Amazon.com

Blake Edwards's delightful 1959 comedy stars Cary Grant as a World War II submarine captain whose preference for a by-the-book command reluctantly yields to certain realities. Chief among those is that Grant's first officer (Tony Curtis, who impersonated Grant that same year in Billy Wilder's Some Like It Hot), a shameless hustler, is better than the navy at delivering whatever supplies the ship and crew need to keep going. But when Curtis sneaks a handful of Philippine refugees and several gorgeous nurses onto the all-male sub, the skipper not only has to cool down his crew but deal with an unexpected feminine influence on ship protocol. The film is a great deal of fun, sprinkled with the director's trademark sight gags (including one of Edwards's best, involving a torpedo and jeep), and graced with his unmistakable lilt. Grant is in great form, his comic brilliance almost impossibly effortless. --Tom Keogh ... Read more

Reviews (33)

One of the best
Operation Petticoat is one of those movies that makes you laugh no matter how many times you see it. The cast is led by none other than Cary Grant as the commander of a decrepit submarine, caught behind the Japanese advance in the Pacific, trying hard to sail her back to safety and repair at a US base. Grant makes a fine picture as a tough yet sentimental commanding officer. In counterpoint is Tony Curtis as a totally amoral rascal with a talent for getting things done, usually by breaking all rules. Despite their mutual dislike, the two have to work together to get the sub home and the result is a truly bizarre voyage. Curtis' expertise in scrounging supplies for the damaged sub extends to a group of stranded army nurses, who predictably create havoc on the submarine. And as the sub approaches safety, it improbably ends up as a maternity ward to the consternation of Grant and the delight of the crew. I would hate to spoil the surprises but let me say the manner of the sub reaching safety is simply hilarious. Of course, all ends well - this is a movie after all - and the right lessons are learned by all. A great movie to laugh over with some superb dialog lines for Grant in particular and a string of great one-liners all around. Highly recommended.

All Hands will Emergency Surface with Laughter
My favorite part of this hilarious Cary Grant and Tony Curtis romp was when Tony Curtis reports for duty to a WW II submarine in his dress whites. The rest of the crew -- greasy and grimy from trying to get their critically damaged boat into good enough condition to limp to another friendly base laugh their heads off when looking through the periscope they spot Curtis looking a little out of place on the busy pier. However, much to their surprise, Curtis proves himself invaluable as the boats "Supply" officer who does an unequalled job in "procuring" the badly needed parts for the boat in early supply shortened portion of the war in pacific. Come to find out this smoozing, angle hunting "idea man" who had been on the Admiral's staff and "Champion Rumba Dancer" (with the Admiral's wife) really was a street-wise guy from wrong side of the tracks in NY City.

And to top it off the Boat ends up with stranded Army Nurses all this makes for a great movie -- how the submarine ends up pink and how they torpedo an enemy truck I will leave to you find out. Do yourself a favor and get this movie. What a hoot!-- K.K. Dunn (Submarine Veteran), Kansas City

A must in Cary Grant Fans
This is a great comedy and a must for Grant Fans. Cary Grant as the commander of a very peculiar submarine sailing thru the Pacific with an even more peculiar crew. Great Movie

The Cast
Tony Curtis and Cary Grant are at their handsomest. You should see Cary in his admiral outfit. But, in my opinion, you may disagree, a very obvious flaw is the weak cast of women. I was casting it in my mind as I watched. Marilyn Monroe would have been hilarious-- and Thelma Ritter as the mechanic. Of course, with a stellar cast, the parts would have had to be better for them. The pink sub is hilarious and the men seem very relaxed, glad to get non-challenging roles. This is a must for the 50's comedies collector and has that great super-bright photography.

lightweight WWII comedy still worth catching
Like submarines, this flick really doesn't have that much keeping itself above the waterline. The USS Sea Tiger is almost completely destroyed when attacked by the Japanese in port in 1941. Through the pluck of its commanding officer, Matt Sherman (Cary Grant) and the scheming of his very un-military XO (Tony Curtis), the stricken sub is pulled together enough to make it out to sea, where it suffers a series of embarrassing misadventures - the crowning indignity being the coat of pink paint it must wear when their isn't enough gray. In between, the sub faces off against a squad of army nurses, a family of Filipino refugees, a goat, and a torpedoed jeep - all without killing a fly. It's not great comedy, but the flick gets by with Curtis as Holden who can always get what he wants, and never wants active-duty (when he tells Grant that he had seen action on a destroyer, Grant is dumbstruck that Curtis ever found time for it between golfing with admirals and dancing at the Royal Hawaiian Hotel). The flick actually belongs to Grant as the prim and perfect Sherman who tries to mold Curtis into a proper officer and finds himself being molded in his likeness instead. (When sailors find their port facilities stripped to provide replacement parts for Sea Tiger, a forlorn admiral concludes that they've witnessed "Sherman's march to the sea".) The leads aside, "Petticoat" is actually a great time capsule of a time in Hollywood when the military was still respected - in more modern flicks, the street smarts of Curtis's character would make him the hero and the wisest of all. But the script makes him a pathetic weasel to be whipped into shape by the proper Sherman, who of course sees right through Holden. ... Read more

Description

Enchantingly beautiful Elizabeth Taylor became a movie star at age twelve after starring in this classic about a girl and her jockey pal (Mickey Rooney) who transform an unruly horse into a champion. ... Read more

Reviews (23)

A Classic Tale of a Girl, her Horse, a young Jockey and Mom
Somehow I never got around to see this movie until I was 40 years old. I guess it was because I was never really an Elizabeth Taylor fan, although I have always enjoyed "The Taming of the Shrew" and "Who's Afraid of Virginia Woolf?" But I was at the library and I had always heard good things about it and so I checked in out and took it home and watched it and feel in love with it.

The plot line involving Mike (Mickey Rooney) starts off as somewhat melodramatic, the standard story (literarly in this case) of the guy who has to get back on the horse. The twist is that when he does our young heroine has decided she is the only one who can ride the Pie to victory. The twist is the Rooney achieves his victory without winning (anticipating "Rocky" in that regard when you stop and think about it).

The focus of the film is on Taylor and Rooney, but the heart and soul of the film is the relationship between Velvet and her mother. Anne Reeve won a Best Supporting Actress Oscar for her portrayal of the mother, and while her scenes with husband Donald Crip are small gems scattered throughout the film (they call each other "Mr. Brown" and "Mrs. Brown" and you can tell how much they love each other every time they do it), it is the scenes with her daughter that bring home the film.

Mrs. Brown uses the money from her swimming the channel to fund Velvet's dream of racing the pie in the Grand National. But for Velvet the payoff is not when she wins the race and becames a front page story, but when she arrives home and immediately runs to her mother and says, "We won, Mother. We won." Her mother already knows. All of England knows. But all that mattered was telling her mother. It is a neat scene and an ellegant payoff to the film, more so than her running off to fetch make Mike.

This 1944 film was directed by Clarence Brown and is based on the novel by Enid Bagnold. Final Warning: And if after you have watched and enjoyed this classic film with your children and you screen the sequel "International Velvet" which only leaves a bad taste in your mouth, you have only yourself to blame.

Wonderful Technicolor Film About a Girl's Dream
I love both the book of NATIONAL VELVET and this film, which makes small changes to the book, but the theme and joy remain the same. Sickly Velvet Brown wins a fractious horse in a lottery and she and ex-jockey Mi Taylor train the horse to race in England's most famous steeplechase, the Grand National, a grueling race with frightening jumps. Velvet's family--her wise mother, excitable father, lovelorn older sister, telltale other sister, and mischievous little brother are all entertaining in their own right--some of the best scenes in the movie are between Anne Revere as Mrs. Brown and Donald Crisp as Mr. Brown. All this in glorious Technicolor recreating an English village of the 1920s. A must-have. Read the book as well--there is another sister in the story, more horse incidents, and it's not "translated" for American sensibilities like Harry Potter, so you get a real feel for English life and dialect at the time.

Poor treatment of a classic
"National Velvet" is a wonderful movie, for all ages. Frankly, I'd consider it one of the best "sports" movies ever made.

Sadly, Warner Brothers DVD release leaves a lot to be desired. The picture frequently goes out of focus, and the disc is bare-bones....not even the trailer [promised on the DVD jacket] is included.

