Reviews (71)

Finally An Affair To Remember is on DVD
In April of this year I bought this DVD. I love it so much. I remember when I was little and saw it . It brought tears to my eyes. I especially love the special features that are on this DVD. I have always loved The Extremely hansome an Debonair Cary Grant. He is a role model of what Male Actors Should Be.

Cary Grant, and Deborah Kerr meet on a Ocean Cruise well they meet and they fall in love. But one problem They are both already engaged to different people. Well as the Ocean Voyage goes on they get more and more romantic. Well when they get off the boat they make an agreement that 6 Months from that day they would meet at the top of the Empire State Building to see if they still love each other. Well that day comes and Cary Grant is on the top floor. But as Deborah Kerr is running to the Empire State Building she gets ran into by a car and is paralyzed. But at the end Cary Grant finds her and they Kiss and Get Married. Great Movie. The way that all movies are supposed to be.

Better than I anticipated....
"An Affair to Remember" with Cary Grant and Deborah Kerr has a lot to offer. I was skeptical when my wife brought this video home for "us" to watch, but I decided to give it an honest try. Once the movie got underway, and the character development started to take place, I became interested. There was more to Grant than a womanizing cad (thought it took a while for him to shake that image in the movie), and Kerr came across as a world-wise, yet innocent (in a sense), former night club singer.

While they are both committed to other people, Grant and Kerr meet and fall in love on a ship cruising from Europe to America.

Some of the dialogue and situations appear to be somewhat contrived, but the acting and story line development stirs true emotion.

This is probably not a movie for the bump and grind Monday Night Football crowd, but it is both watchable and enjoyable. Maybe I was primed to watch it by seeing "Sleepless in Seattle" recently, a movie that my wife and I both enjoy.

Anyway, give this movie a chance...it's somewhat dated, but it's still got something to offer.

Overrated Tearjerker
The first part aboard the boat seems convenient & affected. The bit where she takes him to meet her relative is charming and pretty but pointless. The accident and her subsequent behavior bespeaks of underlying insecurities and purhaps subconcious concerns about his character. I didn't feel particularly sympathetic toward either character and, thus, the reunion doesn't touch me.

One of my favourite movies
While I haven't seen the remake of this film, I have seen the original, and this is by far one of my favourite movies ever. The picture is beautiful, the casting is flawless, and the story timeless. I would recommend this for chick-flick lovers and even those who aren't particularly fond of romantic-comedies.

Practically nobody, huh?
Amazon says "practically nobody" likes the 1994 remake with Warren Beatty and Annette Bening, but actually I would prefer that one to this any day. However, if you have to see the original, amazon is where to get it. ... Read more

Reviews (59)

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

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

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

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

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

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

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

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

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

Reviews (78)

A poignant drama that provides insight into post-WW2 America
"The Best Years of Our Lives" is a compelling dramatic masterpiece, and certainly one of the best films ever made. It's not as well known today as other pieces from the period, such as "Casablanca" or "Citizen Kane", but it is nevertheless a classic that deserves ranking with those same films.

This film paints a picture of the struggles of World War II servicemen that they faced AFTER the war was over. It was a more personal struggle of men returning home after being away for many years, and after experiencing horrors that their loved ones could never fully understand. They return home as changed people, and come home to changed lives.

The story of such a homecoming experienced by thousands of men after World War II is told from the perspective of three fictional characters: Captain Fred Derry, a bombadier in the Army Air Corps (Dana Andrews), Sergeant Al Stevenson, an Army infantryman (Frederich March), and Seamen Homer Parrish(Harold Russell). They happen to meet on the plane to their hometown, having never met before, and immediately form a bond built upon mutual understanding of the experiences of war and the anxieties of returning home again.

Captain Derry came from a poor background before the war, and married a blond bombshell (Virgnia Mayo) while in the Air Corps. He hopes to return home to a better life, a nice home with his wife, and a better job. This was not to be, as Derry struggles to try and deal with bad job prospects (no one in the civilian world needs a bombadier) and a cheating wife. In a poignant moment in the film, Derry (at his lowest) tells his Father to throw away the citations for his medals, because "they don't mean anything". His Father reads the one for the Distinguished Flying Cross, signed by General Jimmy Doolittle, and a look of pride comes over the old man's face for his son's heroism that makes you want to cry and cheer all at the same time. It also makes the viewer see how criminal it was for such a man to be made to feel worthless.

Sergeant Stevenson comes home to better circumstances, being a banker in the civilian world with a wife, two grown children, and a nice apartment. But he too must confront troubles, as Stevenson must get to know a family that progressed without him, and balance his job with his desire to aid servicemen seeking G.I. Bill loans. He battles with his bank's bosses over the loan issue, and also struggles with alcoholism.

Seamen Parrish's problems are the most obvious. He lost his hands during the war, and now must come home to his family and fiancee with hooks for hands. The actor who potrayed Parrish, Harold Russell, was a real disable veteran, and lends credibility to the role that no one else could have due to real life experience.

This may seem like a depressing film, but it is actually uplifting in its entirety because it does show that hope doesn't die, and that you really can come home again after all. It is also a film of historical importance due to the insights it provides into post-World War II America, and the struggles of veterans in the post-war years. Captain Derry, Sergeant Stevenson, and Seamen Parrish, and their individual struggles to reclaim their lives can provide the student of history an important perspective on the many real life veterans who returned home, and the country of the time they returned home to.

The film has certainly earned accolades over the years. It won the Oscar for Best Picture of 1946. It was named by the American Film Institute as one of the 100 Best Movies ever made, and was also named as one of the most important films of all time by the National Archives for the National Film Registry.

"The Best Years of Our Lives" is not to be missed for both its dramatic poignancy and its insight into an important period of American History. And its a beautiful sight to behold in DVD quality.

One of the best pictures of our lives
The story of three American veterans of WW II and their adjustments to civilian life remains as poignant and moving today, as when it was first released. The three veterans (Fredric March, Harold Russell, and Dana Andrews) all from the same town, but different backgrounds, journey home together on a military transport plain. Fredric March's character, Al Stephenson, is a mature married man with a good profession, a beautiful wife (Myrna Loy), and two grown children (Teresa Wright and Michael Hall); Harold Russell is a disabled Navy veteran (he lost both hands in battle) unsure of where he stands in life and with his high school sweetheart (Cathy O' Donnell); and Dana Andrews is the "glamour boy" bombardier who comes home to find that the civilian world, which includes his wife (Virginia Mayo), cares little about his exploits as a caption in the Air Force. The journey each man takes is both engrossing and entertaining. It's hard to believe this movie is almost 3 hours long; it moves along so quickly. With a dream cast of top talent from 1940s Hollywood, director William Wyler gets superb performances from the stars as well as the most minor bit players. The action begins with a night on the town with March, Loy, and Wright celebrating March's return home. During their celebrating, they run into Russell and Andrews at Russell's uncle's (Hogey Carmichael) tavern. Having celebrated a bit too much, Loy and Wright load March and Andrews into their car to take them home. They drop Andrews off at his wife's apartment building, but he doesn't have a key to get in, and in a drunken stupor collapses outside its entrance. Loy and Wright proceed to load Andrews back in the car and take him in for the night. The relationships between all the main characters reach a level of poignancy without being overly sentimental, which is no easy feat, especially with what must have been tough stuff to watch for an overwhelming majority of the audience when originally released. Russell and O' Donnell's scenes are moving and sensitive, as are Loy and March's. Even though Andrews arrives home physically intact, his lot seems to be the worst of the group. Married to a self-centered-woman who doesn't love him, he longs for a relationship with someone like Peggy Stephenson (Wright). Things get complicated when the feelings are mutual, with Wright beginning to have strong feelings for Andrews. There are many wonderful moments in this film. Roman Bohnen as Andrews's father is terrific as a man who has a tough time expressing his genuine love for his disillusioned son. When he reads the official letter recounting his son's bravery to his wife (Gladys George), it's an incredibly powerful moment. Another wonderful scene is Wright's visit to the store where Andrews works as a salesman at the perfume counter (as well as at the soda fountain). The good-natured flirting between them seems both honest and real in the hands of these two pros. One could go on and on about the wonderful score, the great Gregg Toland cinematography--from the opening shots from the transport plane to the aircraft "graveyard,"--but this is one wonderful whole that is equal to the sum of its parts; everything falls together seamlessly. Top talent at their peak; run don't walk to get a copy of this classic Best Picture winner (1946).

