVD transfer is perfect. Also included are a trailer and a behind the scenes documentary about the movie. If you like the movie, check out the book by E.M. Nathanson.

An Edge-Of-Your-Seat Style Of Movie
Are you looking for a movie with a great plot, perfectly timed action, and superb acting and directing? Look no further. This film, set in World War II, chronicles the covert operations of a group of military convicts, and their non-convict leader behind enemy lines. It is their task to sneak in and assassinate a large group of key German officials.
The movie starts with the commander (played by Lee Marvin, in arguably his greatest role) picking out some of the best, but also some of the most expendable men in the Army. He goes to the prison and gives them a deal. If they will fight, their sentences will be dismissed and they will be free. Most of these men are awaiting execution, while others have long prison terms. His first goal is to make them ready for combat, which proves to be no easy task, as these guys, who seemingly have nothing to lose, give him a hard time. But eventually, under his command, he creates an elite team of fighters. Now, the next objective is to learn the layout of the area they are to infiltrate, which is a huge French chateau, then sneak in and attack. But will they make it? Of course I will not tell you, you will need to see the movie yourself. But what I will tell you is that this is one of those films with an all star cast and loads of edge-of-your-seat action!!! Besides Lee Marvin, you have Telly Savalas, football great Jim Brown, the late VERY great Charles Bronson, Donald Sutherland ( Sutherland fans will also love the movie Kelly's Hero's), Ernest Borgnine, Clint Walker ( who also starred in the film Night Of The Grizzly), George Kennedy (who co-starred in the hilarious Naked Gun films), and a host of others too numerous to mention. Besides Action, the film incorporates a delicious amount of drama, suspense, comedy (the war games part will give you a good laugh), Horror (when Telly Savalas goes off the deep end), and intrigue.

A tough-as-nails WW2 classic!
Lee Marvin was just made for this role! Being a decorated WW2 vet he wasn't just acting in this classic! Add Charles Bronson, Telly Savalas, John Cassavetes, Donald Sutherland, & Clint Walker to the mix & you've got an "elite" group of psychos & killers that even would've scared [any dictator]! The movie is 2 1/2 hours but is never dull. There's great character development, plenty of humor, & big-time slaughter of [enemies] at the end! What more could you want from a war movie! For those who love WW2 behind-the-lines suspense, this is highly recommended.

The best fun war movie ever made!
I've always thought the Dirty Dozen was and still is the most fun a person can have watching a war movie if that seems possible! Fortunately for me and by coincidence, about ten years ago, Clint Walker (Posey) became one of my best friends. I wish hollywood still made movies like this. Unfortunately, there just aren't the same kind of actors around anymore. ... Read more

Reviews (151)

Grand Guinol scathing satire of Hollywood and its oddities
Sadly, the mastermind behind Sunset Boulevard, Billy Wilder has passed on recently, but his genius lives on in this dark comedic indictment of Hollywood and its star system. The film shot William Holden to stardom and he became a major player in the '50s and it also afforded Gloria Swanson her last piece of public honor and she made a dramatic comeback as faded screen star Norma Desmond. Both she and Holden earned Oscar nominations here as did supporting players Erich von Stroheim (Max the butler) and Nancy Olson (as a script reader and love interest of Holden's screenwriter Joe Gillis). The film was nominated for Best Picture and Best Director (Wilder), but unfortunately it lost on all counts.....possibly because Hollywood felt bullied and intimidated by Wilder's not-so-rosy depiction of their little town. Wilder even received death threats during and after filming. Classic dialogue and forever memorable scenes abound (the chimpanzee burial scene is a keeper). This black comedy may seem too morbid and ghoulishly funny for some tastes, but it is one of my absolute favorites........

Dark and Addictive--Melodrama at its best!
Simply put, this is the greatest movie ever. And Gloria Swanson gave the greatest film performance in thie movie. You forget your Bette Davises, your "All About Eve"s, your "Titanic"s, your Katharine Hepburns, your Jack Nicholsons, and your "Citizen Kane"s. This--Hollywood will never produce anything better.

A striking film, visually, emotionally, and in every sense, this is a dark, bitter, darkly comical study of what happens when a faded star (who was a bit out of touch with reality to begin with) clings a little too tightly to her gone days of fame. Gloria Swanson gives a phenomenally powerful, over-the-top performance as Norma Desmond, histrionic ex-silent film star. Bill Holden is fine as the down-and-out screenwriter from Dayton, Ohio, that accidentally gets mixed up with her. Max von Stroheim is magnificently creepy as Norma's devoted butler, and Nancy Olson is heartbreaking as the one innocent with no idea of the trouble that surrounds her.

Every frame is perfectly filmed, every image marverlously conveyed, every line wonderfully spouted. Nothing is wrong or out of place. And practically every line is a classic. Most remember the last line of the film's insane conclusion: Norma, finally completely descended into madness, sweeping dramatically down the grand staircase as cops, reporters, and even Hedda Hopper look on; the music swells to a deafening height, and Norma--with that deranged look in her eyes--breathes, "I'm ready for my closeup..." But the best line of all, and the line that symbolizes everything that stands for the golden days of Hollywood, is spoken when Joe recognizes Norma and makes the mistake of saying, "You used to be big." She eyes him bitterly, raises her chin, looks down her nose at him and cries, "I AM big! It's the PICTURES that got smaller!"