With Elizabeth Taylor and Mickey Rooney still around, you would have thought they'd have either interviewed them, or gotten a commentary track from them for this classic. It would be worth the price to get a "special edition" release.

Until then, I guess we're stuck with this sorry disk.

Not to be missed
Clarence Brown was one of those accomplished American directors who never seemed to get the credit he deserved. This project is certainly his masterpiece. It's usually hyped as a children's picture but it works at all age levels: the apotheosis of the "family" movie. Mickey Rooney delivers the best performance of his amazing career; he should be next on the "lifetime achievment" list of the American movie academy. Brown also extracted equally compelling performances from Elizabeth Taylor, Donald Crisp and Anne Revere; in fact the entire cast. Taylor is a young English girl transported by her love of hayburners and her pure happiness is the central theme of the movie, a subject you don't see treated much anymore. Highly recommended.

Horse Crazy!
National Velvet is a sweet, inspiring film that will forever be a wonderful classic. Elizabeth Taylor (Velvet Brown) and Mickey Rooney (Mi Taylor) did an incredible job portraying their characters. Elizabeth Taylor only twelve years old, plays the part of a horse crazy little girl who is bound and determined that her horse (Pie) can when the Grand National Steeplechase. Although Pie was not originally her horse, it was enduring to watch how Velvet acquired the 16 hands, 6 foot jumping horse and how small of chance she had to win him. Mickey Rooney played a wonderful role of a frighten ex-jockey who in the beginning did not want any part of the horse business after an accident early in his career. With a spirited young girl, a wonderful horse that was thought to be no good, and an ex-jockey that tried too hard to stay away from horses, a winning story was sure to be produced. Velvet's family also played an important role as her mother (Academy Award winner Anne Revere), the quick tongue lady who could always convince her husband otherwise and Velvet's siblings, that put an emphasis on typical sibling relationships. For it's time, when this film was produced, it was outstanding (Academy Award winning) and now it is even more outstanding. People of all ages can enjoy this film because it's heartwarming with a touch of comedy that seeps into the heart of everyone. ... Read more

Description

Director David Lean follows the heroic true-life odyssey of T.E. Lawrence (Peter O'Toole) in this dramatic portrait of the famed British officer's journey to the Middle East. Assigned to Arabia during World War I, Lawrence courageously unites the warring Arab factions into a strong guerrilla front and leads them to brilliant victories in treacherous desert battlefields where they eventually defeat the ruling Turkish Empire. ... Read more

Reviews (278)

DVD the best looking version yet
Apart from the slightly soft, washed-out picture quality during the opening credits of the movie, the DVD edition of LAWRENCE OF ARABIA is superb. The movie itself is spread onto 2 discs, with the disc break occurs just before Intermission. The Overture, Intermission, and the exit music are all played to a black screen, as per director David Lean's original wish. The picture quality looks as fresh and clean as, quite frankly, any film made in the 90s. In the dramatic shot where Lawrence appears on the far horizon after he rescued his Arab companion, the higher picture resolution of DVD makes it possible for us to notice his tiny figure whereas on VHS tapes or laserdisc it is so small it is almost impossible to see. Anyone who is serious about watching this film should get this DVD instead of any other version in order to appreciate the opulent cinematography and majestic atmosphere of this epic.

The disc has over 100 minutes of old and new documentaries and news footage about the making of the film, plus two well-designed DVD-ROM features (for Windows PC only): a interactive map showing the various journeys undertaken by the real T.E. Lawrence, and a "split-screen" feature that simultaneously plays the movie and shows you text of behind-of-scene information of the particular chapter of the movie that is playing. Since the DVD lacks a second audio commentary, being able to watch the film while reading facts about it is not a bad substitute.

The included "booklet" is a reproduction of the 1961 program given to theater goers, we are told. A nice touch: the disc case resembles Lawrence's diary in the movie.

Arabian Winner
Lawrence Of Arabia is one of the biggest and grandest films ever made. Director David Lean crafted a stunning epic that tells the tale of World War I British soldier T.E. Lawrence. Lawrence joined the various desert tribes of Arabia against the Turks and the desert battle scenes are breathtaking. Peter O'Toole is amazing as Lawrence in what would be a star-making turn for him. Omar Shariff, Anthony Quinn and Alec Guinness provide strong support, but this is Mr. Lean's film through and through. His direction provides sweeping shots of the desert vistas and gives the film its big look, but he also allows the story to flow and we really get inside the complicated head of Lawrence and see his psychological foibles. The film is beautifully transferred to DVD and it brings justice to the film that had previously suffered on video transfers. The movie was a major success as it swept through the 1962 Oscars winning Best Picture and Best Director, but Mr. O'Toole lost out on what would be the first of his of his seven unsuccessful Best Actor nominations.

Conservatives support slavery? This movie makes the case
Hi. My name is Steven Thulen. You might know me from such reviews as "Bowling For Columbine" and "My Life." I am here today to talk to you about "Lawrence of Arabia." While this may shock and astonish you, I will offer a long-winded review without actually discussing this film.

I am that good.

First, a history lesson. In the year 1492 Columbus sailed the ocean blue. He landed in Haiti and raped the native there, then enslaved them. Later, many Africans were captured and made slaves by white people. White people continued to terrorize other races throughout the latter half of the 19th Century.

Finally, World War I took place. During that war, many people died, including white people. Some people who were too cowardly to serve in the world fled to California, where they became subpar sports writers. Later, World War II took place. In that war, white people dropped atomic bombs on Asians.

Peter O'Toole was probably gay and acted really well in this movie.

STEVEN THULEN
AUTHOR OF "JIMMY KEY: BASEBALL'S BATMAN"
(...)

The Greatest Historical Epic Ever
LAWRENCE OF ARABIA is, without a doubt, the greatest historical epic ever filmed and the crowning achievement of David Lean's career. It's also the film that makes best use of the majestic desert landscape with shots of extraordinary rock formations, dunes, shimmering "mirages," and caravans making their way across seemingly endless sands.

LAWRENCE OF ARABIA tells the story of T.E. Lawrence and his adventures in the Middle East during World War I as he led the Arab revolt against the Turks. It is loosely based on Lawrence's book, THE SEVEN PILLARS OF WISDOM.

Even though there are battle scenes in LAWRENCE OF ARABIA, this film is, first and foremost, a character study of Lawrence who was, by anyone's account, a fascinating figure. Even the battle scenes serve to enhance the character of Lawrence rather than detailing the horrors of war and we see Lawrence's dark, embittered side as well as his heroic one.

Although Peter O'Toole wasn't David Lean's first choice to play Lawrence (both Marlon Brando and Albert Finney were offered the part), I can't imagine anyone else in the title role.

Omar Sharif is impressive as Sherif Ali Ibn El Kharish. Prior to this film, he was a virtual unknown, but LAWRENCE OF ARABIA launched Sharif on a long career that made him instantly recognizable the world over.

Even though O'Toole and Sharif weren't well-known when they starred in LAWRENCE OF ARABIA, the film's supporting case is certainly stellar: Alec Guiness, Anthony Quinn, Jose Ferrer and Claude Raines.

Although I think LAWRENCE OF ARABIA is best viewed on a large theatrical screen, this doesn't mean anyone should pass up the DVD. It's just too good for that, especially the Director's Cut (but do make sure you get the widescreen edition; this film demands it).

Don't watch LAWRENCE OF ARABIA expecting to get a history lesson. Watch it to learn more about the fascinating man who was T.E.Lawrence. If you do, I can't see any way you'll be disappointed.