An Amazing Film.
I was fortunate enough to see this movie on TV a few nights ago, and I must say that it is one of the best films I've seen for YEARS. It's hard to believe that I've never heard of this movie. Even though I was born more than 30 years after this movie's release, it melted my heart unlike any film I've seen. I was very surprised by some of the material in the movie. It seemed way ahead of its time, with topics like alcohol addictions, the questionable results of WWII, etc. It's definately a movie that I'll be adding to my DVD collection.

Superb (and Still Relevant)
I'm usually reluctant to watch old movies no matter how good they're supposed to be. I'm thankful that for some reason I decided to at least watch the beginning and see if it held my attention. This movie will break your heart, all of the characters are sympathetic, and although it is almost 60 years old it is extremely relevant right now, since the US is now in the middle of a war and a new generation of veterans is coming home. It is moving, touching, disturbing, thought-provoking, and inspiring, and for someone too young to have known any family members who remembered WWII or post-war America, highly informative. I suspect, from the number of awards this movie won in the 1940s, that it was well-received, but if this movie were released today it would be denounced as anti-American and unpatriotic.

Correction to Jeff Shannon's Review
The Best Years of Our Lives may have perhaps drawn from some things in a Life Magazine article on returning vets, but the plot is really based on MacKinlay Kantor's 1945 novel Glory for Me, which follows a similar trio of returning GIs. ... Read more

Reviews (59)

A big Western with a stupendous music score.
I loved this movie as a kid when I saw it in the theatre back in 1958 or 1959 and I still love it. The movie score by Jerome Morass is absolutely magnificent. Gregory Peck plays a pacifist Easterner who's trying to avoid getting caught up in the land dispute his fiance's (Carol Baker) family is having with a local clan. His shallow fiance and her father (Charles Bickford) interpret his unwillingness to fight as a sign of weakness. Charlton Heston and the beautiful Jean Simmons are fine in their roles. Burl Ives won an Oscar for his portrayal of Rufus Hennesey, the leader of a very large extended family. Last, but not least, Chuck Connors (of the Rifleman TV series) turns in his finest film performance. A big movie with big stars made by a big-time director (William Wyler who won best director Oscars for Ben-Hur and The Best Years of Our Lives). A fine film with a good message about the futility of fighting in order to resolve conflicts.

Good performances in a beautiful Hollywood Western
THE BIG COUNTRY is a very good Hollywood Western, with all the strengths and weaknesses that implies: a first-rate cast and fine production values, but a less-than-imaginative script written by a studio committee. The story is a variation on the tried-and-true "Eastern Dude Tames Wild West" theme. Co-produced by director William Wyler and star Gregory Peck, it strives a bit self-consciously for epic grandeur, and lacks the comparatively gritty realism of John Ford's thematically related THE MAN WHO SHOT LIBERTY VALANCE.

As the transplanted Easterner, Peck's understated performance is a pleasure to watch. Jean Simmons is fine as the schoolmarm, and the two Chucks (Conners and Heston) are equally good in their roles. A supporting actor Oscar went to Burl Ives, but the standout performance belongs to Carroll Baker as Peck's spoiled fiance. Franz Planer's cinematography is quite good, too, but like the script, performances, and pacing, it's just a little bit too self-conscious. The picture feels more like OKLAHOMA! than like THE SEARCHERS--altogether too theatrical to sustain the suspension of disbelief.

Yet this is a very entertaining movie--at least for those who value character, conflict, and beautiful imagery over car chases, explosions, and other special effects. And fans of Westerns in particular should appreciate the many virtues of this near-Classic. Four solid stars.

Atticus Finch goes West
This is a sprawling, glorious saga that will be appreciated by people who don't even like the Western genre. With fabulous cinematography, an excellent script, and two of my favorite actors, it's a film I never tire of watching.
Gregory Peck is the sea captain with principles who goes west to meet his future bride, only to find feuds and fighting, and some lawless varmints who need his "non violent" ways of resolving territorial issues. He is terrific as James McKay, who is sort of an Atticus Finch in boots, and looks mighty fine as well.
Charlton Heston has the smaller part as Leech, a foreman who is seething with jealousy and obeys the orders of his unscrupulous boss (rancher Terrill, played with subtle menace by Charles Bickford) as he yearns for his daughter. Heston is brilliant as this rather complex character, and would a year later star in director William Wyler's next epic, "Ben Hur", which is perhaps my all-time most viewed and enjoyed film.

Both female leads are wonderful, and are portrayed with enormous strength; Jean Simmons, with her luminous eyes is the schoolteacher, and Carroll Baker is the tough daughter of rancher Bickford, and is too much like her daddy to make a suitable bride for Peck.
Among the many strong performances in the supporting parts are Burl Ives, and received a Best Supporting Actor Oscar for his gnarly old Rufus, Chuck Connors is his bad to the bone son, and Alfonso Bedoya, is a delight as Ramon, who along with a horse named "Old Thunder", provides some of the humor in the film.
The score by Jerome Moross is lovely (and received an Oscar nomination) and the cinematography by Franz Planner spectacular. The film was shot in the Yuba and San Joaquin Counties in California, as well as canyon country in Chinly, Arizona, and it is breathtakingly beautiful.

If you like a good screen fight like I do, this has a great one, "mano a mano" between Peck and Heston; it initially has no music, just the pounding of the fists and the men gasping for breath, and is very effective.
Romance, drama, and lots of action make this a film that appeals to many, and is suitable for the whole family. Total running time is 165 minutes.