If you have to choose a movie to see one day, and can only choose one, don't let the opportunity go by. See this.

SWANSON SHOULD HAVE WON THE ACADEMY AWARD
Swanson deserved the Academy Award for this picture. The ending shot alone shows this.

A superb film all the way around except for the casting of Nancy Olson. Inexplicably, Olson won a supporting actress nomination from the academy that year, but I fail to see why. Her character gets on my nerves, especially making goo eyes at William Holden. But this is just a little quirk I have.

The film succeeds brilliantly mainly because of Swanson. It has an effecting score, great cinematography and great acting from the principle characters (Olson notwithstanding).

You will not be disappointed with this one!

FULL AND WIDE
While widescreen films date back as early as 1930 (The Bat Whispers), Sunset Boulvard is not a widescreen DVD because Sunset Boulevard is not a widescreen film.

A supreme film: a ltrue andmark in the american cinema.
This movie belongs to the legend from its release. Never before Wilder got down to the deepest regions of the soul, like in this one.
A voice in off (William Holden) will be as introductory device to involve us in this gripping story about the loneliness of an old fashioned actress who lives only in her lost picture images.
In this sense it's worthy to name the only five films which have had a succesful exit about this no mercy theme.
These are: Cries and whispers, The silence and Persona (Ingmar Bergman), The anxiety of Veronica Voss (Rainer Werner Fassbinder) and American Beauty(from Sam Mendes).
The sense of loneliness grows progressively in this old lady, who decided to stop the physical time and create her own reality between the dark clouds of her ancient memories.
An eternal treasure of the american cinema and in my point of view the masterpiece of that film maker giant called Billy Wilder. ... Read more

Amazon.com

Foyle's War is the rare mystery series that does more than plop agood detective into the middle of a decorative and bygone era. Created by writerAnthony Horowitz, Foyle's War makes profoundly resonant use of Britishsociety in 1940, a terrifying time in which the threat of an Axis assault onEngland disrupted ordinary life in often horrible ways, from the resettlement ofcity children (into the care of rural strangers) to a spike in xenophobia to aloss of personal freedoms. Against this heady backdrop is the near-solitaryfigure of Detective Chief Superintendent Christopher Foyle (Michael Kitchen), aLondon investigator who would rather be fighting Hitler abroad but is stucksolving domestic homicides--generally sparked by wartime fervor--with the helpof a plucky driver (Honeysuckle Weeks) and a steadfast assistant (AnthonyHowell). Kitchen's magnificently measured performance and Horowitz's masterfulgrasp of the moral and dramatic issues of his battle-scarred milieu makeFoyle's War a must. --Tom Keogh ... Read more

Reviews (12)

Uneven, but Irresistable
As mysteries, the four films in what I can only assume to be Series One of "Foyle's War" are middling. Very often (as in the first film) the solution is so obvious as to be laughable. And the presence of "notable" guest stars is always a dead giveaway (pun intended) that they're somehow involved in whatever the particular crime of the moment is. Luckily by the fourth film the actual whodunit aspect of the story has become more intricate, more suprising in its denoument. (After all, how great a detective can we think Foyle to be if the cases he's working on are so mundane?) But the series is a genuine pleasure to watch from beginning to end. The sense of time and place is beautifully realized, and the actors (particularly Kitchen) are never less than brilliant. The plots tend to be far too dense, with so much stuffed into 90 minutes that no one aspect of the story gets the attention it should; but that's of little significance to the overall satisfaction this series has to offer.

Thoughtful period mystery
This surprisingly prescient series follows Detective Chief Inspector Christopher Foyle through a series of murder investigations overshadowed by WWII. Set in 1940, as the Germans begin bombing England, the mysteries touch on everything from espionage to enemy aliens. The overall tone is melancholy and, appropriately enough, slightly ominous. Only the fourth episode, which turns on the tired plot mechanism of making things "personal" for the detective, fails to satisfy.

As Foyle, Michael Kitchen effortlessly dominates the proceedings. A rather small and deceptively non-descript actor, Kitchen often plays villains whose larger-than-life criminal talents lurk behind an apparently amiable, non-threatening exterior. His Foyle is a reserved man, shy even, who can nevertheless suddenly metamorphose into righteousness personified; he represents a spot of moral decency among the confusions of war. As his incipiently feminist driver, Samantha "Sam" Smith, Honeysuckle Weeks is pleasantly awkward and ambitious. Unfortunately, Anthony Howell is too wooden as Sgt. Milner, invalided out of the army after losing his leg. A number of familiar faces appear in guest-starring roles, including Edward Fox, Robert Hardy, Charles Dance, and Oliver Ford Davies. Overall, an interesting contribution to the recent crop of British mysteries.