Read the book, then watch again in awe.
I have seen this masterpiece many many times, but only after reading T.E. Lawrence's book "The Seven Pillars of Wisdom" this year do I now begin to understand. This movie is a product of two of the century's greatest minds, one an author and soldier, the other a film maker. The power of Lawrence's descriptions of the desert matches the great cinematography. No film could fully project the power of the inner thoughts of this most introspective man; for that you absolutely need the book to fill in the gaps. Many of the scenes take on a much deeper meaning once you have read the book in detail. The Columbia Tri-Star two-DVD edition is faultless, something I will always treasure. I find it hard to believe that someday a better movie could possibly be made, but we can hope against hope. ... Read more

Reviews (58)

Phenomenon: A Moving, Under-rated movie
I took me awhile to catch on to the John Travolta "comeback." Always a good actor, he is trancendent in "Phenomenon." Taking his character of George, struck by a mysterious light, and turning him from an average man to a genius, could have been an actor's trap. Travolta makes it his triumph. He gives George such a humanity that even with the genius powers we are aware that George of old is still there, trying to desparately to just be his old self, and only the girl he longs for, played excellently by Kyra Segwick seems to understand his wanting to remain the same, no matter how many "miracles" he performs. So many films like this are too serious, use too many special effects, or are just plain ridiculous. Travolta great performance seems to lift the entire genre and wins us over like he does Segwick and her two children. The supporting cast is excellent, especially Robert Duvall, who does miraculous things with the town doctor. Forrest Whittiker is also good as George's best friend. The town accepts the miracles like no other movie town does. Yes, they are in awe, but they still doubt, as George doubts, that he was given a gift as a mistake, but when all is said and done, we know the "bright light" made the right choice, that he was able to even handle his own mortality. There is a scene near the end of the movie, when George is sharing his last moments and an apple with the two young children, that is as moving as any I've seen in recent memory. Some may see "Phenomenon" as too far-fetched or mauldlin, and if so they are as jaded as many movie goers are getting. What does an audience want? Here is a movie without much violence, blood, or spectacular special effects and does have a message but does not force it on you, how all of us have the possibility to be more than we think, that there is genius on a small scale, in the feelings for love, simple pleasures, sharing an apple with children, or facing one's own mortality without fear. A great Movie.

One of Travolta's best
Phenomenon is a great movie in every sense. It's about a mechanic (John Travolta) that sees a bright light in the sky one night and wakes up the next morning to find out he's a genius. He knows things such as when and where an earthquake is about to strike, national defense secrets, and he learns a new language in a matter of minutes. All the while he's interested in a good looking woman (Kyra Sedgwick), and like the other people she is scared of Travolta's new power of knowing just about everything. Watch Phenomenon and you'll see how a man struggles with his friends and the media even though he knows just about everything and could do any job on earth since this light hit him.

John Travolta gives a phenomenal performance in Phenomenon and this is one of the most underrated movies of all time. Travolta and Phenomenon should've won a few oscars, but it wasn't even nominated for any. Kyra Sedgwick, Robert Duvall, Forest Whitaker, and the kids also give good performances throughout the film. Phenomenon is without a doubt John Travolta's best drama film so far and one of my favorite movies of all time. If you're a Travolta fan or you like drama movies, I recommend getting Phenomenon because it's phenomenal to say the least.

Underrated, moving film
Phenomeonon was advertised as a sci-fi movie, and whilke it has a sci-fi sort of theme at its core, anyone going to see the movie based on that was sorely disappointed.

What this movie is, actually, is a story about a man learning to cope with something that he can't understand, and how it brings him closer to his friends and his community, and how it allows him to understand and deal with his own fate.

Yes, it's a bit sappy at times, but it also contains some really excellent performances. Travolta delivers what it certainly his most authentic and touching portrayal of a real human being yet seen in his post-Tarantino career. Forrest Whittaker and Robert Duvall likewise contribute first-rate performances. A wonderful contemporary soundtrack ties it all together.

A gift for your 37th birthday
George Malley is part of a close knit rural community. He is celebrating his birthday. On his way home he sees a bright light. After that his world changes. He finds he can think clearer and do extraordinary things.
Now we see if this is a gift or a curse. How will his friends and others deal with his "Phenomenon?"

The concept of the movie is not new. However it is the execution of the story and the interaction of the characters that make this a top notch film. You could also tell that John Travolta has a great time making this film. Many of the other actors fit the parts so well hat you forgot they were acting.

If you like this film, the film "Resurrection" (1980) with Ellen Burstyn is similar but more serious.

Romantic Drama With Healthy Comedy
I originally saw this movie in the theater and was pleasantly surprised. Not that I can see it at home the film's wonder has not disappeared.

Phenomenon stars John Travolta (with an appearance by Brent Spiner of ST:NG). The premise of this film is that John sees a light in the sky that hits him and knocks him out. After that he has increased brain usage. This enables him to read quickly, comprehend, think clearly and even perform minor telekinesis. In the small town in which he lives this sort of thing can cause some problems and fear. Robert Duval gives an excellent portrayal of a small town doctor and the rest of the cast does a marvelous job.

Phenomenon is partly a love story as John pursues the woman of his dreams, but it is also much more. It is a film about facing the unknown and the wonder of learning. While much of the film is funny it is definitely not a comedy and you should be prepared to have various emotional strings pulled throughout the film. An excellent choice for fans of romantic comedies and romantic dramas. ... Read more

Reviews (23)

"For this particular quilt the theme is: where love resides"
How to Make an American Quilt is a nice comfortable movie, and unlike so many other films belonging to the 'coming of age' genre, it doesn't leave the viewer feeling emotionally drained. It is also unusual in that it attempts to breach the generation divide in its appeal; however its success in this respect is debatable.

Finn is 26 and, hoping for some peace and quiet in which to complete her Master's thesis, she heads for her great-aunt's house in small-town Grasse, California. She also needs time to mull over a marriage proposal from her boyfriend. This is an entrance cue for a smoulderingly handsome strawberry farmer (in an unnecessary plot complication) to hinder Finn's contemplations.

Great-aunt Glady-Joe lives with her sister, Hy, and their constant bickering is portrayed with sensitivity and humour by Anne Bancroft and Ellen Burstyn. The two sisters belong to a quilting group, who are in the process of creating Finn's wedding quilt - thematically titled 'where love resides'. This evokes something different for each of the women, all of whom - in artificially contrived tete-a-tetes - explain to Finn the story behind their contributions to the quilt. The viewer is transported to a time when these elderly women were young, and through them we (along with Finn) learn that times may change, but affairs of the heart will always be unpredictable.

These dalliances in the past are refreshingly piquant; unfortunately this is countered by the film's occasional heavy-handedness. The symbolic crow that leads the women to their true love has all the subtlety of a flashing neon sign. Ultimately however, even if it does perhaps tie up the loose ends too thoroughly, the film will leave the viewer pleasantly satisfied.

Wonderful Tear Jerker with an All-Star Cast
"How to Make an American Quilt" is one of my favorite "chick flicks." And hopefully labeling a movie as a "chick flick" doesn't immediately damn it into some lesser category. When I want to curl up in a quilt on a rainy day and sip hot cocoa and watch a movie, "American Quilt" would be a perfect choice. This is one of the few times when I liked the movie far better than the book--which I read second.

In "American Quilt," Finn (Winona Ryder) comes to spend the summer with her grandmother Hy (Ellen Burstyn) and great aunt Glady Jo (Anne Bancroft) in Grasse, California. Her plan is to finish her master's thesis while considering the marriage proposal of her long-time sweetheart, Sam. Finn's inability to stick with a project--she's changed thesis topics countless times--seems about to derail her relationship with Sam. Amazon.com's main review criticizes the movie adaptation of the Whitney Otto novel for focusing too much on Finn. I thought that Finn's attempt to sort out her feelings about relationships, while talking to the other women in Hy and Glady Jo's quilting group, sewed the story together quite well. As Finn is pondering whether a modern, intelligent woman can preserve a sense of self within a marriage, one by one, her grandmother, aunt, and their friends share the stories of their marriages or their most significant relationships. Older women sharing their life experiences to help guide a younger woman rang very true to life.

Poet Maya Angelou turns in a surprisingly powerful performance as the leader of the quilting group. Her story of how, as an unwed mother, she came to work for Hy and Glady Jo's mother, is one of my favorites. She holds her own with this great actresses. Bancroft and Burstyn are wonderful as sisters whose love for each other has endured, despite betrayal. Samantha Mathis, as the young Sophia Darling, is stellar as the diver who can't wait to shake off the dust of her small town and explore the world, and who discovers that realizing such dreams aren't so easy.

As a quilter, I absolutely loved the various quilts seen in the movie. I appreciated the detail of including fabrics seen in the flashback scenes into the blocks that each woman contributes to the friendship quilt.