A good Western movie

Director: William Wyler
Format: Color
Studio: Mgm/Ua Studios
Video Release Date: May 2, 2000

Cast:

Gregory Peck ... James McKay
Jean Simmons ... Julie Maragon
Carroll Baker ... Patricia Terrill
Charlton Heston ... Steve Leech
Burl Ives ... Rufus Hannassey
Charles Bickford ... Major Henry Terrill
Alfonso Bedoya ... Ramon Guiteras
Chuck Connors ... Buck Hannassey
Chuck Hayward ... Rafe Hannassey
Buff Brady ... Dude Hannassey
Jim Burk ... Blackie/Cracker Hannassey
Dorothy Adams ... Hannassey Woman
Chuck Roberson ... Terrill Cowboy
Bob Morgan ... Terrill Cowboy
John McKee ... Terrill Cowboy
Slim Talbot ... Terrill Cowboy
Donald Kerr ... Liveryman
Carey Paul Peck ... Boy
Jonathan Peck ... Boy
Stephen Peck ... Boy
Ralph Sanford ... Party Guest
Richard Alexander ... Party Guest, (Oceans)
Harry Cheshire ... Party Guest

It is said that Gregory Peck and William Wyler, erstwhile friends who had previously worked together successfully had a falling out over this film and never spoke for years afterward. Both were co-producers, and Peck became agitated over the fact that Wylie was working too slowly and the film was going 'way over budget. Wylie resented anyone else telling him how to make a movie. It also appears that three of Peck's children had children's parts in the film.

The fight seen between Peck and Heston is one of the high points of the film that has caused much comment, as it was filmed from a great distance, rather than close-uo.

Such details aside, the story depicts a sea-captain, James McKay (Peck) coming West to marry Patricia Terrill (Carol Baker). He walks straight into a personal vendetta between Major Henry Terrill (Charles Bickford) and Rufus Hannassey (Burl Ives) over an old grudge, and the usual battle over water rights typical in many Western stories. McKay is a peaceful man who tends to avoid resorting to violence, causing his would-be bride to accuse him of cowardice.

Buck Hannassey (Chuck Connors) and Steve Leech (Charlton Heston) play supporting roles, each of whom has designs on the leading women in the story, leading to antagonisms. Ramon (Alphonso Bedoya) plays his part well, as a Mexican ranch employee. He was better in the Treasure of the Sierra Madre, I think, but he always turns in a good performance.

This is a good Western, with the usual scenery typical of the West. The plot is somewhat hackneyed, but is well-played and comes off well, thanks to the staff.

Joseph (Joe) Pierre

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

The only Western that I highly recommend watching
Although my tastes in film are very broad, I am not fond of Westerns. However, "The Big Country" is an excellent film. It is a Western, but in many ways it doesn't FEEL like a Western. The film's intelligence, strong characters, and reliance on humanity provide a superior storyline to the traditional shoot-'em-up mentality so common in Westerns.

The basic premise concerns retired sea captain James McKay (Peck), who travels West to marry his fiancé Pat Terrill (Baker), whom he met while she was visiting Baltimore. He is quickly thrown in the middle of a huge family feud between the wealthy Terrills and the struggling Hannasseys, presumably over water rights at the Big Muddy, a dormant ranch owned by the lovely schoolteacher Julie (Simmons). However, McKay, the intelligent outsider, sees through the feuding patriarchs (Bickford and Ives). What follows is, in my opinion, one of the most effective showdowns in Western cinema (forget "High Noon").

The characterization in this film is particularly strong. Gregory Peck is very good, as always, even though his McKay character has a level of integrity that may be just a BIT hard to swallow. Carroll Baker's role as the spoiled only child is sickeningly good. Jean Simmons is sweet and demure, but strong and self-sufficient, a perfect contrast to her friend, Pat. Charles Bickford's egotistical role as Major Henry Terrill is great, and his questionable relationship with his daughter raised my eyebrows. Charlton Heston's role is relatively small, but he provides the necessary tension and jealousy between himself, Baker, and Peck. In addition, his character's loyalty to Terrill, although misplaced, is touching. Chuck Connors' character as Buck Hannassey is vile, trashy, and degrading, but his performance is one of the most credible in the film. And, saving the best for last, Burl Ives is absolutely superb in the role of Rufus Hannassey, the overweight, bullying patriarch who simultaneously loves and hates his son Buck. He deserved the Best Supporting Actor Oscar that he won for this role.

There is one flaw to this film that stands out, and another reviewer mentioned it below: watch the canyon barricade scene near the end. The Terrill bunch HAD to see that coming, yet they acted surprised. Wyler missed it there, I think, but overall the film is a beautiful piece of cinema.

One last praise: the score. From the opening credits, this beautifully motivating music resounds throughout the film and is one of my favorites. Just beautiful. ... Read more

Reviews (42)

The penultimate crime caper film
Back in the days when Stanley Kubrick was still a relative unknown, he made this gem of a film which has since earned a reputation for being one of the best crime caper films ever made. The film is tightly structured and well-paced with an eye on increasing the tension until the very end. A wonderful movie, and those who have seen "Reservoir Dogs" will immediately recognize the influence "The Killing" had on the latter film. The plot-line is simple - a band of crooks, each with his own motivation, conceive of a plan to rob a racetrack. The plan works fine...until something goes wrong. Kubrick filmed this classic with a minimal budget, but his genius is evidently on-screen in how he arranges the furniture and lighting and actors to get the most out of his limited funds and to augment the clastrophobic sense of suspense. Truly a great film.

I purchased the DVD of this film, and it looks quite good. The picture quality is pristine (unlike in the DVD version of Kubrick's later films, alas). I had no problems with the sound, either, though it is monophonic. There aren't any real extras on this DVD except for a trailer, but the presentation is somewhat cool and adds to the tension of the film. So, I will recommend this DVD of "The Killing" to fans of Kubrick and good crime films.

Kubrick Does Noir
An ex-con engineers a race track heist in "The Killing," a taut and suspenseful film noir from director Stanley Kubrick. Johnny Clay (Sterling Hayden) is fresh out of Alcatraz after five years, and immediately goes to work on a job he figures to be worth upwards of two million dollars. He puts together a gang who are not real criminals, just "Some guys with problems and a little larceny in them." Marvin (Jay C. Flippen) is good for some front money Johnny needs; George (Elisha Cook Jr.) is a cashier at the track, and Mike (Joe Sawyer) is a bartender there; Randy (Ted de Corsia) is a cop with loan shark payment problems. Clay's got it all figured out, a precision plan that can't go wrong as long as everyone does his part and keeps quiet about it, before and after. But George has a wife, Sherry (Marie Windsor), who wants nice things, and he can't resist the temptation to let her know it's all going to get better real soon. Trouble is, Sherry has a boyfriend, Val (Vince Edwards), who has more than a little larceny in him, as well. As it is with all "perfect" plans, there are, after all, imperfections. The presentation of this film is not one of them, however; Kubrick keeps the tension high throughout, working with a tight narrative and an out of sequence chronology through which he dispenses bits of information, building the suspense, until it all fits together in the end like pieces of a giant puzzle (Much the same as Tarantino would do with "Pulp Fiction" many years later). The stoic delivery, coupled with the stark black and white photography of the film, creates an almost surreal, fatalistic ambience that works so well with this material; especially at the end, for it underscores the climax and heightens the drama of the final moment, all of which makes for a truly unforgettable scene. The supporting cast includes Coleen Gray (Fay), Kola Awariani (Maurice), Joe Turkel (Tiny), and Timothy Carey, who makes his detached and indifferent hit man, Nikki Arane, one of the most memorable characters in the film. It must be noted, however, that Elisha Cook Jr. gives what may have been his best performance ever, here. His scene, after it all goes bad for him and he stumbles into his apartment, bullet holes in his face and wide-eyed with acceptance, to confront Sherry, is so cool and underplayed that it becomes one of the lasting impressions of the movie. Kubrick wrote the screenplay (with some help from Jim Thompson with the dialogue), adapted from the novel "Clean Break" by Lionel White. "The Killing" is one of Kubrick's earliest and best films; and it's not just for Kubrick fans or for those who love the "noir" genre. This is an excellent piece of work that will definitely be appreciated by anyone who likes good movies.