A Good Plot... A Likeable Protagonist
It's rare to find those two things together. They come together beautifully in this series. Various issues facing the British population of 1940 are well illustrated such as the treatment of conscientious objectors, Nazi sympathizers, anti-semitism. Now combine these factors with class distinction, family disputes and the abuse of power and a powerful recipe for a great story emerges. Cheers to actor Michael Kitchens for a top-notch performance! The casting was excellent in this series. If this series interests you, I highly recommend the series "The Enemy at the Door" about the invasion of the Channel Islands by the Nazis. This series shows what life was like for the citizens of the islands under German control as well as what life was like for the German officers and soldiers.

Highly Detailed, Tightly Contexualized
A beautifully turned bit of television. The research that contributed to the production of this series of four episodes centers on touching human details. The vets of World War I are the mature characters in this set of period pieces, and their recollections of what they did and saw in that prior war provides an overlay of feeling that subtly yet tellingly colors their dread of the conflict that was coming in the later months of 1940. Michael Kitchen's portrayal of the recently widowed Chief Detective Inspector Foyle has an added layer of subdued sadness and world-weariness that is punctured first by the taut energy and keenness of his driver, Samantha (adorably portrayed by Honeysuckle Weeks), then by the sad grief and disorientation of a young policeman returning from the war in Norway who has lost a leg in combat, and finally by the exhuberant naivite of his son. His wry humor and frank approach to those he interrogates and whose guilt he confronts is so low-key it takes one's breath away and provides a vehicle for his gradual emergence from a grief that is barely mentioned, yet permeates Kitchen's beautifully modulated characterization.

The entire cast received careful direction to portray the coiled fear and concern of ordinary humans caught in a situation where an invasion can happen any time.

Echoes of the current unlawful detention of "combatants" crop up as a subplot in the first episode, where a pair of worthy German immigrants are abused by busy xenophobes driven by misguided patriotism and fear. Indeed, the plot of every one of these four episodes has deep relevance in our own time of conflict and political uncertainty. Interestingly complex and puzzling.

I checked these episodes out from the public library, and still ended up buying them for their layered complexity and engaging characterizations. Highly recommended.

Best ever!!!
Don't hesitate to get this video. It was, by far, the best I have seen and was so well done. The character development is superior...the stories most interesting and enjoyable. Can't wait for the Second Set to be published. ... Read more

Amazon.com essential video

The third Rodgers & Hammerstein Broadway hit to go before the cameras, The King and I boasts a career-making performance from Yul Brynner, repeating his stage triumph as the titular monarch and proving to moviegoers that bald can be beautiful. It's Brynner's proud king that provides the fulcrum to the plot, and it's Brynner himself, with his piercing gaze and graceful physicality, that demands our attention.

The story line, adapted from an earlier, nonmusical stage hit, follows widowed English teacher Anna Leonowens (Deborah Kerr) to her new posting as tutor to the Siamese king's formidable mob of children. The collision of East and West affords its winning mixture of drama and humor, and the warm friendship that grows between the king and the patrician teacher provides a poignant, unfulfilled romance between the two wary protagonists. Into this framework, the composers insert a superb score, echoing Asian motifs, as well as a bouquet of lovely songs including "Hello, Young Lovers," "Shall We Dance," and two ensemble pieces for Anna and the royal children ("Getting to Know You" and "I Whistle a Happy Tune") that suggest prototypes for Rodgers & Hammerstein's later hit, The Sound of Music.

For this 1956 production, 20th Century Fox lavished stereophonic sound, widescreen cinematography, intricate production design, and stunning sets.Technically, this newly mastered THX version is the best-looking and -sounding King yet to hit video. But, regardless of format, the glorious music is reason enough to hit "play." --Sam Sutherland ... Read more

Reviews (67)

BEAUTY, MAJESTY AND SPLENDOR
One of the grandest, most entertaining musicals ever committed to the silver screen, "The King And I" is one of Rodgers and Hammerstein's greatest achievements. From the film's excellent performances by two beloved screen icons, Yul Brynner and Deborah Kerr, to the splendid score, to the breathtakingly beautiful cinematography and set direction and elegant costuming... all come together to create an indelible movie masterpiece.

Loosely based on the real-life story of British schoolteacher Anna Leonowens, the film begins in the year 1860, when Leonowens (Kerr, at her most beautiful and most charming) comes to Siam with her young son to educate the many children of His Majesty the King of Siam (Yul Brynner, in an oustanding Academy-Award winning performance). Although Anna enjoys very friendly relationships with her charges, she has many conflicts with the stubborn King, at first refusing to live in the palace, in the King's "harem". He questions her culture and customs, but many of which he readily adopts, including the phrase: "Etcetera, etcetera, etcetera," (which becomes an oft-repeated line in the film). Although wary of the proper Englishwoman, he is intrigued by her teaching methods and her sly sense of humor and her pronounced propriety. Anna soon finds herself developing a deeper relationship with her employer... and the unspoken feeling is mutual.

Another romantic drama is also unfolding behind the scenes: Tuptim, the King's favorite courtesan, has fallen in love with Lun Tha, a young slave. They wish to run away together, but to forever seal their love, they would have to defy the King... or be separated forever.

With underlined with unspoken emotions, vain pride, and biting humor, "The King And I" is glorious entertainment, not only for its fine performances and glamorous spectacle, but for its legendary music: Kerr and the children perform a delightful rendition of the classic "Getting To Know You", Kerr sings the praises of young love in "Hello, Young Lovers", Brynner shines with his pronounced staccato "Confusion", and the film's most memorable scene has Kerr and Brynner waltzing and singing to the film's masterpiece, "Shall We Dance?".