--Delightful film--
Starting with the title, which is terrific, I also liked the great cast of actors who were chosen for the film. The story begins when Finn (Winona Ryder) comes to spend the summer with her grandmother (Ellen Burstyn) and her aunt (Anne Bancroft) at a grand old house in California. Finn is a graduate student who wants to spend the summer working on her thesis. She also needs a break from her boyfriend who wants to marry her. She's very indecisive about everything in her life, and I honestly found her part to be a little boring. The best parts of the story are about the friends that her grandmother and aunt share and their involvement in a quilting circle. The quilting ladies are all quite different and through flashbacks we're given a glimpse of them as young women and the love or lack of love in their lives. Jean Simmons plays one of the women, and I was delighted to see her acting again. I loved the scenes where the quilters, are working around a table in the lovely old house. The set designs were beautiful and perfect for the story.

At a certain point in the film, we come to find out that the theme of the quilt is "where love resides." Every quilter is making a block from her own experience in life. Finn also learns that the quilt is her wedding gift.

HOW TO MAKE AN AMERICAN QUILT is an enjoyable movie. I think that the individual stories could have been a little more informative, but all things considered it's a wonderful movie and worth seeing.

sensitive and human
I quilt, my other half is an artist. We both viewed this " simple film " and both found a true delight about the emotions and sometimes confusions of the complexity of love. A finefilm for those that can understand love is delightful but at times so complex. A lovely movie that shrares hope beyond love, love beyond dreams!!

FANTABULOUS
This movie is phenomenal. It stars Winnona Ryder as Finn, a young woman about to be married, who is writing a thesis on the interpersonal relationships that are intertwined with in the making of an American quilt. The people that she is writing about are a group of women who have been quilting together for many, many years. They have assembled with the goal of creating a wedding quilt for Finn. The group is comprised of her grandmother, her aunt, and several of their oldest and closest friends. Each woman is charged with designing a single square of the quilt that represents for them "where love resides". As the women work on the quilt they use the opportunity to counsel Finn about her upcoming marriage. They give their own views on what is important in life; on what their experiences have taught them, and why they have made the choices in life that they have made. While they are together, working on the quilt you learn about the relationships and experiences that represent love for these women. At the same time you learn about the hardships and the tribulations that they have experienced both individually and within relationships with one another. This is a movie that explores the nuances of family, love, birth, death, marriage and friendship. This exploration is handled beautifully. The separate stories are woven together, as their lives are, and as the pieces of the quilt are. The movie on the surface is a simple story of several women's lives and their experiences. As you watch, and look deeper you begin to understand that there is profound meaning and an explicit symbolism in each scene and every moment. Each part of this movie was thought out and carefully considered. It is a pleasure to watch and you find your self deeply involved with these women as you travel full circle in their lives. If you have not seen How to Make an American Quilt you must, it should not be missed. ... Read more

Description

Chasing Amy is the third installment in the "New Jersey Trilogy" from award-winning writer-director Kevin Smith (Clerks, Mallrats, Dogma). Cult comic-book artist Holden (Ben Affleck) falls in love with fellow artist Alyssa (Joey Lauren Adams), only to be thwarted by her sexuality, the disdain of his best friend Banky (Jason Lee), and his own misgivings about himself. Filled with Smith's unique ear for dialogue and insight into relationships, Chasing Amy offers a thoughtful, funny look at how perceptions alter lives, and how obsession and self-doubt skew reality. ... Read more

Reviews (355)

Simply Fabulous!
"Chasing Amy" by director Kevin Smith is such an triumph. This movie about love, friendship and taking chances hits with so many punches. It's well rounded, it doesn't take the easy way out, NOR does it go for the safe laugh. The story surrounding comic book writer Holden (Ben Afflect) , his best mate and partner Banky (played beautifully by Jason Lee), and Holden's love for fellow comic book girl, lesbian Allyssa (Joey Lauren Adams) Who SO deserved the Golden Globe Nomination. It's sweet, lovely and such a testament to true love. Conflict between these three characters carries this movie with such intelligence.

One of the BEST love declaration speeches in movie HISTORY is in this movie, when Holden spills his cuts (in the rain, no less) to Alyssa. That scene sums up the whole movie. It's just such a good movie. Supporting cast includes the performance of Fan Fav. "Jay and Silent Bob" in a wonderful moment that sums it all up. Truly inspired writing on Smith's part.

I hope everyone appreciates it like I do. It's fabulous!

blech!
Why did this movie get such good reviews?? Maybe it would've been clearer when it came out, but I honestly thought it was terrible.

The main plotline made no sense whatsoever. There was no chemistry between Ben and Joey's characters, and suddenly, after about 10 minutes, he found himself deeply in love with her and had to make a 5 minute confession to her. Then it turns out she, a former lesbian, was in love with him all along too, and suddenly they're kissing in the rain. There was no build-up to this, and as such I felt nothing for their relationship or anything they were going through.

The drawn-out monologues in the movie are pretty silly as well. The characters talk at each other for long periods of time while the others just stare at them blankly. (Ben Affleck has indeed mastered the blank, gaping stare.) And parts of the movie are so silly that I wasn't sure if any of the movie was supposed to be taken seriously at all. Sometimes it seems it has a message, but then it's just stupid.

It was kind of entertaining at times, and the supporting characters were amusing. So that's why it got 2 stars. But overall it was a pretty bad movie.

another popular release.
This review is for the Criterion Collection DVD edotion of the film.

This film the third release in the Jersey "trilogy" (quintilogy to be exact) is also the one where Silent Bob speaks more than any other release. In this film,(Ben Affleck) a comic book artist falls in love with young women who is also a comic book artist, only to discover that she is lesbian. The film is not for children and like the film "Clerks" almost got an NC-17 rating based solely on sexual dialog.

The Criterion DVD has numerous special features.
There is a new DVD edition video introdiction for the audio commentary explaining a comment made by Kevin blasting DVD's (The audio commentary as originally recorded for the laserdisc edition.)
The is full length audio commentary by director/actor Kevin Smith, producer Scott Mosier, actors Ben Affleck and Jason Mewes, associate producer Robert Hawk, Miramax executive Jon Gordon, and Vincent Pereira. There is also a Theatrical trailer, 10 deleted scenes with introductions. There is also a set of outtakes.

The Criterion Collection remains the exclusive distributer for the film's DVD format as of the time this review is being written.

'Till the other shoe drops
Interesting but pretty improbable, and ultimately it will be unworkable. It should have been written as a tragedy instead it is a farce.

ok but no clerks
this was an ok film, but still highly overrated i recommend clerks, clerks the series, or maybe mallrats instead of this. ... Read more

Amazon.com

San Francisco has been the setting of a lot of exciting movie car chases over the years, but this 1968 police thriller is still the one to beat when it comes to high-octane action on the steep hills of the city by the Bay. The outstanding car chase earned an Oscar for best editing, but the rest of the movie is pretty good, too. Bullitt is a perfect star vehicle for cool guy Steve McQueen, who stars as a tenacious detective (is there any other kind?) determined to track down the killers of the star witness in an important trial. Director Peter Yates (Breaking Away) approached the story with an emphasis on absolute authenticity, using a variety of San Francisco locations. Jacqueline Bisset and Robert Duvall appear in early roles, and Robert Vaughn plays the criminal kingpin who pulls the deadly strings of the tightly wound plot. --Jeff Shannon ... Read more

Reviews (115)

Chases, as they were... Oh, and good style too.
Many people remember this for the ever-famous chase scene, which still is more impressive, and more realistic than most modern chases.However, there is more to the movie then that, although having no stunt doubles for the chase wasn't a bad start.

First of all though the story: McQueen's character is Lieutenant Bullitt, and he is given what seems like a routine protection job of a high-profile witness; however, the witness is shot, and McQueen decides that maybe this is not such a small issue after all.

The story I felt was pretty good, but really the style is where the most effort was put and achieved.For example, the camera shots are used to quite good effect.At the same time though, the "realness" achieved is also pertinent.My only problem, and I promise not to spoil, is that the ending is all too reminiscent of the end of Chinatown (no specifics on how).

Overall though, with nice style as I said, a decent plot, and McQueen, the movie is rather enjoyable.

Excellent and Enjoyable Original Film
Finnaly the most original film bought to a two-disc special edition! Yes I loved this film I saw when I was 4 years old and was fascinated with it! I hope you enjoy this film.