Tightly plotted, hamstrung by dialogue.
The Killing (Stanley Kubrick, 1956)

For many years, I have been fond of saying that the only Kubrick film I could stomach was Lolita. While The Killing isn't up to those standards (and certainly doesn't rate a spot in IMDB's Top 250, where it sits as I write this), it's certainly a film with rewatchability potential.

Johnny Clay (The Godfather's Sterling Hayden) has just gotten out after a five-year stint in prison, and needs cash. He concocts a scheme to knock over a racetrack to the tune of $2 million, give or take a few rubles. Putting together a core team of five guys, and with two on the periphery, they plan and execute the crime. That, of course, is when things start getting interesting.

This is good, solid film noir, for the most part. Where it fails to make the cut are in the narration (and Kubrick's bouncing back and forth in time like a pinball, which necessitates it) and the dialogue, written by cult favorite Jim Thompson (The Grifters, The Killer Inside Me, etc). The dialogue has about as much meat to it as one finds in a typical Spillane novel; it's fun, but "timeless" is not a word I'd use to describe it by a longshot. That being the case, it's hard for the actors involved to really get their heads around most parts; they do the best they can with what they have, and in some cases, that's enough to make the characters come alive. Elisha Cook, Jr., is especially good, despite having some of the most ineffectual dialogue ever written for a straight mystery film.

The strongest part of the film, on the other hand, is the ending, a shaggy-dog-story style beauty that would later appear in a different form in Ocean's Eleven (the original, good version, not that overblown Soderbergh piece of trash). It is inevitable, and beautiful.

Worth watching, but don't expect greatness. ***

Kubrick's First Masterpiece
This is the third feature film directed by Kubrick and the one which probably established his eminence, subsequently enhanced by Paths of Glory (1957), Spartacus (1960), Dr. Strangelove (1964), 2001: A Space Odyssey (1968), A Clockwork Orange (1971), and Full Metal Jacket (1987). The title refers to the one last lucrative theft which Johnny Clay (Sterling Hayden) carefully plans so that he can retire from his life of crime and live happily ever after with Fay (Colleen Gray). Although Kubrick carefully tracks the preparations by Clay and his associates, he seems more interested in what (for lack of a better term) can be viewed as a self-fulfilling negative prophecy. That is to say, there seems to be little (if any) chance that the robbery of a race track will turn out well. In fact, it doesn't. Clay is a world-weary, semi-paranoid leader of losers. Henpecked by wife Sherry (Marie Windsor), George Peatty (Elisha Cook, Jr.) is a reluctant accomplice, obviously motivated to satisfy his financially insatiable spouse. He as well as Nikki (Tim Carey) and Tiny (Joe Turkel) are Keystone Bandits. The quality of acting throughout the cast is first-rate. Kubrick obtains from Hayden in this film and in Dr. Strangelove his two strongest performances. The final scene on the airport tarmac is unforgettable, a fitting and (for me) an inevitable conclusion. If pressed to use one word to describe this film, I would suggest "tidy." Also "compelling." Those who share my high regard for this film are urged to check out The Public Enemy (1931), You Only Live Once (1937), High Sierra (1941), and They Live by Night (1949).

...and then there was one - Early Kubrick Classic
This Classic Kubrick Crime Drama is one of the top Hollywood Film Noire entries. The usual "toughs" planning the big heist, the one to retire on. Since Classic Hollywood never allowed the bad guys to win, everyone can predict that all will not be well once the end credits roll.

All of the elements are here: Little guys who never got an even break, a Delilah-like wife of a simpleton, who won't settle for small-time life, a happily married older guy with a wife in need of expensive medical care, a guy just released from prison, who doesn't ever want to go back, and the rest of the usual suspects. Several scenes are quite moving; several times character's are shown saying their goodbyes to loved ones, as though they don't expect to ever see them again, when they are only supposed to "go to work". Watch for another scene in the final third of the film involving a horse-shoe. It makes a powerful statement of conventions in 1950s America.

Very few films have a truly memorable "last line". This is one of them! Of course, I won't give it away, as it requires an elaborate set-up, but you'll agree that it's one of the best last lines ever! As for "The Killing" as a nostalgic Crime Drama and exemplary film noire, I confidently give it 5 stars!***** ... Read more

Amazon.com

Struggling rancher and family man Van Heflin sneaks captured outlaw Glenn Ford out from under the eyes of his gang and nervously awaits the prison train in this tight, taut Western in the High Noon tradition. Adapted from an Elmore Leonard story, this tense Western thriller is boiled down to its essential elements: a charming and cunning criminal, an initially reluctant hero whose courage and resolution hardens along the way, and a waiting game that pits them in a battle of wills and wits. Glenn Ford practically steals the film in one of his best performances ever: calm, cool, and confident, he's a ruthless killer with polite manners and an honorable streak. Director Delmer Daves (Broken Arrow) sets it all in a harsh, parched frontier of empty landscapes, deserted towns, and dust, creating a brittle quiet that threatens to snap into violence at any moment. --Sean Axmaker ... Read more

Reviews (10)

A Western Hidden Treasure
Van Heflin stars as a struggling rancher who agrees to guard outlaw Glenn Ford for $200 as he is being escorted to jail in Yuma. Ford killed a stagecoach driver while robbing the coach, but he is backed by a loyal gang that everyone fears. Heflin is assisted by town drunk Henry Jones. There's a lot going on in this brief, tense western. The relationship between Heflin and Ford is really interesting, as Heflin finds more courage than we thought he had, and Ford makes his character almost likeable as he mentally works over his captor. There is also an interesting relationship between Heflin and his wife, quite complicated given their brief time together on screen. She seems to question his courage and strength of character. Director Delmer Daves gradually builds the tension, but never allows it to let-up, propelling the story to its exciting conclusion. The centerpiece of the film is the performances of the two stars. Ford, not a great actor as a rule, really digs into this character and makes him quite memorable, while Heflin, a favourite character actor of mine, is totally convincing as the beleaguered farmer, forced into the role of hero that he never wanted, but wants to prove he can handle. This may not be a very well known film, but it should be considered one of those hidden treasures that it's fun to unearth. Suspenseful, well written, with enough action and atmosphere to make it a classic western. Look for this one!

Stands equal to the very finest of the genre!
It may not display the the scenic effulgence of red painted buttes beneath a cereulian sky, as with the Searchers, or the impregnable fortress backdrop of the tetons,as with Shane, but its psychological intensity, deep character studies, and indefatigable suspense,makes 3:10 to Yuma just as praise-worthy as the former two. The austere black and white gives the film its dream-like ambiance (along with the strumming of morose guitar chordings in the background). The seemingly deserted town of contention brings a macabre feeling over the viewer,all the while the viewer builds an adrenaline rush(like one i have not even experienced with many modern thrillers.)At certain junctures of the film Daves directs the camera anglings so masterfully that the scenes are indelibly etched in the viewers mind(look for the scene in the hotel room where Ben Wade(ford)taunts and bribes Dan Evans (Van Heflin) the camera zooms in closer and closer to Evans anger contorted face.)This is a very unique western that stands out in the pletheora of oaters being produced in the 50s. Though it has been overlooked by serious western film critics (Who devote more time to the other classics of that decade: Shane,High Noon, The Searchers,Rio Bravo, and the Anthony Mann/Jimmy Stewart selections) 3:10 to Yuma deserves a closer look. Its sheer intensity and noir psychology exalt it,and i'am confident other viewers would concur, to a status worthy of one of the top ten in the genre. For me it is indubitably in the top four or five of the greatest westerns of all time. Pick this one up! Incredible!!!