The film is also full of many golden scenes: the King's wives giggling at the sight of Kerr in a billowy petticoated gown (believing that is how she is shaped!), Kerr teaching the inquisitive Siamese youngsters about falling lace from the sky called snow, and one scene in particular, a royal banquet given for an English ambassador, with a performance by the King's dancers of an interpretive version of "Uncle Tom's Cabin", reworked as "Small House of Uncle Thomas", which is very entertaining. And the film's final, memorable scene will not be forgotten quickly.

Rodgers and Hammerstein work their incredible magic and Hollywood works its own magic in this beloved movie musical, which has delighted and entertained audiences for years, and lives on in this celebrated film classic.

Fantastic movie. But missing too many great songs!
The King And I, Is a fantastic film. A great adaption from stage to film. The peformances by Brynner and Kerr are simply amazing, and the beautiful Rita Moreno does a spectacular job as playing the slave Tuptim. I'm sure you know the story, so I won't go on about that. I am most dissapointed with the cut of so many great songs, I understand the film was very long, but cutting many great songs makes the movie less enjoyable for me.

The songs cut for the film are Tuptim's beautiful "My Lord And Master", "The Royal Bangkok Academy", "A Puzzlement REPRISE", "Shall I Tell You What I Think Of You?", "Western People Funny", and Tuptim's and Lun Tha's "I Have Dreamed". In my opinion the two most drastic cuts are the beautiful "My Lord And Master", and "I have Dreamed", which are considered two of the most beautiful and powerful songs in the whole score. LUCKILY! Those two songs were recorded along with "Shall I Tell you..." So its great we get to hear Rita Moreno on Tuptim's other songs, even though Rita had slight augmenting done with her high notes by another woman, for most part it was Rita's voice, and her voice was beautiful indeed. Sadly, songs like Lady Thiang's and Wive's hilarious "Western People Funny" was not recorded, And I think the song is fantastic.

Otherwise, the cut of those wonderful songs, are the only dissapointment for me. So this movie is amazing. I highly recommend this masterpiece. The DVD is great, with great bonus features, and being remastered..the picture quality is great.

Get this DVD, and enjoy a classic musical!

Great Movie; DVD *not* Anamorphic
I confess I only chapter-skipped through this DVD. After I put it on and discovered it is *not* anamorphically formatted (i.e. not specially formatted for wide screen tv's), then I "boycotted" this Fox release by not watching it.

Come on, Fox. In 2004 more people own wide screen tvs than ever before. I *hate* popping in a disk that would look gorgeous on my wide screen, only to discover that I must watch it in "square" format with a letterbox.

The gorgeous KING AND I deserves a good, anamorphic transfer to DVD. And while you're at it, please send a memo to Universal to release VERTIGO in anamorphic format as well.

Yes, there is a large segment of the DVD population who don't care about anamorphic format. But there are also a lot of us who *do*. And I'll stop renting and buying your films until you release them that way.

One of the Greatest Musicals of All Time!
Rodgers and Hammerstein's THE KING AND I (1956) is a wonderous movie musical, an incredible adaption of the Broadway musical that premiered on stage in 1951 (and has been performed tens of thousands of times since). It tells a timeless story about tradition vs. modernity, Eastern vs. Western culture and men vs. women. This story was first written as the first-hand account of Anna Leonowens' experiences in Siam in the mid-19th Century, where she had been hired by King Mongkut to teach his many children, in his hopes to push Siam into the modern age. This account was first adapted for the big screen as ANNA AND THE KING OF SIAM (1946); unseen by me, it has been highly regarded in its own right, and starred Irene Dunne and Rex Harrison. THE KING AND I stars Deborah Kerr (last name pronounced "Carr") and Yul Brynner. Deborah Kerr completely embodies the strong-willed but emotionally fragile young widow Anna Leonowens; she makes Anna into a character with whom we identify and sympathize. We side with her in all disputes, from demanding that she be given her own house in which to stay as part of the original deal, to calling King Mongkut to task for enforcing double-standard sexual laws that were outdated and demeaning to women even at that time. As the equally strong-willed King Mongkut, Yul Brynner commands the screen in every scene he's in. You simply cannot look away. His King Mongkut is someone who wants to change Siam for the better, yet struggles to cling to many of the same traditions that he slowly begins to realize is partly responsible *for* holding Siam back. His heartbreak by film's end is emotionally gut-wrenching, and never fails to bring me to tears. The Russian-born, half-Mongolian Yul Brynner makes you believe he is a Siamese King; his performance is so brilliant that his transformation into this character appears to be almost effortless. And, of course, it won him a very well-deserved Oscar for Best Actor. Deborah Kerr gives a wide-ranged performance that spans all emotions throughout the course of this film. She was deservedly nominated for Best Actress, but unfortunately didn't win.