Bullitt is more taciturn than Calvin Coolidge
There's a story about a man who introduced himself to president Calvin Coolidge by telling Coolidge that he had made a bet with a friend that he could get the famously taciturn Coolidge to say more than three words."You lose," replied Coolidge.Steve McQueen has little more dialogue in this visually told police procedural drama.The fact that there isn't alot of stupid chatter makes the movie seem smarter and tighter than it is.I kept thinking I had missed something because the plot didn't make sense too me.I didn't miss anything; the plot doesn't make sense.Which doesn't matter a bit, because Steve McQueen is one of the coolest actors who ever worked in Hollywood and Jacqueline Bisset is a gorgeous girl, and this is a cool movie.

And what a car chase!This clearly is the best car chase ever filmed.Oh, and what muscle cars we had in the late 1960s!Pure, raw power, undamped by catalytic converters or the need for fuel efficiency.This movie, and specifically this car chase (which is the main reason to buy the movie), set the tone for cop movies and TV shows for decades to come.

As car chases go...
I like Bullitt. I even like the quiet times when he is at a restaurant and picking up his girl at her work. I think these touches add to the 'matter-of-fact' attitude prevelant
in the film. I even like the fact they left in the scene where the emt remarks about the ambulance door not being left open
and the 'keep it rolling' attitude of Steve McQueen, as he opens the door and they keep filming.
And while I think the car chase ranks near the top, why do we have to see the same places over and over, but from different vanatge points?I mean, even the skid marks are already there...and what's with the recurring green VW 'Bug'?
Heck, maybe no one really cares.

I especially like the casting of the hit men. Actors not remembered by many. (And Don Gordon, who played Bullitt's partner...) One thing for sure, when they are on the job,
they rule.

After nearly forty years, still powerfully effective
BULLITT is today an easy film to underrate, partly because so many films in the seventies embraced a similar narrative and visual style.This lends the film a sense of familiarity that it didn't have for most viewers in 1968.Instead of a direct, involved form of narrative, the film employs an indirect, detached one.Unlike most film where the action takes place at firsthand, much of the action in this one takes place at secondhand, such as when Bullitt and a hotel employee knock on the door of a room, to cut away to a long shot of his girlfriend sitting in her car, her attention soon called to a police siren and running police officers, letting her and us know that something is amiss.Or the action will often be squeezed to the side, with the screen dominated by something other than the actors, such as the chase near the end on the airport runways, where an airliner will dominate the frame, while one of the actors will be on the periphery.The whole technique is so cool and detached that one expects the Dave Brubeck Quartet to break out at any point.The film is also enhanced visually by a complete lack of dissolves through out.Instead, each shot cuts directly to another, giving the film an almost undefinable crispness.The whole film is, in fact, a technical delight, with everyone trying to remake as many rules as possible.

The film is most famous, of course, for what is quite probably the greatest car chase in movie history.The only other contender for the slot is not quite a car chase, but the car chasing the subway in THE FRENCH CONNECTION, a film that was profoundly influenced by BULLITT in a host of ways.There have been dozens of chase scenes since then that are more spectacular in their stunts and effects, so what makes this one remain so compelling?First, there is the balance to the whole thing.It builds beautifully, first with two hit men in their Dodge Charger trailing Bullitt in his Mustang, then their losing him, only to rediscover him in their rearview mirror.Although they are at this point at normal speeds, the effect if riveting, and when the driver of the charger takes a moment to put on his seatbelt, you know you are in for something special.1968 was before the 1973 oil embargo, so gas efficiency was of secondary concern.Instead, a string of cars were made with power their main concern, and although these were modified automobiles, they nonetheless seem almost alien with their massive engines.But what really makes this car scene extraordinary is the devotion to realism.Most subsequent car chases feature cars vaulting other vehicles, making impossible leaps over bridges, performing astonishing stunts on two wheels or doing an entire rotation, and in every instance landing back on all four wheels with minimal damage.In this scene, they literally wreck the cars.Yeah, they vault over a hill, but when they land, you can feel the shock to the chassis.Also, the speeds are simply incredible.A lot of scenes feature slower cars that they then enhance in the editing room to make them seem faster.There are reports that the two cars in this one often exceeded 110 mph.I don't doubt it for an instance.In defense of other car chases, one reason they have to resort to pyrotechnics and gimmicks and absurd stunts is that in a sense BULLITT took what it was possible to do with two cars chasing each other as far as it could go.Whenever I rewatch this chase scene, I can't help but thinking that I will never see its like again.

This isn't a film that is going to appeal to everyone.Many are going to feel uncomfortable with its detached style, with its refusal to bring all the salient parts of the action to the foreground.But I find its attempt to do something new and original enormously exhilirating.

This is rightfully regarded as one Steven McQueen's best films, if not his best.It is certainly one of the more laconic performances one will see in the genre.Although Clint Eastwood would later travel much of the same ground (literally, since the films were also set in San Franciso in the Dirty Harry movies, both Frank Bullitt and Harry Callahan were loosely based on the same real life detective), nothing like his grimaces or taglines can be found in McQueen's performance.

My one complaint with the film is what I consider to be a rather large hole in the plot.When Bullitt and his partner go to the airport to pull Ross off his flight, only the two of them go.It has always been police procedure to undertake such operations in force.It is simply inconceivable that only two detectives would attempt such an action.They would go in with substantial backup.For me it is one of the only misfires in an otherwise superb film. ... Read more

Amazon.com

Clever twists and a bona fide surprise ending make this an above-average courtroom thriller, tapping into the post-O.J. scrutiny of our legal system in the case of a hotshot Chicago defense attorney (Richard Gere) whose latest client is an altar boy (Edward Norton) accused of murdering a Catholic archbishop. The film uses its own manipulation to tell a story about manipulation, and when we finally discover who's been pulling the strings, the payoff is both convincing and pertinent to the ongoing debate over what constitutes truth in the American system of justice. Making an impressive screen debut that has since led to a stellar career, Norton gives a performance that rides on a razor's edge of schizophrenic pathology--his role is an actor's showcase, and without crossing over the line of credibility, Norton milks it for all it's worth. Gere is equally effective in a role that capitalizes on his shifty screen persona, and Laura Linney and Frances McDormand give memorable performances in their intelligently written supporting roles. --Jeff Shannon ... Read more

Reviews (64)

THIS MOVIE SHOWS THE WIDE RANGE OF THE GREAT EDWARD NORTON.
"Primal Fear" is an entertaining thriller with some plot twists, good performances and interesting story. But the best part of the movie is the Edward Norton performance, he steals the show from good actors every time he appears on the screen.

The movie introduces a cynical, narcissist and ambitious famous lawyer Martin Vail, he is played by Richard Gere, and of course he has no problem with the role because Richard Gere is cynical, narcissist, ambitious and famous. Anyway, when Martin Vail watches on TV the arrest of a boy accused of the homicide of a Chicago archbishop, he immediately sees the opportunity of raise his profile by defending the boy.

Then he meets Aaron Stampler (Edward Norton), a quiet and harmless boy; then the lawyer realizes that Aaron is innocent. After that, the movie becomes an entertaining thriller / mystery / courtroom drama, with some plot twists, interesting characters and revelations.

But the most interesting part is to see all the changes and emotions that Edward Norton prints in his character; he is just an amazing actor, his performance is by far the best in the movie. After this film, Norton delivered his best performance in American History X, and established himself as the best actor of his generation.

A more than solid thriller, with a twist
When I had first laid eyes on Primal Fear on pay-per-view years ago I had first dismissed at as another Hollywood who-done-it courtroom drama with no originality. And was I ever wrong. Primal Fear may seem like something you've seen before, but the clever, highly intelligent, and twisting script makes the film soar to unexpected heights, and Edward Norton's breakout performace as murder suspect Aaron has to be seen to be believed (Norton would receive a Golden Globe and his first Oscar Nomination for Best Supporting Actor which Cuba Gooding Jr. ended up winning for Jerry Maguire). Richard Gere has the starring role playing Norton's lawyer who seems to be the only one who believes Norton's innocence. With a super twist ending and a superb all star cast which includes Laura Linney, Frances McDormand, Steve Bauer, John Mahoney, Maura Tierney, and Andre Braugher, Primal Fear is a near superb little gem that I strongly suggest seeing.