Great pyschological western
3:10 to Yuma is an excellent pyschological western with a similar story to High Noon. The leader of a gang is captured by a posse after a robbery and must be transported to another town so he can be moved on the train. One of the local farmers, who is in desperate need of money, agrees to travel with him and watch him until he can be put on the train, the 3:10 to Yuma. All along the way, the outlaw plays mind games with the farmer trying to manipulate him into letting him go. There is plenty here for western fans. The dialogue between Glenn Ford and Van Heflin is the best part of the movie as they go back and forth between them while Ford plays his mindgames on the unwilling hero, Heflin.

Glenn Ford gives one of his best performances ever as Wade, the smooth-talking, calm, but ruthless gang leader. His character is perfect for this role, and could not have been done any better. Van Heflin is just as good as the poor farmer watching over Wade. It is easy to see the anger inside of him as Wade continues to push his buttons as they wait for the train. The rest of the cast includes many western actors, most notably Richard Jaeckel as Charlie, the right hand man of Wade who plays the slimy gunfighter throughout. It is great to see this movie on DVD, which includes the widescreen presentation. Western fans will love this great movie with an even better cast!

The Best Glenn Ford Film
I have been a fan of "3:10" since I was a kid. Every time it is on I have to watch it. It is compelling, beautiful and fascinating. This is a very powerful film for its time and stands up to today's standards. Glenn Ford is wonderful against type, a truly bad man, but able to charm the pants off the girls (literally) and becomes likable yet despicable. Van Heflin is excellent as well, both men play well off each other and we see without corniness the contrast between the two characters. The supporting cast includes some excellent talent, too, including Richard Jaeckle, Ford Rainey and others. This is a must see and a must own film, especially now that its on DVD, my VHS copy is all worn out...gee, I wonder why.

Seduction 101 courtesy of Glenn Ford
Well, this is how you handle women guys. (spoiler alert) First he has Felicia Farr drooling all over herself, and then while in handcuffs takes a run at Van Heflins wife. That is machismo at its best. Oh yeah, the rest of story. Well, Ford is quite simply the most charming, ruthless, manipulative, and mercurial bad guy in the history of the Western. Required viewing for Psych majors and fledgling seduction artists.

The DVD transfer is excellent in widescreen and the sound is terrific...if you fast forward past one of Hollywood's worst theme songs "...I hear a ruma, when you take the 3:10 to Yuma, you can see the ghosts of outlaws riding by, way up high, in the skyyyyyyyyyy..." Have a pie, in your eye! Jeez, pretty funny though. Great movie, I don't want to talk about the ending...I mean I really don't want to talk about it. Didn't they have a jail in that town? Otis Campbell must have already checked in or something. ... Read more

Description

Carrie's dreams of adventure in the big city are quickly squashed as she discovers all that awaits her there is a bleak life of grueling and poorly-paid factory work. That is, until a traveling salesman named Drouet steps into her life and changes her outlook. Breaking all the rules of morality at the time, Carrie moves in with him and at first she's content, but when Drouet introduces her to the wealthy and married Hurstwood, who manages a restaurant, Carrie instantly sizes up the difference between the two men and discovers she's falling for him. ... Read more

Reviews (9)

Interesting adaptation
I notice many of the other reviewers lamenting that this film adaptation of Dreiser's novel is not as good as the book itself. Of course it isn't, but that doesn't mean there isn't considerable merit in this film. Naturally there are considerable differences between the book and the movie, but that is inevitable in any screen translation.

The performances are uniformly good. Jennifer Jones was hardly considered an outstanding actress, but she's well cast here in the role of a passive, timid and one-dimensional Carrie. The ambitious side of Carrie in the novel is muted a bit for the screen. Olivier is exceptional in the lead character and his disintegration from rich restaurant manager to skid row bum is masterful. Perhaps the most overlooked performance is that of Eddie Albert, cast as Carrie's first lover. Albert is exceptional and most resembles the original character in Dreiser's book.

The ending will have you reaching for your handkerchief's, so be forewarned. For anyone who has not read Dreiser's novel, you will be prompted to lay hands on the book as soon as this film is concluded. Recommended viewing.

Good, But Could Have Been Better
If you are a fan of Laurence Olivier, then you should definitely see this movie. The beautiful Jennifer Jones is an adequate, if uninspired, Carrie--hampered partly by production codes that took too much bite out of the character and her overriding drive for happiness. The excellent novel by Theodore Dreiser definitely deserves another shot by Hollywood, but not if it involves the previous reviewer's suggestion of the title character being portrayed by Jennifer Jason Leigh. Miss Leigh has very little talent and plays every one of her characters as if she's on the brink of committing suicide. She ruined the remake of "Washington Square" with her talentless performance, so if "Sister Carrie" is remade, please, Hollywood, don't let Miss Leigh get her hands on this fascinating character from another American Classic!

Attention Hollywood! Please remake this movie!
Fortunately, Theodore Dreiser was long dead before the release of this bland travesty of his masterpiece "Sister Carrie", so he didn't have to suffer the misery of seeing it. Although plans for the movie had been floating around while he was alive (with Irene Dunne slated to play Carrie and Charles Laughton to play her married lover), due to the themes of the novel (young girl moves in with travelling salesman, then marries bigamist), the Hayes Office kept it off the screen for years. When it finally emerged, Jennifer Jones starred as Carrie, and Lawrence Olivier played her married lover, with Edward Albert as the travelling salesman.

In the novel, Carrie is a plucky, ambitious and often ruthless girl set loose in the cruel world of Chicago around the turn of the century, who survives by her wits and triumphs against all odds. In the film, as played by Jennifer Jones, she is a bland, wimpy, completely guileless and innocent girl who is taken in by the cruelty of men, and simply plods her way along from bad situation to worse situation (with Ms. Jones all the while widening her eyes for sympathy). The movie robs the audience of one of the greatest literary heroines since Becky Sharp. Most of the fault lies in the watered down screenplay, but I also must lie blame on Ms. Jones. One wonders what Vivien Leigh could have done with the role. I'm wondering what Jennifer Jason Leigh could do with it now, if some enterprising producer would read one of the greatest classics of American literature.

Advice? Skip this and pray for a decent remake.