This film would have given us enough meat to chew on just in the complex relationship between our two principals alone. However, it is not content with just doing that for us. It gives us two spellbinding subplots, one of the forbidden love between Tuptim (a virtually unrecognizable Rita Moreno, in a truly marvelous performance) one of King Mongkut's many wives, and Lun Tha (Carlos Rivas), and the visit by the British Ambassador Sir John Hay (Alan Mowbray) whom King Mongkut wants to impress with how civilized he, and the Kingdom of Siam, is. Also, the "play within the play"; namely, the hypnotic Siamese theater performance of Harriet Beecher Stowe's epic American tale of oppression and cruelty UNCLE TOM'S CABIN, is just so incredible that words fail me as how else to describe it. Anna's young son Louis (Rex Thompson) provides us with an effective sounding-board onto whom Anna reveals the kind of feelings about the situation that she cannot express to the King.

Unfortunately, this or any other Western film treatment of this truly fascinating story continues to be banned in Thailand today, namely they feel that King Mongkut, whom I understand was one of their most beloved monarchs, is portrayed as a barbarian. I have two beefs with that sentiment: 1) King Mongkut is most decidedly *not* portrayed as a barbarian in this treatment (or in the 1999 non-musical ANNA AND THE KING, which is quite a brilliant film in its own right)---rather, he is shown to be a deeply conflicted man who agonizes at the prospect of losing centuries-old Siamese traditions, even as he expresses himself as one who wants to help his country modernize; 2) If they want to get the story right in their eyes, then where is the *Thai* version of the story?

Controversies aside, this is just a splendid, gorgeous film. It has great period costumes, in both Eastern and Western traditions. It has a huge, ornate set used for the Palace. It has great music ("Getting To Know You" and "Shall We Dance" are my two favorites). And it has incredible acting from all involved, especially Brynner, Kerr and Moreno (who should have been at least nominated for Best Supporting Actress for her sensitive and delicate protrayal of Tuptim). It is a joy to revisit every now & then. Parents, please do your children a favor and *keep them away* from the HORRENDOUS 1999 animated version, insultingly called THE KING AND I. That simpleminded, stereotype-laden, lamebrained version is a complete insult to anyone of decent intelligence. Just show your kids the 1956 original; it is the only version they will ever need to see!

MOST RECOMMENDED, AGES 6 & UP

Disappointed At What's Missing
I recall seeing the original road show engagement of this in the mid-1950's and recall vividly seeing the "Shall I Tell You What I Think of You" (with Anna combing her hair as she sings it) and "My Lord and Master" in that showing and being disappointed that the subsequent theatre, television, and video showings did not have those performances included. I was hoping the DVD would include all of the original material and am disappointed that it evidently does not. Still and all, I love the film and still love watching it. ... Read more

Amazon.com

Bob Hope is in top form in this Technicolor parody of pirate pictures, doing his best vaudeville shtick as an inept performer trying to save princess Virginia Mayo from the evil clutches of governor Walter Slezak and pirate Victor McLaglen. It's all ridiculous fun, of course, but if you're a fan of Hope, you never tire of his self-effacing gags and double-entendres. His out-of-place show biz jabs were always clever, and they're all the funnier in this period setting--particularly the Bing Crosby jokes. But Walter Brennan nearly steals the film as a wacky pirate scheming to steal buried treasure, and tattooing the map on Hope's chest. Yet the two best routines are when Hope tries to conceal his chest while taking a bath with Slezak, and when he tries to impersonate McLaglen as "the Hook." --Bill Desowitz ... Read more

Reviews (10)

Bob Hope as the classic cowardly pirate
"The Princess and the Pirate" is one of my favourite Bob Hope comedies right up there with "My Favourite Blonde" and "The Ghost Breakers". During the war years escapism was high on peoples wish list and the period saw an influx of top grade pirate adventures set in far off lands on screen such as "The Sea Hawk", and "The Black Swan". Bob Hope, ever quick to pick up on the latest popular trends created his own mini classic here in "The Princess and the Pirate", with a roushing send up of the whole Pirate genre that suited his comic talents to a tee.

This film has it all, from cut throat pirates to beautiful maidens in distress, fantastic galleons filled with treasure, beautiful technicolour, swashbuckling sword play and at the centre the comic Hope in one of his famous coward roles filled with hilarious one liners. Of course no Hope film would be complete without a few Bing Crosby jokes and they are laid on in abundance here. Even San Goldwyn who produced this film comes in for a comic slaying! Bob Hope playsSylvester the Great a second rate performing act who unknowingly gets involved with a group of cut throat pirates headed bythe notorious "The Hook' played superbly by Victor Mclaglen. In a plot too convoluted to lay out here Hope unknowingly gets a rare treasure map tatooed onto his chest and thus becomes the target for the greedy pirates bent on retreiving the treasure. Along the way Sylvester becomes involved with the Princess Margaret (played by the lovely Virginia Mayo)who is being held as a captive by the pirates and who in a surprise twist at the finale, after romancing Hope throughout the entire film suddenly runs into the arms of a well known rival of Hope's whos name I wont mention here!!