You gotta be kidding!!!
This is a great movie with interesting plot twists?? I groaned throughout this movie. So predictable....the egotistical lawyer, his ex-lover DA, the dialogue, the acting....ughh. Nothing more than a basic Hollywood formula movie.
I will watch this occasionally to remind me what a recycled , done before, same old same old Hollywood type movie and how much I hate them. I guess some people get off on the same old stuff. Well if you don't, I warned you.

Murder and Misdirection.
"Fui bailar no meu batel alem do mar cruel," sings modern fadista Dulce Pontes in this movie's dynamic title song: "I went dancing in my boat, there on the cruel sea." And it must be just like a nutshell-sized boat dancing on a stormy ocean's waves that nineteen-year-old Aaron Stampler (Edward Norton) feels after his arrest for the savage murder of Chicago's saintly Archbishop Rushman. Or does it?

Certainly it doesn't help that Aaron was caught running from the crime scene, covered in blood, and with the archbishop's ring in his pocket. Besides, who is going to believe him anyway - a stuttering, uneducated boy from rural Kentucky who was found begging by the powerful clergyman, taken in as an altar boy and made to sing in his choir - that he was present when the murder was committed but can't remember a single thing because he blacked out? Nobody; surely not the police and ADA Janet Venable (Laura Linney), assigned by D.A./Rushman friend Shaughnessy (John Mahoney) personally to try the case, with the express mandate to obtain a death penalty conviction. Nobody, that is, except Aaron's defense attorney Martin Vail (Richard Gere). Vail, of all people: the flamboyant ADA-turned-private-practitioner, the star attorney not shying away from even the shadiest client, to whom TV and magazine cover interviews are as second nature as his courtroom appearances, and who cynically quotes as his mottos a professor's maxims on his first day in law school: "From this day forward, if your mother says she loves you, get a second opinion." And: "If you want justice, go to a whorehouse. If you want to get f**ked, go to court."

"Primal Fear" was adapted from William Diehl's like-named bestselling novel and, like in many literary adaptations, its screenplay is a hit-and-miss affair. Not successful, in my view, are those alterations that unnecessarily make Vail an even more ethically questionable lawyer as already conceived by Diehl; such as the way he becomes Stampler's attorney in the first place (which in the movie amounts to blatant client solicitation; not to mention that no sane lawyer would introduce himself to a potential client with the words "I'm what you call a 'big shot' attorney"), and the circumstances surrounding the discovery of a tape revealing the archbishop's not-so-nice private side (which in the novel isn't found by Vail but by his investigator Tommy Goodman [Andre Braugher]: of course that doesn't eliminate Vail's ultimate ethical responsibility, but contrarily to the movie, at least he doesn't "borrow" the tape from the crime scene himself, and he doesn't know in advance what Tommy is up to). Further, in the book the tape is not shown in open court and immediately introduced into evidence but viewed in the presence of only the judge and the attorneys, which given its contents seems more realistic (even if it were later introduced into evidence after all). On the other hand, particularly regarding the main characters the movie's alterations work well: Unethical or not, Richard Gere's Martin Vail is even more interesting than the character devised by Diehl; moreover, an unnecessarily cliched, ultraconservative judge nicknamed "Hangin'" Harry Shoat becomes an - although still tough - overall more multidimensional Judge Miriam Shoat (Alfre Woodard); similarly, Vail's mafia-affiliated client Joey Pinero (Steven Bauer) gains considerably in stature; and although it actually reinforces cliche to shift the love/sex relationship from the book's present one between Vail and psychiatrist Dr. Arrington (Frances McDormand) to the screenplay's past one between Vail and Venable (which the ADA now derogatorily calls "a one-night-stand [that] lasted six months"), thanks to Gere's and Linney's considerable on-screen chemistry their characters' personal relationship adds sparks and tension to their professional rivalry that also lend greater credibility to the final courtroom scene's powder-keg explosion.

Outstanding as all of its actors are, however, "Primal Fear" rises and falls with the performance of Edward Norton, and it is his breathtaking achievement that validates the movie more than anything. Then-newcomer Norton not only had to portray a boy almost a decade younger than himself (which he manages flawlessly) but also an incredibly complex character, sometimes shifting behavioral patterns, accents and manners of speech from one sentence to the next; and he delivers supremely, deservedly garnering an Oscar nomination (which in a year of extremely tight competition he lost to Cuba Gooding Jr. for "Jerry Maguire"), as well as a Golden Globe and several other awards, and together with his roles in "People vs. Larry Flynt" and Woody Allen's "Everybody Says I Love You" playing himself into public awareness once and, hopefully, for all.

Although "Primal Fear" is often cited for its final plot twist, anybody who has seen more than that occasional thriller can see its end coming somewhere halfway through the narrative (and I think that's true for both book and film - although I admit I hadn't read the novel when I first saw the movie). Moreover, the final twist depends on a feat on the part of Norton's character that lawyers and psychiatrists alike will find hard to take at face value. Thus, at first viewing this movie's end may appear a bit of a let-down. But trust me: The story grows on you the more often you watch it, and in my view it actually helps to know the end, because not only does this enable you to see the many nuances you necessarily missed the first time around; it also frees you to think about the moral issues addressed. For those reasons, and for the entire cast's - first and foremost Edward Norton's - fine performances, this has long become one of my favorite courtroom thrillers.

"[I believe that] things are not always as they appear, that sometimes facts can be manipulated the way a magician manipulates an audience. He distracts you with this hand, while the other hand does the tricks. It's called misdirection." - "Primal Fear," preface: from Martin Vail's summation in a case entitled "The State vs. Nicholas Luma."

Primal Fear (1996)
Director: Gregory Hoblit
Cast: Richard Gere, Edward Norton, Laura Linney, John Mahoney, Alre Woodard, Frances McDormand.
Running Time: 130 minutes.
Rated R for language, perverse sexual situations, and some violence.

Rarely is a psychological thriller/courtroom drama so intense, intellectual, and mind-blowing. "Primal Fear" is an excellent adaptation of the William Diehl bestselling novel, using a stupendous cast, an equally riveting screenplay by Steve Shagan and Ann Biderman, and fine direction from virtually unknown Gregory Hoblit. Red herrings and duplicitous plot twists are woven tightly into the film about a hotshot defense attorney named Martin Vail (Richard Gere) who goes looking for the limelight and finds it filled with shadows.

When a popular archBishop is brutally murdered in his illustrious home, a terrifyed young altar boy (in an exceptional, eerie role by newcomer Edward Norton--who would later become a star because of the film)is arrested as a suspect and held into custody. Due to the magnitude of the case, Vail leeches onto it and decides to defend the young man. Little does he know that he will uncover a viper's nest of corruption, pit him against a prosectuor (Laura Linney in a fine role) who happens to be his ex-lover, and hope to find the truth of a case that tests his will and win-at-all-costs attitude.

Gere is stupendous as the fame-hungry, confident lawyer, while Norton steals the film as he reveals the inner demons of the poor suspect. "Primal Fear" is one of the most well-made thrillers of the 1990's and is a film that emphasizes what is right and wrong about our judicial system, questions the legitimacy of the courtroom, and taps into a fear of the psychological unknown. A finale that will, if nothing else, shock you and make you think. An absolutely great drama. ... Read more

Reviews (51)

Babs is a great actress
These scenes are so well written - credit to the genius of arthur laurents - that any one of them could be taken out of context and make a great scene for an acting student.

The movie is shot beautifully and the score is a classic. (If a little repetitive at times)

The main reason to see this movie is for the great acting of Streisand and Redford. They are incredible.

Barbara has so many great moments in this - probably the "phone scene" is her best but so hard to choose. She is just great in this movie.

Redford is perfect - saying much more when he is silent than any actor does with dialogue.

The ending scene is a classic of american cinema - so sad and perfect. The most classic goodbye scene since CASABLANCA.

The documentary on this DVD is awesome. The interviews with Barbra, Pollack, the Bergmans, Hamlisch are great. The only disapointment is no Redford. The deleted scenes in this documentary are great and worth seeing.

I highly recommend this DVD.