The Descent of Hurstwood
Bleak and poignant adaptation based on one of Theodore Dreiser's masterpieces. Brunette beauty Jennifer Jones is touching as Carrie, the unsophisticated, naive teenager from hicksville who moves to the big city in search of glamour and a better life. Interesting to watch is her transformation from simple small-town girl to a reluctant, disillusioned "scarlet woman," to a famous stage actress and wise woman who truly loves and then loses her man--for good. Laurence Olivier is riveting and heartrending as her lover and "husband" George Hurstwood, an upper-class middle-aged man in a desperately unhappy marriage whose utter lack of romantic happiness and love leads him to abandon everything--his wealthy wife, adoring children, a grand house complete with servants, a good job and a comfortable existence--when he develops a grand obsession with Carrie that sends him on a downward spiral from which there is no return. Also excellent is Edward Arnold who steals some of the show as the brash and smooth-talking George Drouet, a commitment-averse young man who takes the innocent Carrie as his live-in lover; and Miriam Hopkins is her quintessentially witchy self as George's cold and scheming wife. The beautiful moving score serves as a perfect accompaniment to chronicle the trials and travails of Carrie and George. This film did poorly when released; perhaps because unlike other early 50's movies derived from great literary works such as Steinbeck's "East of Eden" and another of Dreiser's novels "An American Tragedy" (made into "A Place in the Sun"), "Carrie" as a film veered off concerning the heroine by portraying her as a warm and depthful "good" girl instead of the materialistic and selfish person as shown for the most part in the book, and thus did not pack as much force as it might have otherwise. Yet a solid enough version that left me only slightly disappointed after reading the book, and will probably be more than satisfactory if you haven't due to the sensitive, genuine performances of the leads.

Even Olivier misses his mark here
in this disappointing screen adaptation of Theodore Dreiser's powerful study of social darwinism, "Sister Carrie". That novel is one of the most riveting I've ever read, and I was looking forward to see this film. Yet Olivier played the Hurstwood character all wrong; he lacked the smooth bravura of the man who originally seduced away the Jennifer Jones character from her earlier lover played by Eddie Albert. Eddie Albert's performance, incidentally, is the only one that comes close to what Dreiser wrote. And Jennifer Jones gives us a Carrie who is sympathetic and nice, and Dreiser's Carrie is neither. This is one of those occasions where you wonder why they bothered to acquire the rights to the novel if they had no intention of realizing it accurately as a movie. Take my advice, and read the book. ... Read more

Reviews (32)

Heartwarming and family friendly
Penny Serenade is a classic Hollywood film starring Cary Grant and Irene Dunne. It's the story of a young couple who must overcome personal tragedy and heartbreak -- especially the loss of their baby. They adopt a baby only to run into difficulties when the adoption agency seeks to take the child back when the Cary Grant character experiences business reversals. But love and devotion prevail in the end. Penny Serenade is a heartwarming, family friendly, wonderfully presented, entertaining, and highly recommended for personal and community library video collections. 136 minute, B&W.

Beautifully Touching
Penny Serenade is one of the most touching films of all time. This happy and sad tale of Cary Grant and Irene Dunne trying to adopt a child is wonderful. It is a must-see for anyone and everyone. I am 13 years old and have watched this movie countless times since I was 7. As a daughter of 2 baby-boomers, I can tell you that the Classics always prove to be the best films of our time.

One of the best tear jerkers on film
I have watched this movie countless times, and to this day never tire of it! Cary Grant is the husband that dreams are made of! He positively shines in this role. He was one of a kind, and truely shows it here. His pairing with Irene Dunn is perfect as they play well of each other. She is a perfect blend of wholesome & sexy as was the way of things in that era. The interesting way the story told in flashbacks by playing old records and remembering the time they represent covers love, hope, courage, heartache and triumph.

One of the best pictures to come out of the 40s!
One of Cary Grant's and Irene Dunne's best! Edgar Buchanan as Applejack and Beulah Bondi as the social worker are also memorable. This is truly an old-fashioned five hanky tearjerker. But it has its comic moments as well. So many parents can laugh at the part where they first brought home the newborn baby. I know it takes me back to those days! And the part where Irene Dunne is nervous about giving the baby a bath for the first time. I remember feeling just like that! Even though some parts are sad, I always feel glad when things work out in the end. I agree with those who own lousy copies of the DVD. This picture deserves first class treatment so people can still enjoy it. I have a VHS black and white copy that I think I bought at Caldor's years ago. It has a good clear picture, and while you can tell that the soundtrack is old, it's still very much watchable. My copy was put out by Hal Roach studios.

You the man, Cary Grant.
PENNY SERENADE is the story about a young woman who falls in love with a newspaper reporter. They get married. Move to Japan. Survive an Earthquake. Loose a child. Adopt another. Tragedy besets them, but in the end they are able to overcome it. The movie is mostly told through musical flashbacks thanks to rotating RPMs and is one of the first films to ever have used the soundtrack as an intrical part of the film. The movie is a notch above most other melodramatic tearjerkers and there's one big reason for that: Cary Grant.

Cary Grant is the man. What more does one need to say? Sure Irene Dunn does a good job in this melodramatic tale about a husband and wife who live through an earthquake in Japan, the loss of an unborn child, and the adoption of another. Of course, the actor who plays Applejack steals many scenes, serving as the wise fool in this Shakespearean-type romance as his character balances everything that occurs. Nevertheless, through all of Uncle Applejack's helpful advice and Irene Dunn's moving tears, it's Cary Grant who carries the picture. Grant nailed this performance of Roger and once again illustrated how great of an actor he truly was. A lot of actors would have been tempted to delve into melodramatic play-acting, but not Grant. Even though this is a tear-jerker melodrama and he has some really cheesy lines in some scenes, Grant makes the whole thing seem plausible and feel realistic. I admit that I am a huge fan of Cary Grant, but I keep digging up these old movies he made, hoping to find a film that he totally flops in. So far, I haven't found any. Grant was just a notch above the rest and could make any movie more enjoyable just by being in it. It's worth more than a penny to see his performance in this serenade. ... Read more

Description

209 minute double feature film DVD. ... Read more

Reviews (32)

Heartwarming and family friendly
Penny Serenade is a classic Hollywood film starring Cary Grant and Irene Dunne. It's the story of a young couple who must overcome personal tragedy and heartbreak -- especially the loss of their baby. They adopt a baby only to run into difficulties when the adoption agency seeks to take the child back when the Cary Grant character experiences business reversals. But love and devotion prevail in the end. Penny Serenade is a heartwarming, family friendly, wonderfully presented, entertaining, and highly recommended for personal and community library video collections. 136 minute, B&W.

Beautifully Touching
Penny Serenade is one of the most touching films of all time. This happy and sad tale of Cary Grant and Irene Dunne trying to adopt a child is wonderful. It is a must-see for anyone and everyone. I am 13 years old and have watched this movie countless times since I was 7. As a daughter of 2 baby-boomers, I can tell you that the Classics always prove to be the best films of our time.

One of the best tear jerkers on film
I have watched this movie countless times, and to this day never tire of it! Cary Grant is the husband that dreams are made of! He positively shines in this role. He was one of a kind, and truely shows it here. His pairing with Irene Dunn is perfect as they play well of each other. She is a perfect blend of wholesome & sexy as was the way of things in that era. The interesting way the story told in flashbacks by playing old records and remembering the time they represent covers love, hope, courage, heartache and triumph.

One of the best pictures to come out of the 40s!
One of Cary Grant's and Irene Dunne's best! Edgar Buchanan as Applejack and Beulah Bondi as the social worker are also memorable. This is truly an old-fashioned five hanky tearjerker. But it has its comic moments as well. So many parents can laugh at the part where they first brought home the newborn baby. I know it takes me back to those days! And the part where Irene Dunne is nervous about giving the baby a bath for the first time. I remember feeling just like that! Even though some parts are sad, I always feel glad when things work out in the end. I agree with those who own lousy copies of the DVD. This picture deserves first class treatment so people can still enjoy it. I have a VHS black and white copy that I think I bought at Caldor's years ago. It has a good clear picture, and while you can tell that the soundtrack is old, it's still very much watchable. My copy was put out by Hal Roach studios.