The film is full of wonderful scenes and performances. Walter Brennan in a distinct change of pace literally steals the show as the wacky featherhead, the giggling pirate who tattoes the map onto Hope's chest. Bob Hope's quip upon hearing him giggling to "hurry up and lay that egg" is probably one of the funniest lines in the whole film. Virginia Mayo while perhaps not the best leading lady that Bob Hope had in his films is cooly beautiful as Princess Margaret but does perhaps lack a bit of the fire that a Maureen O'Hara type would have brought to the role. Bob Hope I feel has one of his very best roles here. Whether he is playing the wisecracking Sylvester ducking from cut throat killers or dressed as a cackling old gypsy womanto avoid detection on the pirate ship, romancing the Princess or deceiving the dreaded Hook and the govenor, he is in fine form full of the lovable quips and Crosby insults that were his stock in trade. Hilarious scenes abound throughout "The Princess and the Pirate". Stand outs are the priceless scene where Hope and the princess arrive at the boarding house in port to find a room for the night and find that the previous occupant had mysteriously "checked out" while leaving all his clothes! and the absolute rib tickler where Bob ends up sharing a bath with the corrupt governer La Roche (Walter Slezak in another funny performance) and tries to hide the tattoo of the treasure map from him, that one is guaranteed to have you laughing till you drop!.

The overall look of this production is lavish and no expenses was ever spared on Bob Hope films around this time. The colour is beautiful and the costumes, sets, and period flavour are top notch. For a fun filled, hour and a half of pure mayhem and Hope madness "The Princess and the Pirate", is unsurpassed. If you are a Hope fan like I am you cannot miss this one to see him at the absolute peak of his abilities and comic timing. Enjoy a rousing time on the high seas with Bob Hope at his cowardly best!!

a great and beautiful film!
This film is very good, so entertaining and colorful.It's packed, with glamoour, romance, comedy, and adventure.A little of everything.Virginia Mayo is wonderful in it and so is Bob Hope.

Classic Gut-buster
My siblings and I caught this movie on Sunday afternoon TV once, and laughed until we cried.Very silly gags interspersed with hilarious one-liners make this oldie stay fresh.I'm not someone who generally likes classic comedy, and I LOVE this movie!

Good, simple pic
Everytime Bob Hope made a picture in a costume, people would cringe.It doesn't have to be that way, as this movie is heads and tails above "Cassanova's Big Night".This is a fun, silly pirate movie that I loved as a kid, and still love now as a twenty-something unemployed male unable to graduate from a state college.

Good, simple pic
Everytime Bob Hope made a picture in a costume, people would cringe.It doesn't have to be that way, as this movie is heads and tails above "Cassanova's Big Night".This is a fun, silly pirate movie that I loved as a kid, and still love now as a twenty-something unemployed male unable to graduate from a state college. ... Read more

Reviews (82)

Wonderful! Spectacular! Sheer fun!
Aladdin is a triumph for disney. Along with Lion King, this is one of my favorite movies of all time. I loved the Genie, voiced by Robin Williams, and his humorous antics and impersonations. I couldn't stop humming along with the songs as they played. The animations is spectacular for a disney movie. I couldn't stop laughing at the scene where the Genie says, "...Jafar, Jafar, he's our man, if he can't do it..GREAT!"

And I loved how Iago was the perfect foil to Jafar, a serious villain. I also enjoyed the love story that unravels around Aladdin and Jasmine. Jasmine is the girl that every guy wants, and Aladdin is the sweet, handsome young man that every girl dreams of. I also enjoyed the personifications of the carpet, and his expressions. Gilbert Godfried was the perfect voice for Iago.

I love everything about this movie, and can't wait 'till it comes out on DVD. I've heard that it comes out in 2004. I guarantee I'll be one of the first people to place an advanced order on Amazon.com for this DVD.

I loved it!

It's a hit!
One of Disney's better "late release" animation films, proving once again that the studio can still produce the magic.

I'm basing this review from the VHS tape version (since the DVD is not released yet), however, I believe Disney Studios will probably continue to follow the path they've set with other DVD releases -- that is, look for a straight VHS to DVD transfer. You'll get the film, but little else. Naturally, the DVD will outlast a VHS tape and the quality of both the picture and sound should be higher.

On the movie, it's a great rendition of the tales of 1,001 Arabian Nights (with Disney's own plot and characterizations) which will entertain members of the entire family. Robin Williams does an exceptionally fine job as the voice of the Genie -- giving him comic personality and wit.

The story line is a good one and is followed by two 'add-on' sequels ('Return of Jafar' and 'King of Thieves'), both worth purchasing when they become available (Williams is missing from 'Return', but back for 'Thieves').

The film's music is top rate and in line with many of their earlier successful animations (The Little Mermaid, Beauty and the Beast).

All in all, a worthwhile purchase for your home library. Children and adults will enjoy this one for decades to come.

~P~

almost essential
There are a select few of the films made by Disney that can almost be considered essential Kid fare. My personal faves are : Robin Hood, Lion King, and the great Aladdin. This is one of Disney's all time greatest moments ever. This is truly one of the best. Adults will find it amazing, kids will love it! An awesome and incredible tale of magic, wishes, coming of age, love, and temptation by absolute power. Wonderful, simply wonderful. Also was one of the first animated movies to really make use of a seamless blend of computer graphics and traditional animation styles. Perfect.