DVD is Well Done - Looks & Sounds Better Than Ever
Finally! THE WAY WE WERE in widescreen! I think it really makes a difference. I've only seen pan and scan versions on video. It is especially noticeable in the opening credits where names/credits appear on one side of the screen and action takes place on the other side. For the first time we get to see Katie at her typewriter and Katie talking to her teacher.

The rest of the dvd is done just as well. The picture and sound are pristine. The menu screens are classy and easy to use. The bonus trailers from FOR PETE'S SAKE and Streisand's later films are fun to see.

The hour-long documentary featuring interviews with Sydney Pollack and Streisand is very revealing. Pollack seems humble and grateful about the film. Streisand is relaxed and beautiful - again, reflective and humble about the experience as Pollack is. There is even a segment with Marvin Hamlisch on piano playing the different versions of THE WAY WE WERE theme. And Alan & Marilyn Bergman are a hilarious couple!

Sydney Pollack's comments on the extra audio channel are interesting as well. I haven't gotten through the whole movie yet, but so far so good!

The dvd is definitely a must-have for Streisand fans. But even fans of this classic romance will find much to like about the dvd as well.

A classic! A tearjerker! Two treats in one!
I've seen this movie many, many times. I can be brought to tears by watching JUST the last scene. This movie is a true visceral experience.

Characters that could have been stereotyped are incredibly complex and true. And that's a big part of the story. We go through life and label people, yet we just don't know what might truly lie beneath.

Katie and Hubble see what lies beneath. How we don't know. Two soul mates who come into each other's lives but cannot stay. I know all of this sounds sentimental but this is a truly sentimental favorite.

Watch this movie!!

"Katie, it was never uncomplicated."
As stated many times before, THE WAY WE WERE is one of only a handful of romantic blockbusters to actually feature an intelligent script and complex characters. Writer Arthur Luarents' based his screenplay (and subsequent novel) on girl he knew in college, who fought for liberal (and sometimes communist) causes. The film was a surprise box office smash when originally released, and became the fifth-highest grossing film of 1973 and an instant classic. Katie Morosky is a character that Barbra Streisand born play, and she delivers on all accounts. Fierce and determined, yet vulnerable and self-conscious, Katie is a tricky character and Streisand inhabits her so deeply that she seems nothing less than completely believable. Justifiably nominated for a Best Actress Oscar, she was unfortunately robbed of the award.

Redford, who actually turned down the role twice before director and friend Sydney Pollack talked him into taking the part, displays some of the best reflective acting ever seen on the big screen and definitely deserved a nomination as well (he was, however, nominated for Best Actor that year for his light comedic performance in THE STING). The film's enduring popular success with the mass audience is due to the magnetic chemistry between Streisand and Redford and the gorgeous visuals and strong directorial hand supplied by Pollack, however it is the complexity of the romance with politics and the strong characterizations by both leads that continues to make THE WAY WE WERE the best love story for adults.

About the DVD: The picture quality is beautiful, quite possibly the best the film has ever looked. The sound quality is also vastly improved. Pollack's commentary track is interesting, but the 60-minute documentary is the best extra on the disc. Featuring insightful interviews from Pollack, Streisand, and Laurents (as well as composer Marvin Hamlisch and lyricists Alan and Marilyn Bergman) the documentary is well-produced and entertaining, and it was great to finally see those much-debated deleted scenes.

For such a great film, the dvd should have been much more!
I, like many thousands of others love this movie and could watch it over and over again. What should have been a 25th Aniversary spectacular is a very lack luster. My major complaint is with the 60 minute documentary.
1.Great, we get to see some scenes that were cut that really SHOULD have been put in the film in the first place. How about the rest of the cut scenes? Legend has it that there is much more.
2.Barbara's commentary is good but I really think she could have added a lot more. What about the screen play she supposedly was interested in that was, in essence, a part two of this movie entitled "the way we are"?
3.Redford is absent on the disc because of "scheduling" problems? Or so I have heard....Gee, nobody could have waited even to get 3-4 minutes of commentary from him? Something isnt right.

I also dont think the transfer of this movie came out too well. Not exactly great quality for such an icon. ... Read more

Reviews (48)

Very Endearing
The sad life of Tracy Turnblad is explored in this biting satire set in pre-intergrated Baltimore.

Tracy (Ricki Lake) and her best friend Penny Pingleton (Lesley Ann Powers) spend each afternoon watching the homegrown hit 'The Corny Collins Show' on television,dreaming of one day dancing the Mash Potato or the Frug there.

Tracy's mother (Divine) does not really think her child will amount to anything,and Penny is constantly being punished (her parents make her wear a big 'P' on her blouse).

However,the charmed life of Amber von Tussle,the most popular dancer on the Show,seems too good to be true,despite commemts by Tracy and Penny (''Stuck-up little spastic'' and ''She is such a queer''). Amber also has the brass ring,that of teen heart-throb Link,who also appears on the Show.

Amber's parents are power-mad and drive Amber to ridiculous lenghs to be popular.They are played by Debbie Harry and Sonny Bono.

Soon,Tracy does get to appear on the show,and lands her dream-hunk Link.

A great comedy,with a yummy soundtrack and a real edge to it that does not marr the overall story.

Also featuring Mink Stole as the cue-card holder on the Show (''Falsies! '') and Pia Zadora as a way-out beatnik chick.

Soon,Tracy

'Hairspray' full of tawdry, tacky fun
John Waters' first real attempt at "mainstream" fun is a trashy and critically-acclaimed delight. Set in (where else?) Baltimore during the Civil Rights era, Hairspray is chock-full of stars, mini-stars, and people who just wanna give it a go at being a star.

The story follows young Tracy Turnblad (pre-talk show Ricki Lake) on her rise to being "big, blonde, and beautiful" on a popular teenage dance show. Along the way, however, she runs into some friction from high school brat Amber Von Tussle (Colleen Fitzpatrick, also known as pop star Vitamin C) and her parents, a racial obscenity-spouting mother (Debbie Harry) and a slick politician papa (Sonny Bono). Add in growing discontentment among the city's black populace over whites-only establishments, and you have an explosive mix made even more explosive by how off-the-wall it becomes.

Dance enthusiasts will appreciate the film for its selection of early 60s fad dances like the Mashed Potato and the Madison. Offbeat and fun, Hairspray also has an excellent soundtrack with some obscure songs you'll be hard-pressed to find in another compilation.

Forever Quotable!
Tracy Turnblad is described by her contempories as "a fat trash can," "teenage Jezebel hair hopper," "a whore, (who *I heard* made out in a car - naked!)," "adopted," "white trash or maybe high yellow" or even "mulatto!"... with "roaches in her hair!".... But they're all just hatin', because Tracy is also "the best white dancer in Baltimore" and "a modern teen" that believes in integration! Tracy competes for the dancing queen crown - and also for the leading man - against none other than Amber von Tussle, a "stuck up spastic" who is "*such* a queer," that she makes Tracy's mom ashamed to be white! There's a lot of (funny) trash talkin' goin' on, because a lot is on the line....

The competition between Tracy and Amber, and by extension integrationists and segregationists, will make you feel good, tap your toes, laugh out loud a lot, and cheer. Hairspray's "bad taste" moments are funny as heck, and piece together for a movie that epitomizes good taste -- kind, empathetic, and with a wonderful heart! The music and dancing are just *amazing*! And the fashions and bright colored sets are life-affirming perfect! (Is it just me, or did these early 60's fashions *strongly* influence the early 80's styles?.... Debbie Harry, Ric Ocasek, and Pia Zadora fit in perfect). In the excellent dvd commentary, director John Waters says the sets and styles are realistic for the times. What a bright, bold, fun, cool (when "cool" was cool), forward-looking time! Tracy's mom has a picture of Jackie Kennedy framed on the wall :-). Mom says, "It's the times. They are a-changin'. There's something blowing in the wind. Fetch me my diet pills, would you hun?"

If Hairspray ended with "Where are they now?", Tracy might be a Senator from Maryland, or the Governor, ... or more!! 5 stars as I stand in my chair applauding. Hairspray's bright fun is worth watching many times.

Very Good
The movie Hairspray is Very good. I watched it when I was about 10 and I loved it. My dad keeped telling me to move so he could watch tv and I didn't so I got grounded and after that I have looked for it but I haven't been able to find it until about two months ago now I have it and watch it everyday. I also went to see it live. It was great.