You the man, Cary Grant.
PENNY SERENADE is the story about a young woman who falls in love with a newspaper reporter. They get married. Move to Japan. Survive an Earthquake. Loose a child. Adopt another. Tragedy besets them, but in the end they are able to overcome it. The movie is mostly told through musical flashbacks thanks to rotating RPMs and is one of the first films to ever have used the soundtrack as an intrical part of the film. The movie is a notch above most other melodramatic tearjerkers and there's one big reason for that: Cary Grant.

Cary Grant is the man. What more does one need to say? Sure Irene Dunn does a good job in this melodramatic tale about a husband and wife who live through an earthquake in Japan, the loss of an unborn child, and the adoption of another. Of course, the actor who plays Applejack steals many scenes, serving as the wise fool in this Shakespearean-type romance as his character balances everything that occurs. Nevertheless, through all of Uncle Applejack's helpful advice and Irene Dunn's moving tears, it's Cary Grant who carries the picture. Grant nailed this performance of Roger and once again illustrated how great of an actor he truly was. A lot of actors would have been tempted to delve into melodramatic play-acting, but not Grant. Even though this is a tear-jerker melodrama and he has some really cheesy lines in some scenes, Grant makes the whole thing seem plausible and feel realistic. I admit that I am a huge fan of Cary Grant, but I keep digging up these old movies he made, hoping to find a film that he totally flops in. So far, I haven't found any. Grant was just a notch above the rest and could make any movie more enjoyable just by being in it. It's worth more than a penny to see his performance in this serenade. ... Read more

Reviews (71)

Finally An Affair To Remember is on DVD
In April of this year I bought this DVD. I love it so much. I remember when I was little and saw it . It brought tears to my eyes. I especially love the special features that are on this DVD. I have always loved The Extremely hansome an Debonair Cary Grant. He is a role model of what Male Actors Should Be.

Cary Grant, and Deborah Kerr meet on a Ocean Cruise well they meet and they fall in love. But one problem They are both already engaged to different people. Well as the Ocean Voyage goes on they get more and more romantic. Well when they get off the boat they make an agreement that 6 Months from that day they would meet at the top of the Empire State Building to see if they still love each other. Well that day comes and Cary Grant is on the top floor. But as Deborah Kerr is running to the Empire State Building she gets ran into by a car and is paralyzed. But at the end Cary Grant finds her and they Kiss and Get Married. Great Movie. The way that all movies are supposed to be.

Better than I anticipated....
"An Affair to Remember" with Cary Grant and Deborah Kerr has a lot to offer. I was skeptical when my wife brought this video home for "us" to watch, but I decided to give it an honest try. Once the movie got underway, and the character development started to take place, I became interested. There was more to Grant than a womanizing cad (thought it took a while for him to shake that image in the movie), and Kerr came across as a world-wise, yet innocent (in a sense), former night club singer.

While they are both committed to other people, Grant and Kerr meet and fall in love on a ship cruising from Europe to America.

Some of the dialogue and situations appear to be somewhat contrived, but the acting and story line development stirs true emotion.

This is probably not a movie for the bump and grind Monday Night Football crowd, but it is both watchable and enjoyable. Maybe I was primed to watch it by seeing "Sleepless in Seattle" recently, a movie that my wife and I both enjoy.

Anyway, give this movie a chance...it's somewhat dated, but it's still got something to offer.

Overrated Tearjerker
The first part aboard the boat seems convenient & affected. The bit where she takes him to meet her relative is charming and pretty but pointless. The accident and her subsequent behavior bespeaks of underlying insecurities and purhaps subconcious concerns about his character. I didn't feel particularly sympathetic toward either character and, thus, the reunion doesn't touch me.

One of my favourite movies
While I haven't seen the remake of this film, I have seen the original, and this is by far one of my favourite movies ever. The picture is beautiful, the casting is flawless, and the story timeless. I would recommend this for chick-flick lovers and even those who aren't particularly fond of romantic-comedies.

Practically nobody, huh?
Amazon says "practically nobody" likes the 1994 remake with Warren Beatty and Annette Bening, but actually I would prefer that one to this any day. However, if you have to see the original, amazon is where to get it. ... Read more

Description

Screen horror legend Boris Karloff (Frankenstein, The Mummy) stars in this chilling, suspenseful tale of communication from beyond the grave. From acclaimed director Edward Dmytryk (The Caine Mutiny, The End of the Affair). ... Read more

Reviews (6)

wonderfully demented
okay, like a lot of buffs i wan to defend lugosi. karloff was just TOO succesful, TOO smug.
but,
Karloff was a hell of an actor and a better than poor Bela.
and his films are better as well.
this is one of many examples.
a delightfully perverse film, full of atmosphere and flavour.
recommended!

Knocking on Heaven's door...
The Devil Commands (1941), aka The Devil Said No, aka When the Devil Commands, stars Boris Karloff and was directed by Edward Dmytryk, who later directed The Caine Mutiny (1954).

Karloff plays Dr. Julian Blair, a scientist who has been experimenting with machinery designed to record brainwaves of individuals. It seems people's brainwaves are as distinct as fingerprints, and Dr. Blair believes he is on the path to unlocking the secrets of the human brain.

After the untimely death of his wife, the grief stricken Dr. Blair stumbles across the possibility of using his machinery to talk to his dearly departed, but finds himself at odds with his colleagues and family. While visiting a woman purporting to be a spirit medium, he exposes her as a fraud, but discovers she does seem to have enhanced perceptical (I know this isn't a word as I just made it up. I contact the good people at Websters and have them include it in their next edition) abilities, and enlists her aid in helping him. Being an unsavory individual, the woman agrees to help as she thinks if the good doctor can pull off speaking with the dead, he will gain power and riches beyond belief. Dr. Julian, quitting his job at the university and selling his home, leaves with Mrs. Walters, the psychic medium, and Karl, a mute, brutish man who was injured in one of Dr. Julian's experiments, and they relocate to an isolated manor in a small town, far away from prying eyes and inquisitive minds.

Soon the villagers start to talk and get suspicious of the secretive work going on at the manor. Rumors begin to fly, and speculation runs rampant, certainly assisted with the disappearance of a few recently buried corpses. What was their purpose in Dr. Blair's experiments? You'll have to watch the movie. As the townspeople become more and more uneasy, I half expected a mob brandishing fiery torches to descend on the isolated manor. (Actually, they do, near the end.) The ending was wonderfully unsettling, and left viewers with questions never to be answered. After watching the film, I pondered the fate of Karloff's character, and the more I thought about, the more chills these thoughts gave me.

Karloff is great, as always, as the mad scientist (for lack of a better term) consumed with his quest, but he also provides us with a rich, deep characterization in that Julian feels very remorseful when his experimentation leads to the injury (Karl, who Dr. Julian now provides and cares for) or death. I thought that aspect rare in movies like this. His only intention, his desire, is to speak to his dead wife. Anne Revere is wonderful as Mrs. Walters, and her character makes no bones about what she is in it for, money...she insinuates herself into Julian's life to the point where she actually becomes a surrogate wife, taking care of all matters, allowing Julian to work unfettered, unencumbered with mundane responsibilities. She was very attractive, but in a cruel sense, as she had a gaze that could chill your blood.