Complete the Platinum Collection
Snow White and the Seven Dwarfs, Beauty and the Beast and The Lion King are all magical Disney animated films and the best choices for the ultimate in DVD collecting, the PLATINUM EDITION. Only one title was missing from that list, but this October, Aladdin will finally join and complete the Disney Platinum Series. Aladdin is one the best stories ever made into a Disney animated film with memorable characters and songs.

Put "A Whole New World" into you Disney DVD PLATIUM collection with Aladdin.

Truly a Disney Masterpiece
When this movie first came out it was obvious that it would become an instant classic. 12 years later it has indeed continued to touch the hearts of children.
One of Disney's finest, this movie brings everything together. The animation is simply beautiful, the voice acting very convincing, the plot both imaginitive and entertaining, and the original songs are a masterpiece on their own. The characters are all believable, and gauranteed to touch a special place in your heart.
This movie has a great supply of adventure and humor, with a healty dose of morals thrown in for good measure. The title character Aladdin learns throughout the course of the film the significance of being himself. We also witness the value of friendship, the importance of freedom, and the fact that people are people no matter where their life has put them. While the film portrays these messages very touchingly, it does so without making the lesson heavy handed.
Whether you're sharing the magic of this movie with your children, or indulging in your own entertainment, Aladdin won't dissapoint. ... Read more

Amazon.com

After viewing Snow White and the Seven Dwarfs, Edgar RiceBurroughs wrote to Walt Disney about adapting his novel of an ape-man into a feature animated cartoon. Sixtysome years later, the tale is finally told with brilliant design work that looks unlike any previous animated film. The story is a natural for Disney since the themes of misunderstood central figures have been at the heart of its recent hits. Disney's Tarzan doesn't wander far from the familiar story of a shipwrecked baby who is brought up by apes in Africa. What gives the film its zing is its clever use of music (the songs are sung by Phil Collins himself rather than onscreen characters) and the remarkable animation. Deep Canvas, a 3-D technology, was developed for the film, creating a jungle that comes alive as Tarzan swings through the trees, often looking like a modern skateboarder racing down giant tree limbs. The usual foray of sidekicks, including a rambunctious ape voiced by Rosie O'Donnell, should keep the little ones aptly entertained. The two lead voices, Tony Goldwyn as Tarzan and Minnie Driver as Jane, are inspired choices. Their chemistry helps the story through the weakest points (the last third) and makes Tarzan's initial connection with all things human (including Jane) delicious entertainment. Disney still is not taking risks in its animated films, but as cookie-cutter entertainment, Tarzan makes a pretty good treat. (Ages 5 and up) --Doug Thomas ... Read more

Reviews (300)

Better than average Disney
Looks like Disney is trying improve on the standard Disney animation with Tarzan. The animation quality is excellent! DVD on a large screen TV is the best way to experience the results of the technology Disney developed to make this movie. Parents will appreciate the animation quality which in turn enhances the story and kids will simply like the animation because it's cool!

The story follows the traditional Disney story line, but places a greater focus on positive messages(family, loyalty, respect and acceptance). As a result, this sets Tarzan a part from the standard Disney story line(exception Mulan).

With the exception of Jane, Disney did a good job in matching actors to the characters. Unfortunately, Mimie Driver's voice and lines seemed to be out of place with her Jane Porter character. Maybe its all those Johnny Weismuller Tarzan movies I watched as kid.

As with all Disney animation, music plays a major role. The scores written and sung by Phil Collins are excellent! However, there is one musical score(Trashin the Camp) which seems to be out of place in both the story line and music.

Overall, this is a better than average Disney feature that hopefully is an indication of things to come for future Disney animation features.

Excellent animation, music, songs and story
Despite the inevitable "Disney formular", it is a great animation achievement. Let's face it, you can't expect Disney to really break away from their formula without the parents with young kids screaming murder. Within the confine of the formula, I think Disney did a marvelous job in entertaining the adults as well as the young tots. So stop being a purist and just enjoy a great animation feast.

Tarzan is definitely one of the most "live-like" animation characters in history. The story is rushed at times, and the comic side-kicks can be distracting, and even annoying. But overall it is a powerful story, with powerful emotions and conflicts, great action, and very very touching. The scene with Tarzan and his ape mother brought me to tears, and I am a 30-something guy. The relationship between Tarzan and Jane is sexy and yet innocent, romantic and yet realistic.

As for the violence... Oh come on! I think Disney did a great job portraying violence in real life (but not excessive) without being encouraging or offensive. Death? Disney animation has always dealt with death and violence, starting from Snow White -- remember the Queen and her immenent death? How about Bambi's mother? How about the hundreds of Huns and Chinese soldiers who died in Mulan? Oh, at the end, Tarzan did not throw Clayton off a tall tree... watch carefully. Clayton was trying to get to Tarzan but Tarzan noticed the danger, and he was actually trying to save Clayton! Clayton did himself in because he was too obsessed. There's a lesson to be learn here. So I think the violence in Tarzan is very well done and serves as education... it is not at all gratuitous. I suggest parents discuss it with their young children.

One gripe about the DVD though. I totally agree with other reviewers about the annoying previews and ads. It's a totally unnecessary marketing ploy and will only alienate their customers.