A campy, feel-good film carrying an important message
I think it's safe to say that Hairspray is a unique motion picture. The film, while providing nonstop fun and laughs throughout, also manages to not only confront but to roll right over prejudice in several of its nefarious guises. I was a teenager when this film came out, and sadly, it was the death of Divine (just before the movie was released) that made me aware of this film. I don't know if that publicity helped or hurt ticket sales - Divine, for those who have never heard of him, was famous for playing female roles, and Hairspray had begun to rejuvenate his whole career. As for the film, it's extremely campy in the best of ways, overflowing with great singing and dancing from the early 1960s, and it is the type of film that makes you feel good after you watch it.

Ricki Lake plays Tracy Turnblad, a big, bold, and beautiful teenager who dreams of dancing on the exceedingly popular Corny Collins dance show. Her mother, played by Divine, isn't too crazy about modern music and dancing - until Tracy auditions and gets a spot on the show. Strutting her stuff in front of the cameras, she quickly becomes Baltimore's newest sensation. This does not sit well with Amber von Tussle (Colleen Fitzpatrick), as Tracy steals her man and then threatens to win the coveted title of Miss Auto Show 1963. Tracy is overweight, but she likes herself just as she is and easily dismisses the fat jokes thrown her way early on. The big issue in this film, though, is segregation. Tracy and her best friend Penny Pingleton (Joann Havrilla) soon become friends with some of the black kids in town and begin working toward integrating the Corny Collins show. Collins is all for the idea himself, as currently the Negro show runs only once each month under the controls of sassy Motormouth Mabel (Ruth Brown). The station manager will not hear of integration, though, and Penny's mother is aghast to find out that her daughter is in love with an African-American. This is 1962, of course. The whole segregation issue becomes the basic foundation of the movie as it dances its way to the end, making Hairspray a wonderfully entertaining film with a serious message behind it.

The film is blessed with many interesting cast members. Divine plays not only Mrs. Turnblad but also the station manager, Jerry Stiller plays Mr. Turnblad, Sonny Bono and Debbie Harry (and Debbie Harry's increasingly interesting hair) come together to play Amber von Tussle's parents, and Ric Ocasek and Pia Zadora show up as Beatniks in a strange little cameo appearance. Of course, Ricki Lake pretty much steals the show as the big girl with big dreams, although I found Joann Havrilla's performance as Penny Pingleton quite captivating in a weird sort of way.

It is very difficult to describe Hairspray; you pretty much have to watch it to get a true feel for its entertainment assets and social commentary underpinnings. It does have its silly moments, but this is not entertainment for the sake of entertainment, nor is this a film you will soon forget after watching it. ... Read more

Reviews (108)

What are Steel Magnolias?
A pleasant mix of comedy and tear-jerking drama, Steel Magnolias is a heartwarming movie with a strong message, no matter what happens life goes on and the strong can survive almost anything. This movie takes place 1980s Louisiana and features a small town gaggle of women who congregate at Truvy's Beauty Spot to laugh, cry gossip and generally experience life. Each women has their own strong personality and brings something unique to the film. Steel Magnolias is adapted from the play of the same name by Robert Harling. The movie flashes through several milestones in the lives of six women. M'lynn Eatenton played by Sally Field is the mother of Shelby Eatenton (Julia Roberts). And the two seem to be the main focus of the movie. Strong M'lynn and caring but naive Shelby make the perfect mother-daughter team. The movie begins with the wedding day of Shelby, and after a nail polish crisis the two head to Truvy's beauty parlor to gossip and laugh. Dolly Parton plays a caring and hopelessly romantic "southern belle," named Truvy Jones; who is constantly trying to elicit some romance from her husband, Spud (Sam Shepard). Providing a scapegoat of sorts is nervous newcomer, Annelle (Daryl Hannah) who soon finds out the gossipy nature of the group when she announces she "isn't sure" if she is married or not. And of course, no clique would be complete without the sarcastic pessimist. Shirley MacClaine slips artfully into the role of Ouiser Boudreaux. The rich seemingly nasty woman who is rarely seen without a floppy straw hat and a huge slobbering dog. Providing the perfect compliment to Ouisers acrid personality is best friend Clariee (Olympia Dukasis). Miss Clairee is always ready with gossip or a playful insult of Ouiser. Ouiser, Truvy and Clairee are the main suppliers of the quirky, well timed one-liners that add spice to the movie as a whole. Being a real "chick flick" Steel Magnolias contains a few, underdeveloped male characters who are regarded more as scenery than actual characters. Drum Eatenton, played by Tom Skerritt is M'lynns husband who spends half of his screen time shooting pigeons from trees and the other half grinning blankly or snarling at Ouiser. Shelby's husband, Jackson Latcherie (Dylan McDermott) is upstaged in most of his scenes and then forgotten about completely. Annelle's boyfriend, Sammy Desoto (Kevin J. O'Connor) really only has one poorly executed, pointless scene before he too is forgotten; only to reappear at the end wearing a bunny suit. And who could forget Truvy's Husband Spud, probably everyone as his few scenes involve him reclining on a bed, drinking beer, watching television and being grumpy. Despite the appearance that these women are dippy southern women, several tragedies call them all to action, where each shows they are more than meets the eye. The character and will of the six is gradually introduced as the viewer moves from one milestone to another. The true acting brilliance of Sally Field is presented in one poignant scene, where M'lynn, hysterically asks God why. The captivating tear-jerking scene complete with Fields signature locked jaw distant eyes is broken only by a lame attempt at comedic relief. In which M'lynn switches from pissed to amused in a matter of seconds. With one motion the scene goes from classically emotional to pathetic and back again. Steel Magnolias is quite possibly the funniest movie that will also make you cry. These six witty southern belles show their strength and character time and again, proving they are true Steel Magnolias. Steel Magnolias was directed by Herbert Ross, written by Robert Harling is a TriStar Pictures production. Steel Magnolias received a 1990 Oscar nomination for Julia Roberts as best supporting actress and a 1990 Golden Globe nomination for Best Performance by an Actress in a Motion Picture-Sally Field. And in 1990 Julia Roberts won a Best Performance by an Actress in a Supporting Role for her work in Steel Magnolias. With an award like 1990s Peoples Choice Awards-Favorite Dramatic Motion Picture is it any wonder that Steel Magnolias comes highly recommended.

#1 favorite movie of all time!...
Steel Magnolias, which is based on the play by Robert Harling (who plays the pastor) revolves around a group of friends down in Louisiana. Julia Roberts plays Shelby, the center character. Shelby is a diabetic determined to have a baby, despite doctor's warnings that she "shouldn't." Even though this plot line would seem emotional, this movie is actually charming and witty without getting too sappy.

My favorite character is the caring and stylish Truvy Jones (played by Dolly Parton). Her beauty salon, known as The Beauty Spot serves as the gathering place for their gossip. Well, that and the local Presbyterian church. Olympia Dukakis, Daryl Hannah, Shirley MacLaine and Sally Field all have terrific roles as well. The whole cast is extraordinary.

Read the play too. Unlike the movie, every scene takes place in Truvy's beauty salon, and it gives the movie a new perspective.

Usually worried
I'm usually worried when I hear that Hollywood is going to make a movie out of some great book or play. So many have been botched in the process and few have been made better. My current fear is what they'll do to "A Confederacy of Dunces" or "The Bark of the Dogwood" when those books go into script form. But for some reason, seeing "Steel Magnolias" when I did in New York all these many years ago, I had no fear. The play lends itself expertly to a movie script (This is actually a good thing), and of course, the cast they chose was/is stellar. This is one of my favorite all-time movies and if you're not moved by it, please, get yourself to an emergency room so they can check your pulse.

One of the best stage to screen movies I have ever seen.
Steel Magnolias is a movie that is timeless. You cannot beat it. I know I am in a minority in saying that it is better than Terms of Endearment and Fried Green Tomatoes but in my opinion it really is. The love between the characters is more real and heartfelt and isn't as dismal to watch as in the previous two films. The acting is awesome, as well as the score and plot. The movie will rip your heart out. I highly reccomend it.

Shut Up You Old Bag
So let me get this straight - a bunch of old ladies and Julia Roberts in the south trying to be funny, heartwarming, poignant, dramatic and important? I'm out. ... Read more