One of the many things I enjoyed about this feature was attention to detail. The machinery Karloff uses, especially near the end of the movie, was exquisite and intricate. It reminded me of the machinery from Frankenstein (1931) with dials, electrodes, arcing electricity, indicators, huge, switches for the throwing...it really aiding in providing atmosphere and a real sense of creepiness. Check out the metal, iron maiden-like mask used during the experimentation. Would you let someone fix that on your noggin? I surely wouldn't. Also, the film was intelligent, and provided an atmosphere of belief. There were some very minor plot variances, but those faded quickly as I became engrossed in the Karloff's character knocking on the door of the great unknown.

The movie does get talky at times, but the pace is brisk with a 65 minute running time. The quality of the print used on this DVD is very good, but some minor blemishing is apparent, more so at the beginning. There is little in the way of special features, which is comprised of three movie trailers for current Culumbia/Tristar horror films.

What I really found odd was the title and the tagline for the movie, 'This mad wizard kills at will in Satan's service!' While there were some occult elements, there certainly wasn't any Satanism involved. Maybe some studio lunkhead thought the movie needed some 'zing' to draw audiences in, but I think just having Karloff would have been good enough.

Cookieman108

Karloff Kapers!!
Finally, " The Devil Commands" is here on DVD. Why carp about no extras..This is a surreal excursion into the supernatural with a rather noirish blend of atmosphere.

Ann Revere adds to the excitement and at one time most folks thought that the narration was a bit tepid, however it is important and helps the film move along. This is one of Edward Dmytryks first works and its one of the best Karloff Kolumbia efforts..

C Pope

Karloff rarity worth the bucks.
Ok so it's a lot of money to pay for a film made in 1941 with no extra's but if your a Karloff or Vintage Horror lover it's worth the money.
I thought the picture quality was good..not stunning, but as clear as watching a movie on tv.
As for the film - it's one of the most interesting Karloff made during the 30's and 40's.
But if Columbia want a big seller on their hands they'll release 'The Black Room' & 'The Man They Could Not Hang' on a double bill disc.

When the Devil Commands, Karloff Listens!
Prenial favorite Boris Karloff stars as a scientist who has created a helmet then when placed on the head of a subject can transfer their brainwaves onto a graph. Kind of like a lie detector graph. He discovers that women have stronger waves of brain energy then men. He demonstrates this to a room full of fellow scientists and friends, by using his wife an an example. Her brain waves are indeed stronger and much to the amazement of his skeptical friends the graph on the wall jumps up and down! Later after his wife dies in a car accident, Boris returns to his lab and angrily throws switches and discovers that his wife's energy has returned to the lab! He now joins up with a spiritualist and a bruteing Igor type to further his experiments and try and contact his beloved wife from beyond the grave. Holds up quite well today. The seance table surrounded by corpses, the swirling spirits appearing as a funnel of energy and King Karloff in all his maniacal glory. My only complaint is the short running time of only 65 min. The last 5 minutes look rushed but still the movie wraps up nicely. Now as to the transfer...it is just o.k. Columbia started out great with their brilliant William Castle titles, but seem to care less and less about these more recent releases. The pre-print on Devil Commands could use digital cleaning up. And come on Columbia, not even the trailor!!?? and a 65 min. movie retailing for [money]!!!! It is unfortuante that some people that might have slapped down [money] and took a chance on a movie that has such a cool title will definately think twice before paying over [money]. In closing, Columbia/Tristar Look at the GHOUL released by M.G.M. and see what a great transfer should look like. Still over all recommended. ... Read more

Reviews (32)

Heartwarming and family friendly
Penny Serenade is a classic Hollywood film starring Cary Grant and Irene Dunne. It's the story of a young couple who must overcome personal tragedy and heartbreak -- especially the loss of their baby. They adopt a baby only to run into difficulties when the adoption agency seeks to take the child back when the Cary Grant character experiences business reversals. But love and devotion prevail in the end. Penny Serenade is a heartwarming, family friendly, wonderfully presented, entertaining, and highly recommended for personal and community library video collections. 136 minute, B&W.

Beautifully Touching
Penny Serenade is one of the most touching films of all time. This happy and sad tale of Cary Grant and Irene Dunne trying to adopt a child is wonderful. It is a must-see for anyone and everyone. I am 13 years old and have watched this movie countless times since I was 7. As a daughter of 2 baby-boomers, I can tell you that the Classics always prove to be the best films of our time.

One of the best tear jerkers on film
I have watched this movie countless times, and to this day never tire of it! Cary Grant is the husband that dreams are made of! He positively shines in this role. He was one of a kind, and truely shows it here. His pairing with Irene Dunn is perfect as they play well of each other. She is a perfect blend of wholesome & sexy as was the way of things in that era. The interesting way the story told in flashbacks by playing old records and remembering the time they represent covers love, hope, courage, heartache and triumph.

One of the best pictures to come out of the 40s!
One of Cary Grant's and Irene Dunne's best! Edgar Buchanan as Applejack and Beulah Bondi as the social worker are also memorable. This is truly an old-fashioned five hanky tearjerker. But it has its comic moments as well. So many parents can laugh at the part where they first brought home the newborn baby. I know it takes me back to those days! And the part where Irene Dunne is nervous about giving the baby a bath for the first time. I remember feeling just like that! Even though some parts are sad, I always feel glad when things work out in the end. I agree with those who own lousy copies of the DVD. This picture deserves first class treatment so people can still enjoy it. I have a VHS black and white copy that I think I bought at Caldor's years ago. It has a good clear picture, and while you can tell that the soundtrack is old, it's still very much watchable. My copy was put out by Hal Roach studios.

You the man, Cary Grant.
PENNY SERENADE is the story about a young woman who falls in love with a newspaper reporter. They get married. Move to Japan. Survive an Earthquake. Loose a child. Adopt another. Tragedy besets them, but in the end they are able to overcome it. The movie is mostly told through musical flashbacks thanks to rotating RPMs and is one of the first films to ever have used the soundtrack as an intrical part of the film. The movie is a notch above most other melodramatic tearjerkers and there's one big reason for that: Cary Grant.

Cary Grant is the man. What more does one need to say? Sure Irene Dunn does a good job in this melodramatic tale about a husband and wife who live through an earthquake in Japan, the loss of an unborn child, and the adoption of another. Of course, the actor who plays Applejack steals many scenes, serving as the wise fool in this Shakespearean-type romance as his character balances everything that occurs. Nevertheless, through all of Uncle Applejack's helpful advice and Irene Dunn's moving tears, it's Cary Grant who carries the picture. Grant nailed this performance of Roger and once again illustrated how great of an actor he truly was. A lot of actors would have been tempted to delve into melodramatic play-acting, but not Grant. Even though this is a tear-jerker melodrama and he has some really cheesy lines in some scenes, Grant makes the whole thing seem plausible and feel realistic. I admit that I am a huge fan of Cary Grant, but I keep digging up these old movies he made, hoping to find a film that he totally flops in. So far, I haven't found any. Grant was just a notch above the rest and could make any movie more enjoyable just by being in it. It's worth more than a penny to see his performance in this serenade. ... Read more