*****Wow!******
This is a great movie but its the kind that you can get a little tired of after a while. I didn't really care for Minnie Driver's voice for Jane Porter; it didn't fit somehow. And while the music in Trashin' the camp was differant from the rest of the soundtrack,it was refreshing and I thought it fit perfectly with the destruction of the camp.
Phil Collins did a superb job with the music. I got goosebumps on several parts,he's that good. His singing voice just seems to fit with the wild jungle setting. All in all,a good movie.

AWESOME MOVIE!!!!!!!!!!
i am a disney movie collector and tarzan is one of my favorites among the disney collection.great animation great story.this movie is a must to get!!!!

Anyone else notice....
....the shadow of the dead body hanging in the noose?! Probably not....most folks set their kiddos in front of a Disney movie hoping for some quiet time. Do the world a favor: toss the movies, better yet, toss the TV and read a book with your children! ... Read more

Description

James Stewart stars as Elwood P. Dowd, a wealthy alcoholic whose sunny disposition and drunken antics are tolerated by most of the citizens of his community. That is, until Elwood begins to claim that he has a friend named Harvey who is an invisisble six foot rabbit. Elwood's snooty socialite sister, Veta, determined to marry off her daughter Myrtle to a respectable man, begins to plot to keep Elwood's lunacy from interfering. ... Read more

Reviews (69)

Pookah Power!
Loving Veta thinks her brother Elwood has a problem. But Elwood feels he doesn't have a problem at all! Okay maybe he drinks a little, but when he is bothered by something he can always turn to his best friend, Harvey. Where is the problem in that? The problem stems from the fact that Harvey is a six foot three invisible rabbit. From this simple concept spins a most charming story about psychoanalysis.

The film was adapted from the Pulitzer Prize winning play of the same name and it never falls far from those roots. The entire film carries most of the dialogue and farcical scenes that thrilled theater crowds. The cast is stellar but the strongest performances come from Josephine Hull as Veta and from Jimmy Stewart's surprisingly dark turn as alcoholic Elwood P Dowd.

The DVD has a special audio introduction by Jimmy Stewart recorded just before his death. As it was shot, the film is in a pristine full-screen black and white and will keep purists happy. However, younger children may find the stage-like pacing and lack of color nothing short of deadly. Otherwise, this is a great family film sure to spur some interesting discussions.

Aren't We All A Little Crazy?
Jimmy Stewart stars as Elwood P. Dowd, a very ordinary man except for the fact he sees and talks to a large white rabbit (a pooka, actually). His overwrought sister Veta can't take it anymore, since he is ruining the chances of her daughter Myrtle Mae finding a suitable husband. She wants to get him committed to the Chumley Sanitarium. And that's when things begin to get very complicated for all concerned. As comedies go, Harvey isn't one of those riotous, laugh out loud howlers. It does have some laugh out loud moments, mostly supplied by the inimitable Josephine Hull as poor Veta. She's extremely funny, with her quavering, fluttery voice, and expressive eyes. The comedy is more gentle and rooted in human nature. Stewart hits all the right notes as Elwood, a terminally calm and happy man who seems much more at peace with himself and the world than the apparently sane people around him. He and the film leave you questioning what the harm is in a man who sees a big white rabbit, but loves life and making friends and who really disturbs no one. After all, don't we all have our own oddities and quirks - myself excepted, of course ;) .

One of James Stewart finest...
Elwood P. Dowd's (James Stewart) best friend is an invisible 6-foot rabbit named Harvey with whom he likes to spend his time with in bars drinking. This is something most people in Elwood's hometown find disturbing so his sister attempts to put Elwood in a mental institution. However, Elwood is perfectly happy with his situation and with Harvey. Harvey is a story that depicts two sides, one pessimistic and one optimistic. The gloomy side presents problems such as alcoholism, isolation, and cynicism. However, these negative issues are presented through light comedy and Elwood's positive view of life, which is a result of his friend Harvey. This story offers a blissful journey, which presents moments of self-reflection and amusement.

"Harvey and I warm ourselves in these golden moments."
Mostly everyone has had an imaginary friend at one time or another when growing up. Henry Koster's "Harvey" posits the notion that perhaps some imaginary friends are not imaginary after all. Yep, according to this film, it just might be true that there are invisible entities among us who are in actuality playful spirits. Therefore, think twice about dismissing the next person you see talking to no one in particular.

Elwood P. Dowd (James Stewart) is a simple man who is befriends everyone he meets. However, he does have one eccentric characteristic about him - his constant companion is an invisible rabbit who is over six feet tall named Harvey. Elwood always is keen to point his friend out but no one can see or has ever seen Harvey. Concerned about his mental health, Elwood's sister, Veta Louise Simmons (Josephine Hull) decides to have her brother committed to a sanatorium. The plan goes awry when the sanatorium staff mistakenly commits the wrong person and releases Elwood. A chase ensues when the situation is sorted out even though Elwood hasn't the slightest clue about what all the fuss around him is about.

"Harvey" is a cute film on one level and an insightful commentary on perception and sanity on another. Yet, it is a one-joke film that gets more and more tired as it goes along. Stewart brings much conviction to his role but his trademark charm is not enough to save the production. The screwbal